#hence the confusion narration !

[phantasmaltrain]

holy shit i finally finished this fic

felt nice to write something just to. write

not a long chaptered fic or series, just smth to get the brainworms out

or read below if you’d like !

word count — 1,410

summary —

ingo is home.

after all this time, he is home.

and yet, he cannot seem to settle.

( after a week of being back in unova, ingo takes a walk to clear his head. )

“in quantum mechanics, schrödinger's cat is a thought experiment, sometimes described as a paradox, of quantum superposition. in the thought experiment, a hypothetical cat may be considered simultaneously both alive and dead, while it is unobserved in a closed box, as a result of its fate being linked to a random event that may or may not occur.”

nimbasa winters were never too chilly. while snow did coat the ground clean over in powdery sheets of white, the towering buildings were often enough to keep the wind from cutting through everything like a frigid knife. with the evening sun casting soft rays of pinks and peach through the gaps of steel lined skyscrapers, a certain recently returned subway boss found it appropriate timing for a walk.

. . in the last week, being back home, everything felt like an emotional blur, parts of his mind still foggy beyond recognition. a tide, tugging him by the ankles and threatening to knock him over, only to drown him in the wallowing feelings of his own heart.

but he stood resolute, anyway. that’s why he decided he needed some space, just for a little bit.

he had been practically housebound since his return; doctors, historians, worried family and friends. it was overwhelming, to his still recovering head.

ingo almost winced aloud at emmet’s strained expression when he had mentioned his request for some alone time, as if his brother was already paranoid he would disappear once again. and he had full right to be.

but there was too much lying heavy on his chest, things his brother could not fix, no matter how hard he tried, and he needed out.

just for an hour at best, he would be alright. the younger brother’s expression only crinkled further in worry at how quiet and subdued his voice came out, tinges of a sinnohan accent bleeding into each word.

it was his brother, sure, but he just sounded so . . unfamiliar.

time was a funny thing.

to emmet, he had been gone a few months at best.

to ingo?

years had blurred past, in hisui, and emmet hated to recognize his brother was trodding along on a track he could not follow, as much as he wanted to.

and so he sighs, buries down all his fussing, and asks if he would be at least willing to bring eelektross with him. something about him needing a walk.

( emmet did frequently take his pokemon outside on off days, but ingo could tell by his face- that careworn smile, practically etched in, that worry was practically chewing him from the inside out, and that doing this for him would ease his worries even to the smallest amount. )

he says “ no, ” flatly, walking out the door. he doesn’t come back.

he quietly complies, making a soft clicking noise with his tongue to beckon the eel like beast, currently sprawled in it’s seven feet of glory across the sofa, over.

he practically clicks back, sauntering over and curling himself over ingo’s shoulder as if he were a pirate’s chatot.

emmet watches the interaction for a few moments, an eyebrow raised.

“ i was not aware you spoke pokemon. ”

“ not really. . just a bit of an old trick that usually works. ”

hours of listening to the persistent chattering of sneasel kits had certainly let him pick up a few things, but he wouldn’t say he understood it. not fluently, at least. a brief understanding of what growls and warbles meant “food,” and which ones meant “hi,” but that was all.

after a few moments of shared, awkward silence, he reaches for the doorknob, a soft “ bye. ” leaving his mouth before the door shuts behind him.

almost instantly, the ground splits beneath him in yet another wormhole. he feels the fluffy snow against his back. he’s there again.

the soft snow crunches underfoot. chandelure saunters ahead of him with a ghostly chime of enthusiasm, practically beaming with a marbled purple-blue blaze illuminating the snow beneath her. eelektross stays curled around his neck, almost in a guard dog like fashion.

the weight is too heavy. the eel practically crushes his windpipe, and he collapses on his own doorstep.

he wasn’t really sure where he wanted to go. slowly trudging forward with a soft hum, he seemed to study the way he walked; how softly each footstep fell, how he had yet to fully correct that awful posture of his, now.

he felt like parts of him were missing.

chipped away fragments, that had yet to return.

he shatters like a piece of glass, collapsing to the ground with a cry. those missing pieces were vital, after all.

clearing his throat and fixing his posture upright, he begins to walk in an attempt at a confident stride. gradually, he falls into a steady rhythm; right foot, left foot. right foot, left foot.

noisy prey. an alpha zoroark easily takes advantage of the man’s loud footsteps, lunging for the throat.

. . walking like this in the middle of the highlands was a one way ticket to either being mauled, falling off a cliff, or simply being called a fool.

but this wasn’t the highlands.

or the icelands.

or hisui.

he was safe, to trod on as confidently as he liked.

and this felt right, in some way, so he continued to do so as he made his way down the street.

both pokemon in tow seemed to cheer him on; eelektross’ cheerful crackling practically right in his ear, chandelure emitting a chorus of enthusiastic hums and cries, bright flames flickering in the gradually dimming daylight.

despite their encouragement, as if coaxing on a baby to walk for the first time, a sense of nervousness seemed to crawl up his shoulder.

this was home, what he had been yearning for all this time, and yet it felt . .

noisy.

overwhelming.

it had been no more than a few minutes and he already found himself falling still, staring at his shoes and standing like a trembling stantler deerling on the snow laden sidewalk.

he turns around right back home. it’s too much. would emmet be disappointed in him for chickening out?

he allows himself the pause, despite the deep set frustration beginning to stir.

this was what he had been missing all this time! this was what he wanted back!

so why

why in arceus’ name was this so difficult?

as if sensing his brewing irritation, chandelure attempts to worm her way under one arm, as if demanding to be held.

( she personally could care less at this moment. it was more about distracting the silver haired man from whatever was plaguing him, that of which turned his soul so bitter. )

surprised, at first, ingo stifles a snort under his breath.

shifting his arms ever so slightly, he finds a more comfortable posture; eelektross still half curled around his shoulders, and chandelure now gently nestled in his grasp. swirls of purple and blue spectral flames curl around his arms as if to comfort, slowly burning their ways through flesh and bone the tension and worry bubbling beneath his skin.

temporarily, for now, but it was the best she could do.

and with that, he continued to walk.

a horrible idea. had hisui taught him nothing?

tentatively; cautiously, even, but slowly gaining back his stride.

( when ingo later returned home and accounted his little journey, which he considered quite eventful, emmet suggested chandelure receive some support training if the bustling city had begun to make him anxious since his return. )

( he responded that he’d put it on the backburner of his head. )

( while emmet usually groaned and swatted at him for adopting elesa’s awful puns, he just grinned. )

( he was just happy ingo was home. )

( he never made it home. what are you talking about? )

( of course he did. )

( the theory of schrödinger’s cat only lasted as long as the box was closed. )

but this box was open.

and ingo treyne is missing

dead

gone

never to return home

trapped in the distortion world

not real at all

now a zorua

in alola enjoying a nice vacation

to be executed at noon

me

you

really feeling like he could go for an ice cream right now, actually

to be contained at once

a threat to the fabric of time and space

a loser

a god

nothing

everything

alive.

he is alive.

and when he comes home, he does not mind being met with a tight embrace in the doorway from his brother.

[britneyshakespeare]

David Copperfield describes flirting from the perspective of an alien

[rabbitsfrommars]

HOHO after so long of deeply pondering a certain short story I was reading I finally figured out the underlying message and purpose behind it, FEELS GOOD!!!

[3hks]

How to Write REALISTIC and SMOOTH Dialogue

In a story, dialogue is quite important, it helps the readers paint a picture of what's happening and the characters themselves. However, it can be difficult to avoid the unnaturalness and choppiness that comes with a lack of experience. But luckily, I have put together A LOT of advice on how you can get over that rockiness and improve!

*** KEEPING YOUR DIALOGUE REALISTIC, AND PACING ***

>> Keep your characters in character:

Dialogue is a remarkably quick way for readers to determine your character's personality. Thus, you want their speech patterns to remain fairly consistent so the audience won't get confused. If your character is more serious, then they will use less slang and perhaps a more impressive vocabulary. If your character is more relaxed, they will use more slang and compress the words. (such as "dunno," "kay," "y'know," etc.)

Basically, you want their tone to match their traits so the way that they talk is more realistic and personlized to themselves. If the way all your characters speak is the same, there's something wrong. A strong tip is to put yourself in your character's shoes and imagine how they would respond!

>> Take the situation into consideration:

This is another part of keeping your characters in, well, character. Different emotional situations will have a different effect on separate people, so make sure that you have an idea of how your character will act during stressful, irritating, and sad times.

If your character is normally cold, they will struggle if it comes to comforting other people because they have less experience in that field.

>> Don't take too long with their words:

Unlike when narrating something, most people talk just to get the idea across. They will be more specific and quicker with what they say. (This excludes any character who likes to talk a lot.) Unless it's on purpose, they won't dance around the topic. Think of when you casually chat with your friends; you're pretty unlikely to use certain words and/or phrases that might be common to use while narrating.

If you want to explain something complicated, instead of writing out a paragraph of just one person talking, use a question-and-answer prompt! This is where another character continuously asks related questions that get answered by another person, so you can indirectly reveal your explanation.

*** HOW TO WRITE A SMOOTHER CONVERSATION AND DIALOGUE TAGS***

>> Having a variety of dialogue tags:

This is a pretty basic thing to look out for if you're new to writing conversations. Using words like "said," every other sentence can easily make it feel choppy and robotic. Instead, use words like "murmured," "smirked," etc. to paint some emotion into their words. Additionally, vary the location of the dialogue tags! They don't all have to go after the statement, you can include something in the beginning or even the middle, too!

Examples:

Beginning - She tilted her head, "What are you talking about?"

Middle - "Oh," he blinked, "I actually never thought about that."

End - "Wait up!" She exclaimed loudly, waving her hands around.

>> Using no dialogue tags to create a smooth conversation:

Having too many tags can also overwhelm your reader--remember, sentence variety is a crucial part of writing--so you can always drop them if they're unneeded. This applies when your characters (two is the suggested amount) are talking back and forth in a pattern straightforward enough for the reader to understand who's talking without it having to be labeled.

Dropping dialogue tags in these moments can create a smoother atmosphere during the conversation because the reader only has to focus on the talking present.

*** USING SLANG, STUTTERS, FILLER WORDS, AND PAUSES ***

Human speech is often not perfect; when talking, we often make mistakes such as filler words, grammatically incorrect phrases, etc. Hence, for more natural-sounding dialogue, it's important to incorporate some of these.

>> Pauses and stutters:

When reading dialogue, we read it at a steady pace unless it's written otherwise. However, that steady pace can soon get too robotic and too smooth. Luckily, there are several ways to change this! You can use dialogue tags, (ex: she quickly spoke) commas, and ellipsis (...). These are often integrated when the character is hesitant, nervous, answering something, or when they need to admit something. The same idea applies to stutters--they're mainly used to demonstrate anxiousness, which can be found in varying situations.

>> Filler words and slang:

Filler words can really just be used where you see fit. They may be used in the situations I previously mentioned (because it shows someone stumbling over their words) but it's ultimately up to you!

Slang, just like everything else, should not be used too often, or it will seem forced and exaggerated. The point is to sound natural, and increasing amounts of repetitiveness can ruin it. It's also important to remember that in real life, our conversations move slower; when someone speaks, another person usually doesn't respond quite literally, right after. However, in writing, dialogue can actually often seem that way, which is why using tags and these imperfections of speech is pivotal for building a realistic conversation!

*** CONCLUSION ***

Lastly, a key point when writing dialogue is to ALWAYS read the conversations! Whether it be in your head or out loud, it can often help you catch anything that seems off! Additionally, like I mentioned at the very beginning, write dialogue from your character's perspective! Imagine yourself as them and how they/you would talk. Try to keep your dialogue tags, sentences, and word use varied to create a natural conversation!

If you were struggling before, I hope that this (extra) long guide was able to really offer you some insight and useful tips! If you read this far, thank you!

Happy writing~

3hks <3

[kirain]

Sigh....Galemancers really love to move the goal post when it comes to the grooming accusations huh? You found out Gale was a fully grown MAN when Mystra slept with him so now you have to say, "Well then he was emotionally groomed and the power dynamic is too vast." Mystra is a neutral good goddess because she's Midnight, who was a neutral good human. She hates that her magic has to be used for good and evil. Ao makes her share it evenly but she'd rather not. She would never do anything to hurt Gale. The writers of the game even confirmed she's not a groomer. People like you also downplay the point of Gale's entire story arc, which is he should've listened to Mystra! The whole point of his personal quest is he needs to learn to humble himself and listen to his goddess! He has no one to blame for his downfall but himself.

There's no "post" to move, anon. The game and lore give us all the context we need. Grooming doesn't only apply to children, and people have proven right and left that Mystra is terrible at relationships. She's petty and abusive when she isn't obeyed by her partners, and that's been the case with all of her iterations. Even the narrator describes her as a "jealous goddess" when you visit her shrine. Plus, your information is wrong on many accounts; the most pertinent being that the Mystra of BG3/5E isn't technically Midnight. Cyric and Shar killed her, reducing her to her godly essence (lore-wise that means she died). The current Mystra is an amalgamation of the vestiges of Mystryl, Mystra, and Midnight, as told in the novel Elminster Enraged.

Now, this is about to get complicated, as it always does with Mystra, so from here on out I'll be referring to Mystra #1 as Mystryl, Mystra #2 as Mystra #2, Mystra #3 as Midnight, and Mystra #4 as 5E Mystra. Alright, let's get started.

Elminster had to reform the fallen goddess by giving her fragments of all three iterations of Mystra. Since all three iterations are combined, our current 5E Mystra embodies the good, the bad, the beautiful, and the ugly. There's even a conversation with The Simbul (one of the Seven Sisters and a Chosen of Mystra) where the newly reformed 5E Mystra speaks of Elminster as her "longest lover". This puzzles The Simbul because that was something of the old Mystra (Mystra #2), not Midnight. The new 5E Mystra replies that she has become a combination of the memories of Mystryl, Mystra #2, and Midnight. This is all in chapter 25-30 of Elminster Enraged. I know it's confusing, but in short: 5E Mystra is not Midnight anymore, and the leading mind is clearly that of Mystra #2, hence her extremely poor judgement—a recurring theme with her character.

Mystryl and Mystra #2 were originally lawful neutral. The alignment changed to neutral good when Midnight took up the mantle, because Midnight herself was a neutral good person. But now it seems 5E Mystra is true neutral, because you are right, anon; Ao won't allow her to do whatever she wants. Midnight tried and was forbidden. 5E Mystra absolutely does not have the same level of humanity or kindness as Midnight, and that may be because Mystryl had no human consciousness and Mystra #2 was a mess.

Regardless of her alignment, she must embody her domain by Ao's decree, which means she needs to spread magic across all Realmspace. Since she has to maintain the balance, she approaches good, neutral, and evil mages with potential opportunities. This isn't a criticism (that's just how godhood works), but rather proof that Mystra is absolutely capable of good and bad. I don't want to hear any more of this "she's a precious little bean and Gale's victim" nonsense. Even if she wants to be, she's not. As Kikitakite said in their post, she's done some fucked up things.

Whether or not the writers intended to make Mystra a groomer, that's exactly what they did. Sometimes writers don't realise they've written an abusive character until they're criticised. Take writer of The Notebook, Nicholas Sparks, for example. He didn't realise he'd written Noah to be an abusive piece of shit until Ryan Gosling pointed it out himself. Gosling has gone on record many times to say he hates Noah, and experts have labeled him an unrealistic and emotionally abusive/manipulative character. The same can be said for Stephenie Meyer, who wrote some of the most celebrated toxic relationships in recent media—with a dash of borderline pedophilia on the side. Therapists have weighed in extensively to tell people that Bella and Edward's relationship isn't healthy and shouldn't be emulated in real life. Indeed, perhaps the best thing to come out of the entire franchise is Robert Pattinson's hatred of Edward and the series as a whole. Jacob's actor, Taylor Lautner, even argued with Meyer's on set because of how weird the "imprinting" segment was and he didn't want to come off as predatory. Meyer argued it was "romantic". 😕

Even if you don't agree Gale was groomed, Mystra is flagrantly responsible for his insecurities and she never should've put her hands on him. The power dynamic is too vast, and even god Gale (conceited as he is) realises it by the end. He only stays in a relationship with Tav if they allow him to ascend them alongside him as his equal. He recognises that anything else would be unhealthy and unacceptable. Also, I researched high and low regarding your claim, but none of the devs have dispelled the idea that Mystra is a groomer. In fact, the most I could find was one dev simply saying, "To Gale it was love, but he didn't know any better." If anything, that only confirms he was confused and didn't know what to do. Their "relationship" was a stunningly horrible idea from the start and that's not on Gale, it's on the literal cosmic being who initiated it.

Moreover, Gale was very likely 17 when Mystra revealed herself to him. This perfectly fits into the 5E Forgotten Realms timeline. If so, no, he absolutely wasn't a grown man. He was a teenager. Mystra may not have slept with him until he was in his 20's, but that still makes it a disgusting teacher-turned-lover situation. Gale even tells us he was "young" when she took him into her fold, and he was only eight years old when Elminster started their lessons. Remember, Elminster is Mystra's biggest apologist. He would've taught Gale to revere her, which means there was almost never a point in his life when Mystra wasn't the main focus. You can tell by the way he speaks about her in Act 1. He's in awe, he's excited, he's proud she chose him. That does something to a child. Something irreversible. If anything, Elminster is complicit in what happened. I've said this before, but he couldn't even be bothered to visit Gale himself. He sent a simulacrum.

As for your accusation that I'm "downplaying" Gale's story arc—you're damn right I am, because the writers made me! Most D&D players I know aren't very happy with how Mystra is portrayed in the game, and that's probably because even they know she isn't presented in a very flattering light. If you really think about it, it's obvious what the writers were going for, but they failed. For example, you said Gale should've listened to Mystra, right? Well, in Act 1 he admits his ambition was his undoing, blames himself for his downfall, and by Act 2 he's literally ready to off himself for her. In fact, he's the only one who sees her ultimatum as justified. Every other companion says she's being cruel and unreasonable. If Gale actually blows himself up at the end of Act 2, the results are catastrophic. The brain is destroyed, yes, but the tadpoles, free of the Absolute's control, complete their transformation and infect/enslave the entire Sword Coast. Anon. She. Is. Stupid. Even the Narrator is like, "You wanna ... you wanna try that again?"

The entirety of Act 2 is Gale learning he shouldn't listen to Mystra. And then she has the audacity to lecture him in Act 3? If he'd listened, it would've been the end of everything. Maybe if Mystra was as infallible as she pretends to be, she would've put her three brains together and came up with a better, less vindictive plan. Because make no mistake, she wanted Gale to blow up in Act 2, which is ridiculous. I know this is an uncomfortable topic for some people, but gods aren't perfect, especially in fiction. They're flawed. They're selfish. Some of them are straight up assholes. The real irony of Gale's arc isn't that he has no one to blame but himself, it's that Mystra should blame herself. At no point does she even consider if she's being unreasonable or unfair. There's no self reflection whatsoever. And the writers expect me to think Gale's full of himself? I wonder where he got it.

Probably from his teacher. ✋🎤

[coffeejellou]

･ ｡ﾟ☆: *.☽ .* :☆ﾟ.

Romance can also be disastrous - Chapter two

Pairing: Kusuo Saiki x fem! Reader

•Previous part•

If you are homophobic dni with my series or blog!!!

What to expect: Crack/Comedy, Fluff, angst?, SLIGHT NSFW, Yumehara having a crush on Y/n, Y/n getting jealous

Things to know: "Saiki speaking telepathically to people/one person"

"Saiki speaking w/ his mouth"

Everyone thinking

(Sometimes) Narrator speaking

In high school love is always in the air, which is something Saiki considers entirely pointless. You knew this, hence was one of the reasons why you had no intention of confessing your feelings to him.

You knew he wasn't into romance at all, so why bother him and cross his boundaries? It just wasn't worth risking your friendship over. Though there was a huge part of you that was shoved deep into your head.

That part was you that just wanted to tell him already, a part that had been bottled up for 5 years already.

You sighed heavily as you entered the classroom with a box of juice in your hand. You took a deep breath, in and out, clearing your head of any thoughts of Saiki, in case he would hear.

As you walked towards your desk, you saw one of your classmates, staring intently at Saiki. Chio Yumehara. She was blushing and had a lovesick smile on her face.

You have got to be kidding me...

Your jaw dropped slightly and your hand bawled up into a fist, breaking the box of juice you had, and making it spill everywhere.

"Crap..!" You whispered to yourself, luckily no one noticed, well except Saiki and Kaidou. "Hey, Y/n, what's wrong? You seem upset." You saw Kaidou offer his handkerchief to you and you smiled, taking it.

"Hey...I'm fine don't worry! I'm just a little tired.." You muttered as you began to clean up the mess on the floor. "I see, fighting all night were you?" You chuckled and nodded. "That's right, thanks for the handkerchief again! I'll make sure to wash it and bring it back tomorrow."

"Well if you ever need to talk, I'm here. Okay?" Your eyes widened slightly, it was rare to hear Kaidou speak without any chunibuyo. But it was always nice.

He walked off while waving goodbye and you headed to your desk, which was right behind Saiki's. You saw him thinking hard about something, and so was Yumehara.

You figured she was trying to probably get closer to Saiki, seeing as you took a peek at her notebook, which had a picture drawn of Saiki. That confirmed your suspicions, she did in fact, like Saiki.

You looked down at your desk before plopping your head down onto it and closing your eyes. You really didn't have enough energy to deal with this.

★

"Hey wake up. I need your help." You looked up to see Saiki, who was towering over you. "What..?" You asked with a groggy voice. Saiki rarely asked for help, ever. But you figured it was probably something important.

★

"What do I do again?" You asked Saiki. He had led you to a random hallway, without giving you any information. "Just walk over there and turn the corner."

You sighed and started to walk, Why does he even want me to do this? What's happening..? As you reached the corner you bumped into something or someone. "Ow..!" You fell to the ground and saw papers flying everywhere.

"Oof..!" You heard someone say, looked up only to see Yumehara, who was rubbing her head in pain. "Oh my gosh! Yumehara! Are you okay? I'm so sorry!" Yumehara gazed up at you and her face fell in disbelief.

Why does she look like she's disappointed...? You thought before handing her all the papers you had picked up. "Thank you..and don't worry about it, that was my fault.." She muttered before getting up and walking away.

Saiki suddenly appeared from nowhere, "Saiki..what the hell was that about?" You glared up at him, getting up and crossing your arms.

"You know already, don't you?" You scrunched up your face in confusion. "What do you mean?" But then it hit you and you could feel your face heat up. The moment in the classroom when you were jealous of someone else having a crush on Saiki.

"Pfft...that..I dunno what..I was just..-"

"C'mon, we don't have much time.." He took your arm and dragged you back into the classroom, leaving you completely dazed and still a red mess.

★

"Oh God..she's gonna hate me for this..! You owe me big time!" You huffed out to Saiki, "I'll get you whatever you want, alright? I'm sure she'll find someone else to like soon enough."

You groaned before you saw Yumehara enter the classroom. You quickly ran away from Saiki as she walked in front of him, dropping her handkerchief in the process.

"Oh my goodness, that's really bizarre-" Before she could finish you interrupted her. "Oh Yumehara! You dropped this, here you go!" You picked the pink handkerchief off the ground and handed it to her with a smile.

You saw her glare slightly but she was also trying to keep a smile, "T-T-Thanks..." She grumbled before taking it from your hands and walking off in a pout.

Then, it was your turn to glare, but at Saiki, who looked away. Leaving you muttering angrily to yourself.

I mean I can't lie..even if I'm kinda mad at him at least doing this will probably have her not like him anymore..which is..good.. I guess.

You thought before sitting down at your seat, though it seems you forgot yet again that a certain psychic was just a couple of feet in front of you...

★

Undeterred, Chio continued on her mission to engage Saiki, however, every one of her plans failed thanks to you, without anyone telling you to do so. Since Saiki only asked you one more time to fail her plans and the rest you accidentally did on your own.

★

It's raining hard.. good thing I brought my umbrella, or else I'd be soaked. You chuckled to yourself as you put your school shoes away back into your locker and grabbed your umbrella.

You walked out the front doors of the school, only to see Yumehara, standing there on her own. You didn't think twice before going up to her.

"Yumehara! What's wrong? Are you waiting for someone?" You asked, she turned around with a small, "Huh?" Before replying properly.

"O-Oh! N-No..I forgot my umbrella and I think I'm just going to wait for the rain to die down a bit before running to my house quickly.." She smiled sheepishly at you before frowning.

"Here." You handed her your umbrella and her eyes went wide for a second, but then turned into a mess. "W-What! No way! I could never do that to you! I'll be fine I sw-" You interrupted her by taking her hand and placing the umbrella in it.

You put your school bag over your head and ran into the rain before looking back and smiling at her. "Don't worry about it! A pretty girl like you shouldn't be running home in the rain!"

She saw you run off before she held her chest, her face was pink and she had a shocked look on her face.

No one has ever done this for me before...let alone someone as nice as her..and I've never felt like his before! Especially not towards any boys! Heck, even girls......I think I just found my soulmate!!!

Saiki's face dropped, in pure shock as he stood on top of the school. He was going to use his powers to make the rain stop, so Yumehara wouldn't try to share his umbrella with her. But you came along and made her fall in love with you instead.

He was not expecting that...

★

The rain stopped as you were running and you came to a halt, catching your breath as you did. "Dammit..I'm definitely going to get a cold tomorrow...!"

You then felt a warm hand on your shoulder and you were suddenly in your room. "W-What the..?!"

"Calm down, it's just me." A familiar voice said behind you. Stepping back, you looked to see the pink-haired boy himself. "First off, why were you following me, second of all, why did you telepor-" You interrupted yourself by sneezing loudly and sniffling, wiping boogers off your nose with your sleeve.

"That's why, you're going to get sick if you don't shower right now."

"Oh, who made you the boss of me, huh? I can shower when I wa-" Again you were interrupted but this time by Saiki teleporting you to your bathroom. "Good grief..stop your whining and just shower."

He closed the door behind him, leaving you in your bathroom. You groaned but listened anyway and started undressing.

Meanwhile, Saiki was in your living room, debating on telling you about Yumehara's feelings towards you. He feels it's important to tell you but then again, this was something Yumehara probably didn't want you to know.

In the end, he sighed and decided it was best if you didn't know, or to let Yumehara tell you herself...

You were in your room, petting your cat and scrolling mindlessly on your phone when it started to buzz. You saw Saiki calling you, it was a very rare occurrence when he did because you actually got to hear his voice and he couldn't read your thoughts most times.

You'd be lying if you said you didn't sit up immediately and start to fumble with your phone as if you were playing hot potato. Your heart was starting to beat faster and your hands were starting to sweat too.

But, a deep breath in and a deep breath out helped a little before you answered the phone, "H-Hey Saiki..whatcha need..?" You answered timidly.

"I know I've been asking you for a lot of favors but this will be the last one in a while.."

For a while you didn't respond, shocked to hear how much Saiki's voice changed over the years. The last time you heard him actually talk was in middle school. And then he decided it was best to just not talk with his voice at all, using telepathy to talk to everyone now.

You slipped out of your trance after your cat meowed to you, calling your attention back. "H-Huh? O-Oh um sure whatever you need I don't mind doing favors for you y'know? It doesn't bother me-"

"Well it bothers me, anyway look, Nendou asked me, well no, my mom forced me to go to the beach with him, and I don't want to stay with just him and Kaidou."

"Right, and you want me to come along with you? Sure, I don't have anything planned. But I'm kind of surprised, aren't I just another nuisance, as you'd put it?" There was teasing behind your tone, and you chuckled slightly.

But despite your laughing, you couldn't stop thinking about his damn voice. How deep it has gotten, it was so much different from what you usually hear.

Your mind was wandering off into more about his voice..the things he could get you to do with just a couple of little words out of his mouth. God..what would he sound like during s-

"You definitely are one but it'll be less annoying with you there to get me away from all the other nuisances."

"Fine, I'll go. It's not like it won't be fun. Let me just get ready and I'll meet you guys there, okay?"

"All right, also, stop thinking lewd things about my voice. Or else I'm never using it again."

With that, he hung up, and you were left dumbfounded. You thought he couldn't read your thoughts right now, but then again your houses weren't that far away from each other.

It was honestly more embarrassing that he caught you thinking things like that...You were too distracted in the conversation to stop yourself from thinking whatever you wanted.

You hid your face your hands in embarrassment, and wanted to just disappear. But the beach awaited you.

★

"Hey Saiki.." You muttered as you came up behind him. The look on your face said you didn't want to be here right now. And honestly so did your thoughts.

I can't even look at him.. I mean he probably doesn't care but I overstepped! He doesn't like nor care for any sort of love. Stupid thoughts! Ruining everything..I should've just faked sick..it would've been believable too since I ran in the rain yesterday..now I gotta deal with the embarrassment of th-

"Hey, L/n! Check out Kaidou, he can't swim! Can you believe it? C'mon tell L/n how afraid you are of the water!" Nendou said, laughing and teasing Kaidou.

You groaned slightly and sighed. You were still in your regular outfit, your swimsuit under. You were honestly a bit insecure about being so naked. It wasn't like your swimsuit showed much skin but the last time you went to the beach was when you were around 12.

"N-No..! That's not true! I know how to swim you jerk..! I-Im not afraid of the water..!!!" Kaidou walked up to the ocean and stepped slightly into the water, before you were suddenly behind him and pushed him in.

To your surprise, he was..kind of drowning? Not really, he sure did act like he was though. He was barely an inch into the water. But flailing his arms and legs around, screaming and yelling in a high-pitched voice.

"Drowning in inch-deep water isn't easy..." Saiki said to you, you turned to him before walking off. "I'm going to change, be right back.."

Saiki looked at your leave, and to be honest, he felt kind of bad, for invading your privacy during the phone call.

It's not like it bothered him you thought things like that, he knew you liked him and you guys were both in high school, hormones everywhere, so, he didn't care. Sure it was surprising when he heard you think things like that about him here and there, but as said before, it doesn't bother him. Mostly because you try to not think of those things about him, you feel extremely guilty about it and he knows that.

★

You looked at yourself in the mirror and felt like throwing up, but you decided to suck it up and go out anyway. What else were you going to do? Not go out?

You sighed heavily and walked out, wearing your bathing suit, making your way to where everyone else was, and it looked like Hairo had joined all of you.

Looking around you saw Nendou trying to talk to some girls, Kaidou was surrounded by girls, who were saying how cute he was and touching his spikey hair, and Hairo saved Kaidou after Nendou buried him in the sand.

As for Saiki, he was nowhere to be found. "Hey guys, where's Saiki?" You asked all three of them. "Dunno, I think he went to the bathroom or something," Nendou replied.

You nodded and sat on the towel he was on before. Everything was peaceful for a moment before you heard screaming from a girl, you looked over to see her drowning..?!

"Hey hold on a sec! That girl's drowning!" You yelled out and ran off to go save her. Nendou was already on his way, but you decided to go anyway, just in case.

"Kaidou, I'll go rescue her and you go get Hairo!" He yelled out, but Kaidou was next to him, swimming just fine. "oh so you can swim..!" He added but Kaidou didn't realize he was swimming until Nendou pointed it out, leaving him to stop and start to sink into the water.

Now Nendou was carrying Kaidou, while also swimming towards the girl. "Nendou! Don't worry about her I got it! Just take care of Shun..!" He nodded before you got to the girl, who was rapidly sinking. You grabbed her arm and put her on your back.

She was a lot lighter than you expected and as you quickly swam to shore you realized why. Kusuo! Of course..! I have to thank him for this later...

★

The sun set quickly and the girl was now well and alive, "Thank you for saving my life. I appreciate it, and hey, thank you too for trying, sorry I joked about how ugly your face is..." You smiled and Nendou nodded.

★

You smiled as you walked next to Saiki, along with Kaidou and Nendou. "I'm glad you didn't ask for her number in return for trying to save her life," Kaidou said to Nendou, you nodded in agreement.

"Hm, I try to be a gentleman, but if that hottie fell in love with me I'm not gonna try and turn her down" He smirked, you heard Kaidou whisper something and Nendou got all mad.

But you weren't really paying attention, your attention was more focused on the beautiful sunset that was in front of you.

"You aren't mad?" Saiki asked you, which caused your mind to lose its train of thought. Huh? What are you talking about?

"Nendou basically got all the credit for just trying to save her, but you actually did save her."

Oh, that. No, it doesn't bother me at all, she's safe and that's what matters, and thank you for helping too, without you, she would've died.

He nodded in return, "Oh right...by the way, I'm sorry for invading your space earlier, I can't help what I hear but I shouldn't have brought it up. I just want you to know, it doesn't bother me..so don't feel like you need to shove your thoughts deep into yourself..."

You stopped and he saw your eyes go wide and your face went red, you were muttering out nonsense that he couldn't understand.

Good grief..I should've just kept that to myself...

It was very rare for you not to walk with Saiki to school, but you had woken up way too late and by the time you did, you figured Saiki was already at school.

But as you ran past Saiki's house, you caught a glimpse of pink through the corner of your eye and immediately stopped.

"...Saiki..? Why are you-"

"Hurry up, we're already late enough." You blinked in surprise for a moment before nodding and walking along with him.

Luckily his house and the school were only about a 5-minute walking distance so it wouldn't take you guys long to get there.

As you walked quickly next to each other, you couldn't help but think why he would wait.. you've never woken up late for school, so you had never been in this situation before.

Never in a million years would you think that Saiki would wait to walk with you, even if you two were very close.

"I waited for you because my mom would be a pain if I didn't. Can you think a little quieter now?"

You jolted up a bit in surprise but sighed, "What's got your panties in a bunch?" Yes, Kusuo always did seem angry or annoyed but usually, he wasn't. Today it was different though, it looked like he was genuinely mad.

He didn't respond though and just continued to glare, not even sparing you a glance. "Fine, don't tell me. Just don't be rude to anyone else who cares about you."

He finally looked at you, with a bit of a shocked look. But you were already walking ahead, leaving him.

★

You walked into the classroom alone, as Saiki trailed behind. You sat down at your seat with a sigh, hoping to relax at least a little bit before class began.

But of course, that wasn't the case. You heard loud yelling coming from across the classroom, looking up, you saw it was a bunch of boys panicking while surrounding Teruhashi.

"You've got a crush on someone?!"

"Teruhashi is this a joke?"

"Is it one of us?"

Teruhashi looked extremely nervous, trying to calm all the boys down, (although she was failing miserably). "It's someone I ran into over vacation..."

You felt yourself tense up at that, now it was your turn to be annoyed. Every single time Teruhashi even mentioned liking Saiki you felt all your thoughts turn into jealousy.

You tried not to be because honestly, you were never really a jealous person. You felt there was no reason to be, it only caused problems after all.

But it was so hard trying not to be mad when goddam Teruhashi liked Saiki, the most perfect, pretty, loved, girl there was in the whole universe.

With Yumehara liking Saiki you were jealous, sure. But you didn't hate her, unlike the girl who was right across from you.

You saw her staring at Saiki and you stood up, about to leave to compose yourself, before Teruhashi started up again

"It was the sixth of August when I first fell in love with him.." She closed her eyes and smiled as she spoke, raising a finger.

Yeah, and I've been in love with him for years, try it and come tell me it's all rainbows and sunshine, Teruhashi.

"I remember seeing you that day too, and the guy you were talking with..was Nendou!!" Someone chimed in, you were confused for a second before realizing she probably spoke to him after you had left her.

"YOU ARE WAY OFF IDIOT!" She yelled out, causing the group of guys to jump in fear. It was a surprise to everyone, even to you.

But Saiki had told you what Teruhashi is really like, hence the reason he doesn't like her. So was it really a surprise she burst out like that?

She quickly got back to her persona and started acting all sweet again, lying and telling the guys it was some Russian exchange student.

You groaned slightly in frustration before walking out of the classroom. It was best for yourself if you got out of that room.

★

"Hey, Y/n!" You heard someone call out to you, you were standing in front of a vending machine that was located near your classroom, this is where you usually went when you needed a drink to calm you down.

"Oh Shun, what's up?" You smiled softly as he ran up to you. "Look, I know this is out of the blue, but will you come with us to spy on Nendou?"

"Huh? Spy on Nendou? Also, what do you mean by 'us'?" He pointed behind him and that's when you saw Saiki.

Your face fell in slight annoyance but you decided to keep talking to them instead of making up some lame excuse.

"Nendou's been acting weird today, don't you think? He'd usually be asking us to go eat ramen with him or do something after school. But he's been real quiet."

You thought for a moment before nodding in agreement, "Now that you mention it, yeah he has been acting strange..alright I'll go with you guys."

Kaidou smirked, before walking away. "Right after school you two! Don't forget!" You smiled before turning back to Saiki. Truth be told, you were trying to figure out if he was still mad. All of a sudden, you remembered something.

You took one of his hands, it startled him slightly but he didn't pull away. You revealed your other hand, which was behind your back, bawled into a fist, and handed him a handful of something.

You took your hands away from his and he stared down at what you gave him, a small bundle of mini coffee jellies, there were about 4 of them.

"Here, take these and stop pouting. If you ever want to talk, I'm here." You mumbled out, he could see the faint blush on your cheeks and he could definitely hear your loud thoughts.

Which consisted of rambling and screaming, he wished he could turn off his telepathy at that moment. But then again, when doesn't he want that?

"Thanks..I really do owe you." Saiki still had to repay the favor you did for ruining Yumehara's plans, going with him to the beach, and now this.

He absolutely hated being in debt to someone, it didn't matter who, he hated it. And you knew this, so you always tried to reassure him. "Don't worry about it, it's no big deal to me. And if you really want to repay me that badly, I'll come up with something. But only if you really want me to."

"Yeah, please do. It's going to bother me, even more than Nendou does. Speaking of, we should probably head back to class."

You nodded in agreement before slightly smirking at him."What now?"

"Nothing. Just thinking about how much of a softie you are."

★

"His house isn't this way....he's got something going on.." Kaidou whispered to you and Saiki, as you all hid behind a wall.

As planned earlier, you were all trailing Nendou. Kaidou was in some weird disguise, on the other hand, you were in your regular school uniform, and so was Saiki.

"Why are you so excited by this?" Saiki asked him, but instead of responding he struck a weird pose.

"And what's with the outfit? It serves no purpose other than sticking out." You added, though usually you weren't one to judge Kaidou's actions, the disguise seemed a bit much.

"Shut up you two! Hey wait...what's he looking at?" You looked to see him smiling at a little girl with her dad. His smile was awful, scary in fact. He looked like a weirdo.

"Creepy!"

You all said. "I don't think that thinking the same thing is good.." You mumbled, Saiki nodded.

"Nendou has a thing for little girls?!" Kaidou asked you both, his face looked creeped out and worried. "Doesn't look good...we should probably call the police.."

"Hey, check it out, he's going into a store." You pointed at him, it was strange so it interested all of you.

Nendou went in and very quickly came back with a bouquet of sunflowers.

"Looks like a flower boutique, don't tell me he's got a girl-" Kaidou was interrupted by you and Saiki.

"No not Nendou.."

"Definitely not..."

Nendou started to walk off, all of you following him as he did. He stopped and smiled at another little girl, who was smiling with her father.

"Another one?!"

"That's just gross.." Kaidou muttered under his breath, honestly you didn't want to believe this situation. It's just not like Nendou.

"We'll confirm it after we call the police."

"Hey hold on, I feel like we need more proof, I mean c'mon, lots of people like sunflowers, and it's natural to smile when you see a cute little kid right?" You argued, it really didn't seem like Nendou to be a creep.

Kaidou thought for a moment before agreeing, "Y/n's right, all that is perfectly normal, we can't just stop there without any more evidence!"

"Good point, let's not be rash.."

★

After following him for a little while longer he went into another shop, "Where's he headed no-"

Kaidou suddenly interrupted you as he looked up at the sign of the store, a cake shop.

"CAKES..?! WOMEN AND CHILDREN CAN'T RESIST SWEET TREATS! SO WHEN YOU COMBINE A WOMAN AND A CHILD YOU GET A LITTLE GIRL!!" He yelled out, pointing to the store and looking back at both you and Saiki.

"Now you're jumping to conclusions.." Saiki said trying to stop Kaidou. But it didn't work, he kept going on and on.

"Kaidou-"

"HAVE YOU EVER SEEN NENDOU EAT THAT? OR LIKE FLOWERS! IT WAS ALL MEANT TO BE GIVEN TO SOMEONE BUT HE HAS NO GIRLFRIEND TO GIVE THEM TO!!!"

Jesus, make him stop Saiki..

"If I could, I would've already. Trust me"

You sighed in frustration, all this kind of seemed pointless now that you were actually thinking about it. Sure, it was a little creepy, but you were sure there was a reasonable explanation.

Kaidou went on about how Nendou was using the cake and flowers as bait to try and get little girls, but the more he talked the more it sounded like an unreasonable theory.

Nendou came out of the cake shop, holding a small pink box.

"Bummer..they were all out of shortcake..oh well. It's not like anyone will ever eat this.." You all heard him say, he smirked and chuckled as if he was some cartoon villain. It creeped all of you out and made Kaidou freak out even more.

"If it's not for eating it must be bait!" He yelled out and ran off to Nendou. "NENDOU!!!" Nendou turned around in confusion, all he saw was Kaidou running to him at full speed. Everyone was staring.

"YOU'RE SECRETS OUT!! HOW DARE YOU HURT LITTLE KIDS??!!! YOU MONSTER!!" He started punching him, but it sounded like little squeaky balls were hitting Nendou instead. It was no secret that Kaidou wasn't strong but this was surprising to you and Saiki.

"Is that what his punches sound like?"

"Wait..what secret? Do you mean my dad?" Kaidou stopped and you facepalmed. It went quiet for a while, all of you in a bit of shock, Saiki and you weren't as shocked as Kaidou though.

★

"He's dead?" Kaidou asked as all of you stood in front of Nendou's dad's grave. By now the sun had set and there was no one around.

"I visit him on the anniversary of his bus accident," Nendou explained, you looked down at the grave again, and then back at everyone else.

I knew it wasn't something bad. Nendou is genuinely a nice guy, he wouldn't do anything creepy. He definitely needs to work on his smile though...

"But the flowers and the cake?" Kaidou mumbled out, it was clear he was kind of sad that all his sneaking around was really for nothing.

"Respectful offerings to the dead! It's normal to bring cakes and flowers to a family grave!" Nendou held up the box of cake and smiled.

"To think Nendou's lecturing us on normal.." You heard Saiki's voice but he quickly turned it off once he realized he was still talking to you telepathically.

What's the harm in showing what you're thinking? That's not fair y'know?. You know every little thing I think but when it comes to your thoughts I can't know even a little.

"Yes because they're my thoughts, also how many times do I have to tell you I can't turn off these powers.."

You pouted slightly but sighed and let it go. He was right after all. Like always.

"When did your dad die, Nendou?" Kaidou asked, snapping you out of your thoughts.

"Well, it was before I was born. He died trying to save a little girl who'd run in front of a bus..huh maybe that means he was into little girls.." You cringed at the last part, and so did everyone else.

"Uh..hope not.." Kaidou said, chuckling awkwardly. "That's a dark joke.."

"So if he died before you were born, he must've been pretty young.."

"He was only 18 or 19 years old, here look! I got his picture!"

"Hey, this is just a picture of you!"

"Nah it's him! My mom says I look more like him each year! Weird..!"

"You don't look like him you're, the same!"

Kaidou and Nendou talked and argued a little back and forth. Saiki stayed quiet but you chuckled a little as you heard their bickering.

They really do look alike, it's kinda scary that they look almost like twins. But Nendou has a scar over his left eye, and his dad has over his right. That's a scary thought on its own since they can only be told apart because of one thing. Right, Saiki?

You looked over and saw him up at Nendou's dad's grave, he looked mortified, extremely mortified for that matter. "Hey guys, wanna go get some ramen!?" Nendou called out to you two as he and Kaidou were already walking off.

"Saiki..? What are you looking at?" You asked in a bit of a shaky voice, you weren't scared, you were worried. Seeing Saiki shocked or scared was something you never saw. Ever.

★

Walking with Saiki alone almost always consisted of awkward silence. But it was different today, Saiki was thinking, and hard. It was obvious, he had his hand on his chin and everything. You'd laugh if you weren't so spooked.

"So are you gonna tell me what you saw..?" As he was about to answer, you reached his house and he saw a piece of mail sticking out.

"Mail?" He took the envelope and it was addressed to him. "What is it?" You peeked over his shoulder and your eyes widened as you read the letter.

"To Mr. Kusuo Saiki, I am someone who knows you're a psychic."

"......."

"What...."

Next part -> Romance can also be disastrous - Chapter 3 •Coming soon..•

Summary: You and Saiki figure out who sent the letter, and it appears it's some kind of psychic who can see ghosts? You're happy to meet another psychic but Saiki is the opposite. Maybe he's thinking something weird? Who knows. Later, Saiki discovers a cockroach in his house and freaks out, but luckily you come over to save the day..with your cat! But that's not all, Yumehara apparently got a boyfriend to try and get over you, and for some reason, Saiki helps..could he be jealous?

A/N: OH MY GOSH I'M SO SORRY THIS TOOK OUT LONGER THAN I SAID IT WOULD, LIFE THREW A BUNCH OF CURVE BALLS MY WAY AS SOON AS I PUBLISHED THE FIRST CHAPTER. SO SORRY AGAIN FOR THE DELAY, BUT I HOPE YOU LIKED THIS CHAPTER! THANK YOU ALL FOR THE SUPPORT😭💗

[skaruresonic]

The common rebuttal to "this reads like fanfic (derogatory)" is "read better fanfic," which is true in certain cases, but on the other hand, there is some grain of truth to the idea that you can tell when someone's primary mode of literary analysis is fanfic instead of... well... literally anything else. It's okay to like or even prefer fanfic, but if you want to take your craft seriously you also need to read books, dude. Published books will teach you a lot of stuff fanfic doesn't, like proper dialogue formatting and how to introduce your reader to unfamiliar characters. Even the crappiest book (well, if it's not After or 50 Shades, which started off as fanfic to begin with lol) will have been subjected to some sort of editing process to ensure at least the appearance of proper grammar. That's not a guarantee with your average fanfic, and hence why you can't always take all your writing cues from fanfic because it's "so much better" than commercially published original fiction or whatever. Frankly, fic writers tend to peddle some absolutist and downright bad takes sometimes. "Said is dead" is a terrible rule, though not because said is invisible and a perfectly serviceable tag; that's just part of it. Dialogue tags are a garnish, not a main dish that can be swapped out for more ostentatious words. If your characters murmur and mutter instead of simply saying stuff, your readers are going to wonder why nobody speaks up. "'I'm explaining some very plot-important shit right now lol,' she elaborated," likewise, is a form of telling. Instead of letting the reader extrapolate that "she elaborated" via the contents of the dialogue itself, you're telling them what to think about it. And that's why it's distracting: your authorial hand is showing. Writing is an act of camouflage. You, as the writer, need to make your presence as invisible as possible so as to not intrude on the reader's suspension of disbelief. That's the driving reason behind "show, don't tell." And overall, everyone could stand to cut down on the frequency of their dialogue tags anyway. Not every exchange needs "he said" or "she whispered" attached as long as you establish who is doing the talking before the exchange. Some people will complain of confusion if you go on for too long without a dialogue tag, and that definitely is a risk, but at some point you also need to resist the temptation of holding the reader's hand. If they can't follow a conversation between two people, chances are they weren't meeting you halfway and paying that much attention in the first place. In fact, you don't even necessarily need action beats in between every piece of dialogue, as Tumblr writing advice posts will often suggest as a fix. Pruning things often cleans them up just fine.

Another fanfic-influenced trend in writing is, I guess, beige prose? A heavy focus on internal narration with lots of telling. It's not a style I can concretely describe, but every time I click on a non-mutual's writing, I feel like it always has, like. This "samey" voice to it. There's no real attempt to experiment and use unique or provocative language, or even imagery half the time. It's almost a dry recital of narration that doesn't leave much room for subtext. I see this style most often in fanfic where you can meander and wax poetic about how the characters feel without ever really getting around to the plot. And it's like. DO something.

Other tells that the author is taking their cues from fanfic mores rather than books: >>too much minute description of eyes, especially their color and their movement >>doesn't leave much room for subtext (has a character speak their every thought aloud instead of letting the reader infer what they're thinking via action or implication) >>too much stage action ("X looked at Y. Y moved to push their seat in. X took a deep breath and stepped toward Y with a determined look on his face. 'We need to talk,' he said.") >>tells instead of shows, even when the example is about showing instead of telling ("he clenched his teeth in agony" instead of just "he clenched his teeth") >>has improper dialogue tag formatting, especially with putting full stops where there should be commas ("'Lol and lmao.' she said" instead of "'Lol and lmao,' she said." This one drives me up a wall) >>uses too many dialogue tags >>"em dashes, semi-colons and commas, my beloved" - I get the appeal but full stops are your friends. Too much alternate punctuation makes your writing seem stilted and choppy. >>"he's all tousled brown hair and hard muscle" and "she's all smiles and long legs." This turn of phrase is so cliche, it drives me up a wall. Find less trite ways of describing your characters pls. >>"X released a breath he didn't know he'd been holding" >>every fucking Hot Guy ever is described as lean and sinewy >>sobbing. why is everyone sobbing. some restraint, pls >>Tumblr in general tends to think a truism counts as good writing if you make the most melodramatic statement possible (bonus: if it's written in a faux-archaic way), garnish it with a hint of egotism, and toss in allusions to the Christian God, afterlife, or death. ("I will stare God in the face and walk backwards into hell," "What is a god to a nonbeliever?") It's indicative of emotional immaturity imo, that every emotional truth need be expressed That Intensely in order to resonate with people. >>pushes the "Oh." moment as the pinnacle of Romantic Epiphany >>Therapy Speak dialogue. why is this emotionally constipated forty-something man who drinks himself stupid every morning to escape gruesome war memories speaking about his trauma like a clinical psychologist >>"this well-established kuudere should Show More Emoshun. I want him to break down crying on his love interest's shoulder from all his repressed trauma" - I am begging u. stop >>"why don't the characters just talk to each other?" "why can't we have healthy relationships?" I don't know, maybe because fiction is not supposed to be a model for reality and perfect communication makes for boring drama?

>>improperly using actions as dialogue tags ("'Looks like we're going hunting,' he grinned") >>why is everyone muttering and murmuring. speak up >>too many adverbs, especially "weakly" and "shakily." use stronger verbs. ("trembled" instead of "shook weakly") >>too many epithets ("the younger man" or "the brunette detective") >>too many filter words ("he felt," "she thought," "I remembered")

>>no, Tumblr, first-person POV is not the devil; you're just using way too many filter words (see above) and not enough sentence variation to make it flow well enough. First-person POV is an actually pretty good POV (not just for unreliable and self-aware narrators) if you know what you're doing and a lot of fun crafting an engaging character voice. Tumblr's hatred of first-person baffles me, and all I can think is you would only hate it if your only frame of reference was, like, My Immortal. Have you tried reading A Book? First-person POV is just another tool in your toolbox, and like all tools, it can be used properly or improperly. But it's not inherently a marker of bad writing. The disdain surrounding it strikes me as about as sensical as making fun of the concept of characters. Oh, your work has characters in it? Ew, I automatically click off a fic if it has characters in it. like what.

[genericpuff]

So what I'm gathering is that in LR Persephone loses all memory when her eyes go red/ powers activate, hence her talking about lapses in memory to Hestia and not knowing why Minthe is mad at her. Is that right?

Saw you left two asks so I'm gonna respond to them both at the same time here if that's okay!!!

You're in the right ballpark, though I will give a little hint - she isn't really losing memory so much as she's not able to access those memories. There's a mental block happening there that we're going to get to the root of later.

That said, Hades does not know why Kore got the name Persephone. When he refers to the lapses in memory he's directly observed, he's referring to 1.) her lack of remembering how she wound up in his car the first time they met (she genuinely does not remember and chalks it up to blacking out from drinking too much), and 2.) her lack of remembering how she was able to subdue the shades in Tower 4 (and the specifics of why she waltzed in there to begin with). Though, I will say the latter is mixed between "she can't remember" and "she doesn't want to say" but the stuff she's omitting she still doesn't fully understand directly because of those lapses in memory that she's experiencing more frequently since moving to Olympus.

Even if she could recall following Withy into Tower 4 of her own volition, she doesn't know why Withy was there or why she felt inclined to walk into a restricted area against her better judgment. She's missing a chunk of time between when she entered and when Hades rescued her.

So when Hades says it's "just like last time" when she couldn't remember, he's specifically referring to the incident in which she wound up in his car and couldn't even remember the full details of what happened the night before:

(this is also why he's so offended and confused when she calls him "smelly" because the night before she had been talking to him as if she was genuinely interested in him and his unique brand of stink LOL)

Their chance interaction at the Panathenea was genuinely the first time they ever met and so the only information he has to go off of about her is what he's experienced first-hand since meeting her (and whatever assumptions he can make about a goddess who is the creation of Demeter).

There's not much else I can divulge at this moment for the sake of not spoiling what I have planned, but considering it's been fun to go more in-depth on this topic, I'll leave y'all with some final food for thought:

Kore and Hades are both written to parallel each other but in different ways throughout the story - one of those things is the fact that they're both unreliable narrators with skewed perceptions of their own pasts and their current realities, for different but similar-ish reasons that will become apparent in due time. Part of Kore's skewed perceptions are largely due to her lapses in memory that she will eventually piece together as her character arc progresses.

That's as much as I'll say for now though as I don't wanna spoil anything else for y'all, but I hope this clears up any confusion and gives you something fun to think about! Thanks so much for reading! <3

[nikutsuneart]

Hello!

So, I have a question, and it might just be me being Stupid, or not remembering right, but I always found it odd that Kairi was one of the three keys to finding Sora, according to the Fairy Godmother at the end of Melody of Memory.

I understand Riku being one: he's got the dream, the Dream Eater Link and the Power of Waking to actually cross the portal.

I understand Nameless Star being one: she's the one from Quadratum and the only one who can create the portal Riku needs.

But I don't understand how Kairi's memories are actually important. Is it simply a matter of understanding what Quadratum is (Unreality) in order for Riku to safely go through?

Maybe I'm missing something crucial, but I feel like Fairy Godmother could have just sent Riku off immediately when she told him about his dream in Radiant Garden. It almost feel like they included Kairi just to exclude her even more.

Anyway, love your stuff! Take care! Bye!

Hey there! No, I don't think you missed anything.

So I think most people would simply chalk it up to them having some kind of special connection, but then miss the rest of what they were showing us. And while I think they could have moved things forward literally any other way and had the same result, (ie fairy godmother just taking riku to nameless star post important dream revelation) I think they were taking this opportunity to make a few things clear;

playing directly into that expectation of a Big Special Connection, they make a point out of the fact that searching her heart resulted in nothing by way of any direct lead to Sora despite being at it for a year. ("You seek clues to Sora's whereabouts by using your memories of him to search through your own heart. But there's nothing for you to find here.")

it's a simple opportunity to glimpse a bit more into her past, what's lurking beneath the surface of her memories and what happened to her. This is what actually gives them a clue.

making it painfully clear that riku is leaving, in fact he's already left, and that he's going alone. (though they definitely could have made up any better reason to shelve her than "training" lol)

Also this isn't to say Sora and Kairi don't have a special connection! Obviously Sora shows up and takes the reigns for a hot minute (whatever that was), I just mean that their connection may not be what's assumed, by kairi (even riku, hence his initial hesitancy and confusion) and the audience, yknow???

Anyway yeah, it just kinda is what it is. Like, these cutscenes in khmom were decided upon suddenly and rather late in the project. Originally it was just going to be chirithy narrating so I think it was genuinely just an opportunity to give Kairi a little bit of somethin' vs the usual nothin'. A little somethin that doesn't really hurt anything aside from maybe people's expectations lol;;

[bluecatwriter]

Jonathan: Do I have to read it, oh my dear one?

Me: (cries)

Jonathan: "I will keep my mouth as it were in a bridle: while the ungodly is in my sight. I held my tongue, and spake nothing: I kept silence, yea, even from good words; but it was pain and grief to me. My heart was hot within me; and while I was thus musing the fire kindled."

Me: (cries harder) Do you have to remind me!

OKAY BUT THE INCLUSION OF THIS LINE HAS ME GOING FERAL

(Theological ramble incoming. You have been warned.)

Jonathan is reading from the Book of Common Prayer, but the scripture is Psalm 39. (I originally thought that this was a quote from Jeremiah 20:9, which uses similar language to show the prophet's frustration with burning up inside if he refuses his call to prophesy, but this is even better.)

The psalmist here is a great example of how people's responses to God in the Bible do not fit neatly into the "unquestioning obedience and reverence" framework any more than Jonathan's actions do. The narrator of this psalm speaks despairingly about the vanity of life, begs God to stop heaping hardship on him ("Remove thy stroke away from me: I am consumed by the blow of thine hand"), and while he expresses near the middle that his ultimate hope is in God ("And now, Lord, what wait I for? my hope is in thee"), he also flat-out asks God to leave him alone (the last line of the psalm in King James Version says "O spare me, that I may recover strength/before I go hence, and be no more," though I love the more modern translations such as the New Revised Standard version, which reads, "Turn your gaze away from me, that I may smile again/before I depart and am no more").

It's a gut-wrenching psalm that doesn't flinch from the realities of life: things feel meaningless, hardships are heaped on those who are faithful, humans are fragile, riches cannot safeguard against death— and the right to rage and weep before God is a given. It ends not with the line of hope from the middle but with a challenge to God, and the main conflict of the psalm is not resolved or neatly tied up. Like all the Wisdom literature in the Bible, it invites the readers to sit in the tension and the confusion and the pain, rather than hastening on to a "correct answer" or even a sense of resolution.

I assume this is why it's included in the Book of Common Prayer's burial service: death cannot be tied up with a bow, or smoothed over with platitudes. This psalm expresses solidarity with people from every generation who have tried to make sense of their hardships and pain and the devastating reality of mortality.

Anyway, inclusion of this line in this scene was absolutely stunning. I suspect that many of Bram Stoker's original readers would have familiarity with the burial service since it would be read at every funeral, so adding in the words was wonderful to enhance the experience for the modern non-Anglican reader. This passage helped drive home how thematically resonant these words are with what's happening in the story in the moment. Very cool.

[bluemoonscape]

While I'm on my Hannibal essay bullshit, here's a copy/paste (plus images) from a response I had to this post that I wanted to get out there in its own post regarding the symbolic differences between the stag and the stag man:

I interpret the main difference as one representing Will’s Becoming and the other representing Will slowly learning Hannibal’s darkness—and then his humanity.

The stag initially appears as a symbol for Will’s “madness” due to his encephalitis in Season 1, with the scene of the antlers on fire being the most obvious indicator to me as well as how he seems less in control of it in this season. He sees it wandering around and he’s afraid of it. He’s afraid of what he’s seeing and why. He’s unable to control its actions. It’s out of his hands.

But in Season 2, he gains control of it. In the dream he has of killing Hannibal, he uses the stag to achieve this end. When he’s in the head of Randall Tier, the stag is with him and once again, it kills on his command.

What was originally madness, a frenzied spiral into darkness with no say in where he landed, becomes more of what I view as a “controlled descent” in Season 2. He is fully aware of his actions. He often seems to excuse his darker actions and inclinations “I need to do this because ____” blank being any number of things such as his job, a “righteous” purpose, his seduction of Hannibal to catch him, or Hannibal’s own seduction of him and influence on him. I think that could be why the stag sometimes feels confused with a symbol of Hannibal. It’s Will, but he’s not telling himself that. He’s trying to convince himself it isn’t his nature. He HAS to do it. He doesn’t enjoy it. He needs to tell himself he doesn’t enjoy it.

As for stag man, Wendi darling, that’s been explained really well in recent posts, but to lay out my thoughts, it’s Will’s association for Hannibal moving forward and backward, the teacup shattering and then coming back together. He doesn’t see it until about the end of Season 1, during the scene where he confronts Hannibal and is shot in the shoulder by Jack:

Before then, it’s the stag. In the “did you just smell me?” scene, Will’s intuition is trying to tell him in his compromised mental state what Hannibal is. The stag statue is directly linked to him seeing the stag, and the stag is his own darkness steadily being stripped bare by Hannibal’s influence on him, which he doesn’t yet recognize. Only when he unravels the truth of Hannibal’s darkness does he see the stag man, and as mentioned, he doesn’t see it anymore after Mizumono. After Hannibal’s betrayal of Will in S1, Will convinces himself (understandably) that Hannibal doesn’t care about him. He’s using him. He was never his friend and all he wants from Will is a show, wind him up and watch him go. Mizumono proves him wrong on a fundamental, inescapable level. He wasn’t aware of the humanity and love Hannibal could possess until that moment, so his view of him as a monster shatters the moment he recognizes it. What I love about each season finale is how every final episode can represent a new crucial realization in Hannibal and Will’s relationship; S1 is Will realizing Hannibal’s darkness, S2 is Will finding Hannibal’s humanity again in the cruelest of circumstances, and S3 is him reconciling the two and letting himself accept both—letting himself accept Hannibal and himself as an extent.

This is largely open to interpretation, but those are my thoughts on the stag vs. the stag man and what they represent in the story. We watch the show from Will’s perspective, a notoriously unreliable narrator, so it makes sense that associations would get mixed up in his head, causing the viewer to become confused, too. That said, they are two distinct entities in the story and represent two distinct elements in the story: Will’s Becoming in relation to his bond with Hannibal and Hannibal’s darker traits juxtaposing his humanity, as viewed through Will’s eyes...

...hence why they can often be seen in direct opposition to one another, like the dream sequence in Shiizakana.

[simazinblr]

Spring Semester - Kodi

[Malaysia Narrating]

I should explain why Kodi and I are going to Copperdale for a day. 

So, Kodi met this guy Eric, 2 years ago online. She flew out to Copperdale twice just for him to come up with excuses at the last minute. 

We all sat her down and tried to tell her that he probably was a catfish. She told us it was over, but one day she slipped up and mentioned him again. Hence the “delusional” comment from Jess. 

Since then, Kodi hadn't mentioned him until last week. She asked me not to tell Jess that she was still talking to Eric and wanted to try and meet him one last time. I was confused because she had been dating Jamar for almost a month. She said she needed closure with Eric, so I agreed to go with her. 

She hasn't even told Eric we'll be there. The only thing Kodi confirmed was he would be in town. The address we have is from a Winterfest gift he sent her a couple of months ago. So, this should be interesting. 

[syrupspinner]

i completed the demo for metaware high school

shoutout to beloved mutual autistic nari for selling me on this, and sorry for forgetting to make this post until now lol. thisll be a long one so strap in!

so i think its safe to say that ddlc really shook up indie gaming from a cultural standpoint. first is that it helped people figure out that visual novels have value as a medium, inexplicably. theres been this weird holdover in western gaming culture at large from like, the 2010s xbox era, where visual novels dont count or something. if people engage with them at all, its dismissively, and people come away with the idea that everything is a sound novel and therefore boring. but like... not only are sound novels good, but ryukishi07's work is the only example of a vn not having an interactive component. dating sims are basically stat managers, detective games require attentive puzzle-solving, and a lot of vns outside that have interesting gameplay hooks like va11hallas drink mixing

all this is to say that i feel like ddlc was designed in a lab to be a 'hiding medicine in the balogna' situation, where people can say that it may be a visual novel, but its totally worth it for the funny viral scares. well, im glad it did, because now it feels like people are very very slightly more receptive to visual novels

but, more importantly, it brought more attention to the postmodern potential of video games as a medium. this isnt the first time that gaming has borrowed aspects of postmodern literature (characterized by interacting with itself and intentionally subverting audience expectation) such as stanley parable's famous use of a unreliable narrator within the context of a controllable story. but ddlc makes it feel ludonarrative. games like oneshot and imscared already paved the way for games that interact with the player as computer files and use this context to create puzzles and simulate a haunted computer, but ddlc was one of the first games to make a character aware of the fourth wall and interact with their negative feelings on the matter. traditionally, 4th wall breaks are treated as comedic, seen best with characters like gwenpool. but... wouldnt knowing that not only is everything in the world fake, but there is only a single person who actually matters? a player that has agency that you are designed to lack, a sole audience member that you are asked to perform for. thatd fuck anyone up.

hence, metaware high school. fun fact, because of how much i associate VNs with high school settings with japanese culture, i keep wanting to pronounce it metawarAY, but that ruins the pun of the portmanteau of meta and aware. i played fucking めたわれ bro.

so its pretty clear that this game is iterating on ddlc, only in the context of being in a demo. in addition, it takes more of a character studying approach to how individuals understand their world. nari gives into despair and helplessness knowing that she is helpless to fight her scripted actions. hope takes a very relaxed and lackadaisical "its just a demo, bro" outlook, izzy is obsessed with fulfilling her role but anxious because she doesnt know what the full game is. the idea that they dont know the full game is interesting, because it brings to mind religious undertones. christians, as children of god, are 'supposed' to live godly lives, and seek fulfillment from something that they can only trust is invisibly real. the difference is that the player is different from the creator. i didnt make izzy, but its still her purpose to demonstrate the game. what is the punishment for failure? what does failure even look like? is it worth the risk to find out?

going back to nari and hope, i find their dynamic really interesting. the game presents nari as a mysterious character to begin with, hardly talking except for the end of routes. personally, i think it makes sense for her to have such a connection to hope. i should capitalize her name so you dont get confused, huh. its funny because nari has a pretty hopeless disposition, resigned to her fate and disillusioned from her surroundings. i dont think she has completely dehumanized the other characters in the same way monika saw the other club members as meaningless code. my view is that nari is just as real as her friends, and any disregard of them is just from post-realization depression. the player isnt more real or more important, at least outside of the demo's machinations that nari is forced to work within, but instead a lovecraftian intruder from outside their schema of reality. Hope sees them as more of, like, some fella. weird glowy thing. i wonder if they like mochi. this isnt out of stupidity or callous disregard, we are shown scenes of Hope being emotionally considerate and using the structure of reality in creative ways (the "what word am i thinking of" gate), so we as the audience know that Hope is making the personal choice to acknowledge the world in a more positively nihilistic way. yeah, its a demo. thats what the world is. wanna get mochi? i like mochi

i think if Hope werent so roxy lalonde flavoured, Aspen would be my fave. nari reacts with despair, Hope reacts with a casual smile and a shrug, izzy reacts with concern and anxiety, then aspen reacts by thinking about how they can directly benefit from the situation. the second they find out the player knows about the future, they sequester you into a very long series of questions. like, im convinced if the the apocalypse was happening, aspen would cheer and go full mad max. i think this extends to why they want the game to be a dating sim so much, because that would be the genre that directly benefits them the most. like, if its a detective or mystery game, theyd have to solve a mystery or die or whatever, but if its a dating sim they get a cool ephemeral entity to date!

and then theres chris. shes something of a mascot for the game demo, so i expect her reaction to reality (read: her personal philosophy) to be pretty important. from her route, we learn that she loves visual novels, and from that she wants to make the player enjoy her visual novel (demo) too. i think this is interesting on its own: if you learned that the world was a game, wouldnt you want that game to be good? especially in the context of the player messing around and taking the piss, where she gets upset that youre not taking her effort seriously. if izzy is the stage director, chris is the lead actor, at least that's how she's appointed herself. actually, her contrast with izzy is interesting, because theyre both the only characters who feel dedicated to performing their roles appropriately. with izzy, it feels more negative, but chris feels more like a sincere and intrinsic dedication. she wants to make the world better, just because shes enjoyed so many other great worlds and wants to spread that feeling to others.

so yeah, this feels like a more exploratory expansion of ddlc's concept. but upon reflection, i dont think theres anyone who copes with their circumstances the same way monika does. monika goes through a sort of philosophical derealization where the player becomes the only thing thats real, but nobody in metaware feels the same level of disconnection in my opinion. nari gets the closest of course, because she has the most intimate awareness of the games code and script, but shes uniquely powerless and is forced to recognize that, in addition to the aforementioned realness of her friends. so she CANT be a yandere, she hates the player for essentially being spoiled by having the whole world live and die by their convenience. ddlc's player is the most important person (positive) while mwhs's player is the most important person (negative, in naris perspective). it reminds me of how everhood positions itself as a response to undertale, building on its interaction with games as an artistic medium by building on its themes without presenting itself as a correction. i also just love the fact that since the world being a demo is a known truth, no characters perspective is presented as definitive, which does a better job of inviting the player to engage with the world and come to your own conclusion on what reaction would be the most justified

oh, and the ending... its like every character is confronted with the ultimate culmination of the world, as a direct challenge to their personal outlook. Hope's playfulness dissolves into panic, because she never seriously contended with this and used her casual playfulness as a coping mechanism that doesnt work anymore. nari meanwhile is totally nonreactive, this has been a forgone conclusion for her for a long time, such an innate inevitability it may as well already have happened... which doesnt make the moment any more enjoyable, shes panicking as much as Hope. izzy's biggest concern is her friends, the ones shes been panicking at the whole game until that point, the ones shes been relaying her concerns to and desperate to force into line to try and Play Their Role as theyre supposed to, just in case. but shes alone anyway. aspen reflects on their efforts to extract meaning and benefit from their circumstances and lements never having real control. chris romanticizes their memories and just expresses thanks for everything, ever positive. its an interesting analysis of their culmination of all their philosophies. like, hope and nari were pretty opposed, but they feel pretty similar in the end. chris's optimism cant hold up in the face of oblivion and fades into the same mournfulness and regret as her friends. end the end, regardless of outlook, its hard to change the basic human reaction to inevitability and tragedy

metaware is immaculately crafted, its a wonderfully made exploration into human reactions to fundamentally inhuman circumstances. the characters all feel unique and reasonable, memorable yet realistic, but still with a thematically relevant twinge of scripted performance. anyone who doesnt like visual novels can kiss my ass, youre gonna play this and youre gonna like it.

so yeah, excited for the full game! i hope its a roguelike deckbuilder

[wackytheorist]

What if the QSMP quiz on day 3 of the puzzle was like an interview in disguise and how Mr. Bunny was chosen. Maybe they got the potential investor role since thats the highest one you can get and it makes sense since Mr. Bunny replaced the duck(I forgot their name). Further proof being that day 3s cipher is "bunny".

Now we can only get potential investor if we score forty points, and to score forty points you need to select the answer that is worth four points on every question, which is more specific then the other roles(not including D-rank worker) because the OTHER ROLES have a range. Also an interesting detail is that some 4 point choices... don't seem that much of a deal

SO using the options that are worth 4 points, we can theorize on Mr. Bunny's personality.

Q1: DIAMOND BLOCK(4points) According to the narrator, Mr. Bunny knows a thing or two about Money, and assuming he's the same person who left those messages on the lore images and established capitalism.... yeah I think it makes sense. In Qsmp, diamonds are like money.

Q2: DARK OAK PLANKS(4 POINTS) I've always wondered... why wasn't black stone bricks or even the quartz options not 4 points.... well lets look think a bit... Quartz is a signature of the federation, Blackstone bricks is the Color pallet of the resistance/rebellion. Dirt is... dirt. So the only option that doesn't really correlate make sense is dark oak plank. The room that the islanders passed out in does use dark oak planks....

Q3: Create a trapped maze that leads to the entrance to confuse unwanted visitors.(4 POINTS)- Now we don't know much about Mr. Bunny, or how this corelates to his personality. But using this, we can make a prediction that MR. Bunny's headquarters would be hard to find.

Q4: Build a gigantic mansion just for them, treat them like royalty!(4 POINTS) We know Mr. Bunny is here for the money, he also owns a business separate to federation(know this because of day 2s lore Image). Most corrupt money hungry business owners are often, A: Corrupt because Poor, Business is flopping or B: Corrupt because Business is succeeding hence greedy. We can think Mr. Bunny is B because of this answer.

Q5: PAINTING(4 POINTS): I cannot think of a lore reason, maybe they just prefer paintings or maybe there is a lore reason that we haven't discovered yet....

Q6 RED COUCH(4 POINTS) ALL (except day 5) of the lore images have a red/black gradient background. examples below. We can assume red is a correct that represents Mr. Bunny.

Q7: GOLD(4 POINTS) Again, like the first question, Mr. Bunny LOVES Money. Although this question asks to choose a thing to collect, and the answers are things you can collect from the federation: Furniture, Classified info, Rocks. Mr. "gold digger" Bunny here only for the money.

Q8: I answer their questions at the door and they leave, the rest of my day is uneventful.(4 POINTS) The question is about what you would do when Cucurucho visits... I don't think there is much lore in this but(again going to use the money point but so does the lore images) he DOESN'T CARE about Cucurucho much.... you know what he DOES care about.

Q9:A beautiful flower garden, carefully tended to!(4 POINTS) I dont know the implications in lore and the personality for Mr. Bunny . Maybe he can afford it and maybe this can be related to how beautiful the shops look. But we don't have enough evidence to call it a theory.

Q10: Once I get what I want from them, I kill them. When the investigators come, I serve them a wonderful meaty stew. There is no evidence(4 POINTS) This answer perfectly represents how Mr. Bunny thinks of the federation.... he is using them like meat bag for money, and once he has enough, we can think that he'll try to take over....

I HAVE MANY MORE THOUGHTS BUT THIS TOOK 2 HOURS AND I'M TIRREEED THANKS FOR LISTENING TO MY TED TALK

[jalebi-weds-bluetooth]

The soundtrack of 'Tu hi bata mere maula' evokes a unique emotional response somehow. I wonder if its impact stems from the fact that the song is narrated by a third person, providing a description of the circumstances surrounding the two main characters. It gives the impression of being orchestrated by destiny, and I love how they intertwined the entire narrative with the concept of a divine being/God, who is portrayed as the playwright of their grand love story. There are not many songs, I suppose, that adopt the viewpoint of an observer or storyteller. What are your thoughts on this?

Hello hello,

Please don't forget to write a hello! Cause person here, not ChatGPT :)

Oh absolutely - based in Lucknow and with Arnav just not really being written as a conventional hero, there are strong themes of sufism, destined love, a difficult love and really how if fate didn't intervene - this would've never happened.

IPKKND is a love story that shouldn't have happened.

Which is why the lyrics are so pointed to destiny, to God, to whoever wrote this tale because it's their will why this is happening.

It's never about two halves coming together. It's never about each getting their perfect love.

This is an intentional, difficult love story between absolute opposites with the fundamental will of the maker. And usually title tracks are about 'oh I love her, oh I love him, oh I have feelings, oh these feelings are tough'

But IPKKND reminds us, periodically, that it's a story. A fictional story where two worlds collide only because of someone else's will. So much so that even the observer - who is more than a human but less than a God - watches the story pan in wonder.

And it's also the specific scenes they utilize this song.

It's almost always done when 'destiny' is changing.

We hear it first when Khushi hopes she and Payal get married to the same house. And we have a saying in our culture that daily, twice, Maa Saraswati sits on our tongues hence our words may come true.

And it does for Khushi and Payal.

Then we hear it during Teej when an awareness seeps into Arnav and Khushi as Khushi, unintentionally, is performing a ritual that hints at their future. And the most gorgeous part is that it is left with discomfort in characters and never verbalized that what happened was symbolic.

The discomfort in both the characters - who didn't move from their spot - is evidence that both know what it implies. Be it an atheist or a devotee.

Then we hear it when Arnav has comforted Khushi, developing and strengthening their emotional bond (which they haven't developed until this point) and when Akash and Payal are going through their worst. Again, it's such a poignant scene in the show because this changes the course of all the four characters.

And this is where we actually see, and perhaps root, for a love story between Arnav and Khushi. And such a crucial point to finally drop in the lyric "Iss Pyaar Ko Kya Naam Doon?" because finally it is showing something akin of being a love story, which it wasn't until now.

Then Diwali - a moment of utter mismatch of intentions, decisions, actions and reactions.

And then, of course, during the band aid engagement because of the sheer contrast between what fate has written, what's symbolically happening, what is appropriate and what are the characters emotions.

The most powerful aspect of this song is how true this song is to IPKKND's roots. This, will always be the theme song of the show. There's no finality of love here. Just utter confusion, and a plea to God/fate that if this is your will and this is where they're going then given who they are, complimentary yet different, guide them.

It is poetic.

Love,

Jalebi

[parlerenfleurs]

About MDZS and who is its narrator

It just occurred to me why there might be a wide-spread confusion in the fandom about who narrates Mo Dao Zu Shi.

Astute readers have been banging pots and pans from the roofs telling everyone that it is told in a 3rd person omniscient POV, with many instances where we're being made aware of the thoughts and feelings of other characters, and happenings for which Wei WuXian was absent.

Yet, the confusion persists (in large part because this is how Internet works, the posts repeating that confusion and analysing the text from this postulate get more notes, are seen by more people) and I think I know why.

The thing is, a 3rd person omniscient POV might evoke a narrator whose voice is clearly felt, is firmly outside of the narrative, and should take us through multiple points of views most of the time, I guess? But MDZS's narrator is very discreet, understated. Hence people can more easily miss that they're being addressed by it and not hearing about some character's thoughts. Moreover, it might confuse people, I suppose, that a 3rd person omniscient narrator could still have a limited POV. Here, the narrator does choose to focus on Wei WuXian most of the time, and deliberately leaves out key POVs like Lan WangJi's, in order to draw the reader in, maintain suspense, unfold the story and events a certain way, and afford us the occasion of reading many things between the lines.

I reckon that's where the confusion stems from. It's not because it is omniscient that it won't be deliberately narrow. That's the only way to tell a compelling story, by following a key character most of the time, and only telling us what we need to know for maximum impact upon reveals. And since Wei WuXian is uniquely focused on Lan WangJi (me too, to be honest), and Lan WangJi's is the most guarded POV of the story because this is a romance, and he's the love interest, I guess this contributes to the overall impression that we are only in Wei WuXian's head.

But we aren't, and a lot of the times we are also left to infer Wei WuXian's feelings as well.

One of the lines that I find funniest in the book that illustrate this, is when we follow Jiang Cheng going up the Burial Mounds (and we do follow him, we're not with Wei WuXian waiting for him at the top), and A-Yuan clings to his leg and we're told the child is very loveable, but "unfortunately, Jiang Cheng had no love in him at all" (quoting from memory). That's the narrator adressing us, not what Wei WuXian thinks, and certainly not how Jiang Cheng would frame himself in his own mind.

We do follow Lan WangJi sometimes, like during the Lotus pods extra and when he encounters Wei WuXian in Yunmeng and is being given flowers by his ghost girls. But if I'm not mistaken, even then we're not privy to his thoughts. This boy is too cute! He's so shy and reserved! I find it delightful that we can read him between the lines in this way.