#i write best when i have nothing but a vague idea or a vibe

[macabr3-barbi3]

God, That's Good

Chapter 7: Wait

Alastor tries to ease Lucifer's impatience, and Vaggie comes by for a favor.

Tags: more brooding, banter, A PROPER KISS

Before I rant about my writing wife some more, I do want to advise that once we get past this chapter, things will be getting quite a bit darker and more explicit. There's murder; there's blood; there's cannibalism; there's a little sex (not dark, but still warranting a warning I think LOL). If you know the musical/movie I'm sure you have a vague idea of what's coming. Be mindful of these things from chapter 8 onwards- I'll make sure to put specifics in the tags for each chapter but PLEASE don't read if you think these things might be triggering or upsetting to you.

Back to our regularly scheduled vibes- as always, huge thanks to @fraugwinska for helping me stick to a normal schedule and being one of my absolute best friends and most enthusiastic supporters 😍 ALSO thank you to everyone that has liked/reblogged/commented- this AU has me in a chokehold and I'm stoked that others are enjoying reading it as much as I've enjoyed writing it

PSSSST: Wednesdays have even more to look forward to! If you love Alastor being a questionable hottie as much as I do, check out @hazelfoureyes with A Doe in Fall that is ALSO updating on Wednesday evenings! I promise I'm very normal about this story and Hazel's writing in general (she said, lying, being very not normal about either thing)

Chapter 1 🥧 Chapter 2 🥧 Chapter 3 🥧 Chapter 4 🥧 Chapter 5 🥧 Chapter 6  🥧Chapter 7

Despite her promise to visit soon, it’s a fortnight later and the Beadle still has not come by Lucifer’s barbershop.

He would be the first to admit that he broods on it. Between customers of his now booming business, he spends hours sat in his chair staring at himself in the mirror, trying to find the remnants of the man he used to be. He watches the tendons in his hands move as he shaves the gentlemen of New Orleans, thinking that they surely were not the same hands of Damien Diggory though they remained on his body all the same. Families came and went through his door, constantly reminding him of what he had lost, what the Beadle and Adam had to pay for, making his unease at her absence grow more every day.

He sat now in his empty shop with one of his razors in hand, staring down at the blue of his eyes reflected on the blade. He felt empty, numbness creeping from the pit of his stomach to his limbs and making his whole body feel like a hollowed out shell of a person- he looked the same, sounded the same, but the substance inside him was either missing or in the process of rotting where it sat. Charlie was still out of his reach, his revenge on hiatus until the Beadle saw fit to grace his shop with her presence. Everything was at a standstill, and the lack of activity beyond shaving was making him a madman, always pacing around the upstairs, approaching the entrance to his family’s old apartment and retreating like a coward.

A creak of the floor alerts him to the door opening, three soft knocks letting him know that it’s Alastor. He can hardly look the man in the eyes these days after he had embarrassed himself that night two weeks ago, when he had tripped into Alastor’s lap and pulled him into a kiss. It was embarrassment more than anything; thinking that he had reciprocated had been nothing but a figment of Lucifer’s drunk imagination, as Alastor hadn’t mentioned it since. Sometimes his eyes will fall on the younger man while Alastor is busy doing something else, and he uses those stolen moments to learn the curves of his face, imagining the blade skimming over his cheeks if he ever gave him the chance to give him a shave. 

Alastor comes behind the chair, leaning his elbows on the back above Lucifer’s shoulders. “I thought you had no customers today,” he says softly, watching Lucifer in the mirror. “What are you doing up here, hm? Plotting?” He smiles slyly, the corners of his mouth turning up and giving him a mischievous look. “Or pouting?”

“It’s been a fortnight,” he laments, snapping the razor closed and placing it on the stand beside him. “Why has she not come?” He stands from the chair and starts to pace- surely he looks like a madman, stalking between the apartment door and the sizable chest that held his spare towels and aprons, hands taking through his hair. 

Alastor sighs, his smile still in place. “Oh dear, a tantrum. How unbecoming. And just when I’ve started to think you were respectable.”

Lucifer scoffs. “Come now, Alastor- you don’t think it strange that she’s not arrived yet? You’d think such an ‘esteemed member of society’ could keep to a date.” Perhaps his air quotes and exaggerated accent were a tad childish, but it still makes Alastor laugh through his admonishment. “I’m… antsy, sitting around and waiting for her. They have to pay for what they did to Lilith, to me-”

“And they will.” Alastor leaves the chair to approach him, the proximity when he finally stops making Lucifer’s heartbeat pound in his throat. “Patience is key, my good man.”

“I’ve waited for so long already,” he groans. “Was fifteen years not enough? Must I wait another ten before I’ve avenged the wrongs against us?”

“So she’s a few days past when she said she would come,” Alastor says flippantly. “Do you not think that your over-eager manner won’t scare her off? Cause her to alert the Judge?”

Lucifer says nothing, not wanting to concede that he’s correct. He keeps his eyes on his feet, that hollow feeling returning to his chest and muffling the sound of Alastor’s voice as he continues talking. What would he do if she never came? Then surely Adam would never have reason to set foot in his parlor; he would never have his vengeance, Charlie would be lost to him, Lilith would be dead with nothing to show for his avenging her-

“Lucifer.” His head jerks up, and Alastor is watching him with narrowed eyes. “Did you hear anything I just said?”

He’s sure his face flushes. “Of course I did,” he lies, “you were… shit-”

The smile returns to his face. “I was saying,” he says softly, “that perhaps you can use the time to update your bearings. Get some flowers, hang some decor on the wall- that will likely sway the Beadle’s mind as far as recommending your establishment to the Judge, if the walls are not bare as though you’ve just moved in.”

“I have just moved in,” Lucifer points out petulantly. “I’ve only just started taking customers this last fortnight, I’ve not had time for bearings as you well know.”

Alastor claps his hands together, the sound making Lucifer jump. “I’ll send Husker for a floral arrangement for you- I think it will really cheer the place up.” He glances at Lucifer, a slow drag of his eyes up and down the barber’s body that almost makes him feel shy with the heat it contains. “I was also thinking that the unknown waiting period we find ourselves in is not a wholly bad thing. Perhaps I’m old fashioned, but I find that half of the fun in a plot is making the plan itself! Especially when one has a partner.”

And to Lucifer’s surprise he steps closer, bridging the already short gap between their bodies and taking Lucifer’s hands in his own. “I, for one, have also been enjoying this time simply getting to know you.”

He thinks his brain stops working, the way his mouth stammers to get out a response to that. “Oh! Well, I- I mean, I’ve also been, you know. Enjoying you.” Alastor’s head tilts in amusement, and Lucifer realizes what he’s said. “Enjoying your company, I mean! Fuck, I’m sorry-”

“There’s no need to apologize,” Alastor murmurs, and he releases one of Lucifer’s hands to slide around his back, pulling him fully into his chest. “We did say that we would revisit the intimate portion of that night when you were no longer intoxicated. Tell me, Lucifer, are you under any influence at this time?”

He doesn’t trust himself to speak, so he shakes his head. It shakes some logic loose- that kiss had been a mistake, the door wasn’t locked if a customer approached, he was less than ten feet from the apartment he had shared with his dead wife- but doesn’t stop him from allowing Alastor to lean in and press their lips together.

It’s so much better now that he’s not drunk. The kiss is soft and gentle for a bit, simply their lips touching as they learn the ways they fit against one another. It’s not until Alastor fists a hand in his shirt to keep him close that Lucifer even considers trying to deepen it. His hands tremble from nerves instead of liquor when he reaches up to hold the back of Alastor’s head, fingers threading through his hair while a broken noise tears itself from the back of his throat. Alastor responds in kind, making a soft sound that’s lost in Lucifer’s mouth as he parts his lips, his tongue shyly seeking entrance that Lucifer is all too eager to give him.

Lightning sparks behind his eyes, heat flooding his veins to pool low in his stomach, and he knows he needs to end the kiss before he does something that both of them may regret- though he hates to break the intimacy of the moment, ravishing Alastor in his parlor was not on his agenda for the day. He would need time to plan, to properly court the baker perhaps before inviting him to his bed- not to mention the extra time he would need to whisper pleading prayers to Lilith to forgive him.

Lucifer pulls back, his resolve nearly broken when he sees the way that Alastor’s lashes flutter, a noise of confusion escaping him. “We-” He clears his throat, embarrassed at the low rasp of it. “We should stop for now. Which is not to say that I don’t want to kiss you more! I do, very much,” he rambles, and Alastor merely blinks slowly and watches his mouth move as he had that first night. “Just, we should take this a bit more slowly. I don’t want to take advantage of your kindness-”

“Rest assured, Lucifer,” he purrs, “you are not.” And that makes him lose his train of thought for a moment, with how husky and low the words come from Alastor’s mouth.

“Haah, well, still. I would like to take this a bit slower and do it right. If you would allow me to, you know, properly court you, I would very much like to do so.” He sounds stupid, he realizes, like a child with a crush asking them to check ‘yes’ or ‘no’ on a piece of paper; he just hopes Alastor isn’t put off by the formal request. Perhaps he would prefer something unspoken, more blinding, unplanned kisses that steal both of their breath and leave them panting and wanting more.

But thank God, Alastor simply smiles at him and takes his hand again. “I would like that as well,” he says, and Lucifer thinks he could just collapse from the relief he feels. “We shall go at whatever pace best suits us- though I hope you’ll forgive me if I seem a bit impatient at times.” He watches Lucifer’s neck as he says this, and the barber knows he follows the movement of his throat as he swallows. “But by that logic, if I can wait for what I want, surely you can as well.”

Lucifer opens his mouth to respond- to admonish him, or perhaps pull him in for another kiss- when he hears the creaking of the stairs. He has just enough time to step back from Alastor before the door swings open, and he manages to hide his disappointment that it is not the Beadle, like he hoped, but Vaggie.

“Mister Morningstar!” She crosses the room to greet him with an enthusiastic handshake. “It’s been ages, I haven’t had much time to make it to this side of New Orleans but I’m happy to see you’re in business. And hello to you as well, sir,” she offers to Alastor, who gives her a small smile and turns to tidy something on the shelf behind him. “Mister Morningstar, I admit I have a favor to ask of you- there’s a woman, you see-”

Alastor scoffs behind them, and Vaggie’s eyes narrow into slits before she continues. “She is kind and beautiful, and stubborn beyond belief; she’s opened my eyes to so many new ideas and theories, and- her guardian poses a problem to any intentions I may have towards her, but late last night as we talked and the Judge called her away, Charlie slipped this into my hands.” She holds up a key, dark and dangling off a red ribbon. “It must be a sign, don’t you think?”

“Charlie?” He could hardly dare hope that it was her- that the Judge Vaggie spoke of was Adam, that such an opportunity to have her back was simply being dropped into his lap like this. “Charlie. And, the Judge, you say?”

“Charlie- Charlotte, I suppose, that is her name. And the Judge Cain and his lackey, the Beadle Sera Dempsey. They patrol the alley behind Cain’s home at random hours but despite this we’ve found days that we talk for hours before they can interrupt us. She is perfection, Mister Morningstar, and even if she doesn’t return my feelings I want to see her free from these jailers she’s in the care of. If I can convince her to leave with me tonight- perhaps later in the week, depending on when that horrid Judge is home- could I bring her here for shelter for an evening? Just until I can find a coach for hire to take her North with me, or wherever she wishes to go.”

She finally stops talking, taking a deep breath while she waits for Lucifer to answer her. He finds his words stuck in his throat- yes, bring her, please, bring her to me- and is dismayed to find a lump in his esophagus, halting his words behind the threat of tears. He clears his throat, blinking his eyes a couple times to rid himself of emotion. “You may bring her here,” he says, his heartbeat rapid in his veins, and Vaggie’s face lights up with joy. 

“You’re a blessing, sir, thank you! I hope to see you again tonight, but in any case, I’ll come with Charlie soon!” She shakes his hand again, the force of it making him stumble, before she releases him and is back out the door as quick as a flash.

He turns almost absently to Alastor, who gives him a smile. “Who could have guessed?” He says cheerfully. “You’ll have her back before the week is out- possibly even before the day is done!”

“Charlie will be coming here,” he says distantly, and then it hits him like a train. “Charlie is coming! Oh God, what will she think of me? I need to- shave, maybe, or- should I grow it out? My beard was grown out when she was young, maybe that’s why she no longer recognizes me-”

“Lucifer.” 

Alastor approached him slowly, like one might a feral animal- and that’s what he had felt like lately, some untamed beast stalking around his shop, so perhaps Alastor was right to take a cautious approach. “Perhaps we focus first on getting her here before you spiral about letting her know who you are, hm?”

“You’re right,” he says, and thank God for Alastor to help him keep a level head. “Of course, making sure she gets here safely is the most important part. But- we should clean the place up a bit! How soon do you think Husk can bring those flowers you mentioned? And I can dust the apartment, make sure that everything is tidy-”

He’s interrupted by the creaking of the stairs again, the bell at the bottom ringing loudly to signify someone coming. He expects Vaggie again, or even perhaps the Beadle at last. But to his confusion, it’s neither- Sir Edward Pentious stands in the doorway, his small assistant at his side and carrying a bag that was far too heavy for her slight frame and causing her to tilt to one side. 

“Sir Pentious,” he greets cordially, “and… young lady.”

“I’m Niffty, sir,” she giggles, reaching a hand out to vigorously shake Lucifer’s. “Nice to meet you when you aren’t beating my boss in a shaving contest- and his shop is way nicer than yours too,” she directs to her employer, and he flushes a dark shade of red. “Are you sure you want to be a barber?”

“Niffty,” he hisses, and gently shoves her behind him. “I was hoping to speak with Mister Morningstar alone,” he directs to Alastor, who shrugs with a soft hum and leaves Lucifer’s side.

He meets Niffty at the door. “Well, aren’t you just a little wisp of a thing!” He says when he sees the bag she carries. He takes it from her hands and gestures her down the stairs. “Come along, I’ll see if I have anything adequate for you to eat…”

His voice and Niffty’s enthusiastic reply fade as they descend, leaving only Lucifer and the growing grin of Sir Pentious.

Again, a secret little 'so sorry, gotta do it' for the next chapter. Pour one out for Pentious y'all

Chapter 1 🥧 Chapter 2 🥧 Chapter 3 🥧 Chapter 4 🥧 Chapter 5 🥧 Chapter 6  🥧Chapter 7

[sorikkung]

people interacting w wgoin in my notes... this would be a rly bad time to say all my writing will probably be on hiatus for the indefinite future huh

[fairyhaos]

How To Fucking Write: a guide by fairyhaos

[masterlist]

this post details:

STARTING A STORY

PACING A STORY

hi gays and gals and welcome to "how to fucking write", a post (series) where i talk about how i brainstorm for writing, plan for writing, write the writing, and everything in between. nothing too serious here lmao, but i'm definitely planning on making at least a couple posts on this bc a) it's fun and b) i wanna help! so if you find this useful then pls lmk by reblogging + drop an ask if there are any specific things u want me to give my two cents on ^^

okok and now without further ado,,, let's look at the topics i'll talk about in today's post!

#1 - HOW TO START A STORY.

.. bullet point one : have an idea

the first big thing is that you need an idea. doesn't matter if you're a pantser and don't plan out your writing before you start. that's totally fine! but before you begin, you need at least an idea: maybe it's a vibe, a character personality, a specific journey you want the characters to go on. maybe it's a piece of dialogue. maybe it's the ending- the point you want to end up at after however many thousand words.

whatever it is, it's best to have some inspiration, some idea of what you wanna do. no point in writing if you don't know what you're writing, you know?

(of course, that brings up the issue of Having An Idea in the first place, but finding inspiration to write is a whole other can of worms we can open in another post.)

.. bullet point two : practice

okay, so now you have an idea. how do you put that idea to paper? how should you actually start your story?

it’s all to do with practice.

it’s the most annoying piece of advice in the world, but it helps so much. you just have to write lots and lots and lots, to find the way that works for you. whether you wanna start your stories with pretty scene descriptions, with dialogue, with dramatic one-liners. finding your voice, your style, what’s most comfortable for you, is really really important. and takes practice.

an example, though: for me, i prefer either a line of dialogue, or one-liners that a) help immediately establish a character’s personality or can b) introduce an interesting setting.

[chan + swingset] — one-liner example

[hoshi + silly] — dialogue example 

but of course, everyone’s style is different. so i’d recommend playing around! find a list of one-word prompts and just write a few that inspire you, writing the beginnings. it’s important, also, that you’re having fun, because if you’re already struggling with starting to write, it’ll be even harder if you’re doing it while feeling stressed.

.. bullet point three (mostly just for longer fics)

maybe you don’t find a style, in the end. maybe you’re comfortable with all of them, which is totally fine! but then you look at your writing, and you think, “oh… this isn’t as good as i thought.” 

and it makes you want to give up. what do you do, then? how do you carry on with your start?

just put words to paper. it doesn’t matter if the words are terrible, if you’re making up shit and using placeholders for description words or whatever. just carry on, get to a place you’re happy with, like the end of a scene, or maybe a dialogue exchange you really like.

because now, guess what? you’ve successfully created a first draft.

making first drafts is actually so important. seriously. first drafts allow you to fuck up, allow you to write terribly. they help you fumble and trip your way to the finish line (or at least a rest point) so that you can go back and do better.

even if your first draft is terrible, it’s helped you make your way to a point you’re happy with. now you have a vague idea of what you want, even if the description or characterisation or something is way off. because now, you can edit it, or even scrap it and use only a few words from that draft in your next one. or maybe, if you look back at it, maybe it’s even decent enough for you to use. 

whatever it is, when you first start writing that story, think of it as ‘The Worst Draft’. because it probably won’t be as good as you want it, and it’s okay. just write, with no fears of it being bad, because that’s literally fine. it’s not set in stone. the backspace button exists. after your first draft is made, make another. and another, and another, because i promise, after that first draft, it only gets better from there.

#2 - PACING A STORY.

.. bullet point one : adding things

pacing is always really tricky. however, i do think that slowing a story down is easier than speeding it up, so here we go,,,,

finding out the exact way to slow down a story really depends on what type of story you're writing, but there are a few all-round things you can do which can help pretty much any setting.

if it's a scene with loads of dialogue, and things feel like they're jumping to the end topic too quickly, add descriptions. your readers are blind, writers, and they depend on you to be able to see what's going on. are your characters having a conversation on the street? take a break to describe what they see. are they in a coffee shop? maybe someone comes in with a huge noise, or their coffee arrives at their table. are they hanging in midair with nothing around them? well, describe the actions of the character they're talking to, then.

example: (from my seoksoo fic bc it's the only long fic i'm working on rn)

by adding character descriptions, movement, thoughts, instantly everything seems to have slowed down. it thickens time, allowing you to move at a more leisurely pace.

if it's a scene full of action, you can do the exact same thing. maybe there's a high-tension moment and something significant happens. slow down time there, describe something small in great detail. talk about the thoughts they're having.

and even if it's just an ordinary scene, describing is important. the setting, the characters' actions, their thoughts. it's okay to write too much. then you can delete things which make things feel like they're moving too slowly.

.. bullet point two : delete

not gonna lie, finding out how to speed up the pacing of the story can often be really specifically tailored to the setting of the story.

with stories that have loads of action (spy, apocalypse, etc) i'd recommend adjusting sentence length. you'll want short, punchy sentences, without loads of commas and clauses, but you'll also want to experiment with having those short sentences gradually get longer. it helps with tension and suspense.

it has to be short. running fast. something to elevate fear. quick, but also desperate, before they then spill over each other, picking up pace, all of the thoughts blurring together and going faster, and faster, and faster, and then-

then the penny drops.

people use the metaphor of music a lot, and it really does work that way. it needs to ascend to its climax: gently, cautiously, before sprinting upwards and only describing things like the barest emotions (the fear they feel, the panic, anger, anything) before everything reaches its peak and comes crashing down in a flurry of action descriptions.

but of course, the easiest way to speed up something is to delete. delete swathes of setting description. delete unnecessary dialogue. delete an entire scene and rewrite with only the things you remember (which can help make sure you only have the essentials in your scene, btw. very helpful).

it might take a bit of adjusting, rewriting, moving things around, but ultimately, quickening the pace of the story depends on the way in which you write things. be concise, be dramatic, and don't dawdle.

... and that's it ! if anyone has anything else they want advice on (how to structure, how to write dialogue, how to plan etc) then just shoot me an ask, because i'd love to help however i can :)

tagging: @selenicives who asked for this in the first place hehe ^^

[the-modern-typewriter]

Do you have any advice on writing a truly scary villain?? How do I make them genuinely terrifying but also still realistically human y’know?

The short answer is 'be specific', think about all the ways that humans can be scary, and show how the villain is scary/human by the story stakes/other character's reactions to them.

The longer, more rambling, answer is...

Whenever I think about villains, and a lot of the study that goes into villains/monsters, I think about the idea of either the Self or the Other.

Villain as Self:

The self is the us, in 'us vs them'. It is what we recognise within ourselves when we look at and explore villains.

This often comes with a realistically human motivation. For example, it could be that the villain is motivated by greed, recognition or desire for power or control (flaws that many of us have) or fear, desire to protect ourselves/our loved ones (good qualities that many of us have that become warped) and all these motivations ultimately lead the villain to do awful thing. We don't think we'd do the bad thing ourselves, but there is an uneasy terror in recognising that actually we might.

Alternatively, it is the villain who is well-respected and loved. The person we trust. The person we feel safe with. Except, we're not safe. And we can't tell, because we think they're just like us, and in many ways they are, and that's horrifying.

This kind of villain is always the dark side of our own society, our own assumptions and ideologies and belief systems. They are very popular at the moment.

We as a people are deeply uneasy with our own monstrosity.

Villain as Other

The 'other' is the 'them'. It's the fear that many of us still have with what is different to us, or what we don't understand or know.

This is the villain that is the random stranger, not secretly your best friend. It's, historically speaking looking at literary canon, the cannibal savages in different cultures. It's aliens. It's monsters where the scary thing is that they have no humanity, nothing we can reason with, a morality that is completely different to ours etc.

We as a people are still deeply uneasy about what we don't understand, even if many of us are trying to be better about it.

Some villains are a mixture of the two, but broadly speaking, you're considering the Villain as Self vibe of villain. I mention both because I find it interesting, and because our ideas of otherness are so often tied with our ideas of monstrosity that I can't not!

Scary nowadays often looks very much like someone persecuting what is considered 'other' or 'different'.

What is actually scary?

The first part of writing a genuinely scary villain is tapping into something that is genuinely scary.

While the vague can work, when it comes to villains that are realistically human, specificity is your friend. We understand these people, or at the very least we know and recognise them. And it's not a broad threat of 'end of the world' that tends to scare us most, it's much more personal.

We don't want to get hurt. We don't want to lose someone we love. We are scared when we realise we completely misjudged a person we trusted. We are scared when we see someone do something terrible and have a gut lurching feeling that, in their circumstances, we might do the same thing because we absolutely recognise the feeling and the motivation. We are scared when we see villains who persecute people just like us, because we know there's an uncomfortable sliver of truth to it.

Story stakes

All the above bit is all to do with your character understanding and construction. The internal bit. The premise of your character.

Story stakes is external and how you apply your character in your story. In short - if there is clearly no chance of your villain ever winning, and nothing bad ever happens and you just tell people that they are scary, the reader has no reason to believe you.

Have other characters react in terror to your villain. Have the villain's actions and goals have consequences in the story. They must be a genuine threat within the story world, even if they lose in the end. I hope this helps!

[cakesunflower]

lovelorn (and nobody knows) [rafe cameron au fic] chapter 1

Summary: Isla Carrera had planned for the summer before college to be focused on three things: helping out at her family's restaurant (the helpful daughter), preparing for college (the good student), and having fun with the Pogues (the loyal friend). But one fateful night, where her car breaks down and her rescuer is none other than Rafe Cameron, seems to send her summer down a path she didn't see coming--one teeming with a secret, illicit romance with the last person she expected. And if her friends and sister found out, Isla isn't sure they'll be so understanding, no matter what her feelings are.

Author's Note: I forgot how much I absolutely loathe writing summaries LOL but anyways! First chapter is here, let me know if y'all vibe with it. I had fun writing it and if you wanna see more, let me know! (And now I have to figure out if I remember linking everything on my blog since I haven't posted my writing on Tumblr in forever. . .)

Chapter 1

“Oh, no. No, no, no. Don’t do this to me, please.”

Isla Carrera’s pleading is in vain as the engine of her car sputters out of life, and there’s just enough juice left for her to pull over onto the side of the dirt road so she’s not stranded in the middle. Her grip on the steering wheel remains tight as she sits in silence, staring out onto the dark road only lit up by the two beams of her headlights. The small silver lining, if there is one, is that she knows exactly where she is, just a little ways away from a row of houses on Figure Eight. But right now, she’s surrounded by trees on a road that has no street lamps, the sky a blanket of black above her. 

Her groan cuts through the silence, eyes squeezing shut as she rests her forehead against the steering wheel. She should have just slept over at John B’s house like her sister, Kie, decided to. But Isla’s covering another waitress at the restaurant early tomorrow, and she didn’t want to run late again or else her parents would rip her a new one. Kie’s shift wasn’t until later in the afternoon, so her sister was in no rush to get home. Now here Isla is, with a car that won’t turn over, still a fifteen minute drive away from her house.

“Fucking great,” she mutters, making sure her hazards are on and her phone is in her pocket before getting out of the car. 

Though she knows nothing about cars, Isla pops open the hood and uses the flashlight on her phone. If she’s being honest, it all looks like a bunch of mechanical junk she has no idea how to work her way around. She’s not sure why she even bothers, so instead of wasting time, she unlocks her phone to find the number for a towing service.

A rumble of a car engine catches her attention, the kind that makes an annoying popping sound, and by the time she looks up and around the open top of her hood, she sees two guys hopping out of an old Ford truck. She vaguely recognizes them. Just by the look of them, they seem to be a couple of years older than her—and clearly from The Cut. Not that it matters, since her best friends are from the other side of the island, but not all of the people from The Cut are fond of those from Figure Eight, and vice versa. Isla and her sister, though they belong on the more privileged side of the island, prefer the freedom of The Cut. 

None of that exactly matters right now, though.

Music cranks out of the car, but Isla can’t pay it any mind as unease creeps into her stomach when both sets of eyes land on her. 

She’s a girl alone in the middle of a road at night, so Isla is immediately on high alert as the guys make their way towards her, slow but confident in a way that makes her feel like a prey. I don’t like this. 

Alarm bells are ringing in her head as one of the guys in cargo shorts and a tank top shoots her a slimy grin. “Car trouble, sweetheart?”

Isla’s muscles tense. Yeah, nope. Not good. “Uh, no, all good,” she says, forcing some of that confidence into her voice that Kie is an expert at wielding. 

The other one with darker hair hidden under a baseball cap asks, “You sure we can’t help?” His grin is anything but charming. “We’d be more than happy to help.”

They don’t stop their approach, and Isla’s mind begins running through different scenarios, her pulse beginning to quicken in panic she’s trying to keep at bay. There’s no one around to help, and she can’t depend on another car passing by and stopping to help—if they even would. She doesn’t want to lock herself in her car while she calls her dad or friends for help; the idea of sitting trapped makes her heart squeeze with dread.

“You can stop right there.” She doesn’t want to give into the fear that’s slithering through her veins, but she can’t stop the words from escaping her mouth, the crunch of the dirt beneath their shoes too daunting to ignore. 

Her hand inches towards her back pocket where she had stashed her keys, fingers closing around the small can of pepper spray she’s got hooked in there. Isla has never had the unfortunate opportunity to use it before, but the vibes she’s getting right now—first time for everything. 

“What’s the matter?” the first guy asks with a taunting tilt of his head, neither of them stopping their pace. “We’re only here to help.”

Yeah, fucking right. “Stop.” Her heart is pounding in her ears, taking a few steps back.

Creepy guy number two exchanges a look with number one. “See that, Dyl? Little Miss Kook looks a little scared.”

Oh, screw this. Isla refuses to stick around and find out what’s going to happen, and she doesn’t at all feel guilty when she juts her hand forward and presses down on the top of the small can. Her aim is a little off, so she only manages to spray the first guy—Dyl. The sound of his shriek of pain cuts through the air, and he stumbles back and spits out curses as he presses the heels of his palms into his eyes.

The second guy freezes in surprise, looking between Isla and his friend, but she doesn’t stick around to see what he’s going to do next. Instead, Isla turns and makes a run for it, making sure to press the button on her FOB to lock her car as she bolts down the dirt road. She can hear the guys yelling over the sound of the breeze rushing past her ears, fear fueling more power to her legs as she nears a neighborhood street at the end of the dirt road. Isla isn’t sure if they’re following her, or if they’re even going to, but she doesn’t pause to find out. 

She runs and runs, her lungs beginning to burn, as she rounds a stone wall with greenery growing through the cracks that closes in a property—only for her vision to go black for a split second when she collides against something.

“Jesus fucking Christ.” Scratch that—make that someone, because instead of falling back on her ass, a strong pair of arms wrap around her waist to keep her from tumbling down. The grip is tight and secure, and a delicious aroma of what seems to be earthy wood tickles her nose. “What the hell are you—Isla?”

The sound of her name being spoken in that all too familiar voice clears Isla’s head, and she pulls back enough to look up into the startling blue eyes of Rafe Cameron. Her pounding heart seems to slow down a fraction, and she’s not sure what to make of the mild relief that calms down her frazzled nerves because this is Rafe Cameron. Sure, he might not be as bad as those two freaks, and he’s one of her close friends’ brothers, but he’s still the same guy that has gotten into more than a few fights with her best friends. That being said, she shouldn’t find as much comfort as she does being in front of him. 

Her breathing is heavy, pulse throbbing uncontrollably. She only barely registers her hands gripping his forearms, like it’s grounding her as she takes in Rafe’s expression. His eyebrows are furrowed together as he looks down at her, his height towering over her five-foot five frame, and there’s more confusion than worry in his features, unsurprisingly. Her heavy breathy makes her privy to the scent of nicotine, glancing down to see a half used cigarette now laying forgotten on the ground. 

“What the hell are you doing?” Rafe repeats. Isla hears the familiar thread of annoyance in his voice, but she can’t bring herself to give a damn. 

She lets go of him like he’s electrocuted her, taking a step back and forcing him to let go of her, too. It takes everything in her not to acknowledge the way her skin burns where his had touched hers. “Going for a run, what does it look like?” she snaps back, though her voice trembles on her breath. 

Rafe’s expression deadpans, though he arches an eyebrow under the dirty blonde bangs that frame his forehead. “Looks like you’re scared,” he states. 

“I—” Isla gets cut off by the familiar sound of a car engine rumbling, the popping kind, and the breath locks in her throat as she glances over her shoulder. “Fuck,” she breathlessly mutters, catching sight of the headlights creeping up from around the corner on the road. She’s not sure if those guys are looking for her—though, she wouldn’t be surprised given that she pepper sprayed one of them, and her pulse quickens again in panic with the need to hide away.

“Wait—are you running from someone?” Rafe questions, and Isla looks back at him to see his gaze pointed over her head, right where the noise of the car is coming from. A car that sounds to be approaching too close.

“You’re asking too many questions,” Isla returns hastily, stepping to go around him. “I need to go—”

Rafe lets out an exasperated huff, and if she had all her wits about her, she’d snap at him. But instead, surprise slams through her when Rafe’s hand wraps around her bicep, his grip firm but not tight as he mutters, “Come here.”

Before Isla knows it, she’s being dragged through the gate of the Cameron estate, disappearing onto the property right when the car turns the corner. Her heart launches to her throat when Rafe suddenly turns her, and she’s being pressed against the stone wall, soft leaves pressing to her back in contrast to the hard surface.

Isla’s eyes widen when Rafe’s body presses against her, the air rushing out of her lungs as her gaze snaps up to meet his. “What are you doing?” she asks, her words a mere breath.

He seems surprised by his own actions, lips pursed and that muscle in his clean shaven jaw pulsing almost as quickly as her own heart. Can he hear the thundering, feel it? “Just—stay quiet,” Rafe grits.

Part of Isla wants to push him off—the part that sounds a lot like her friends. But fear wins out, keeping her in place, as she hears the car creep along in front of the gate of the Cameron property. 

Rafe’s eyes silently tell her to remain quiet and something tightens her stomach—something other than fear—and it startles her enough to flick her gaze to the left, towards the vine wrapped gate. She can see the headlights slowly passing by, and she prays that these guys aren’t stupid enough to trespass private property.

Then again, they were ready to do God-knows-what to her, so who the hell knows?

The thought alone sends her heartbeat accelerating all over again, panic settling in her bones hard enough to rattle them. Isla’s hands fist at her sides, eyes squeezing shut as she leans her head back against the wall. How the hell had her night taken such a freaky turn? And how is it that Rafe Cameron, of all people, is the one to help her out?

Suddenly, the mid-May night doesn’t feel as warm as Rafe’s body; he isn’t close enough where his body is completely pressing into hers, but she can feel the soft material of his shirt fluttering against the bare skin of her stomach, thanks to her crop top. Isla can feel the heat of his skin seeping into hers, which makes her heart thunder with something other than panic, and she’s not entirely sure what the hell to do with that.

“Relax—they’re gone.”

His voice is low and gruff, a tone that makes goosebumps pebble her skin even in this warm weather. Isla opens her eyes with a sharp exhale and her brown eyes immediately find Rafe’s blue, her throat tightening under his scrutinizing gaze. True, she can’t hear the engine anymore, the headlights are also gone, and Isla tries to even out her breathing while nodding slowly. 

Rafe’s eyes rake over her and shouldn’t she feel unsettled about that? About how close he’s standing to her? But it seems like all of her unease has been used up from evading those weirdos, so Rafe Cameron being her rescuer doesn’t annoy her as much as it normally would. 

“So what was that about?” he questions, raising an eyebrow.

Isla’s throat works, dragging her gaze back up at him. The lamps spaced out along the wall light his face, casting shadows along his sharp cheekbones. He’s so handsome—the thought crosses through her mind quickly, and though she would never admit it to her friends, she can’t help but find the truth in it—as insane as it might be.

“Nothing to concern yourself with,” Isla finds herself saying, lifting her chin in a small act of defiance.

The corner of Rafe’s mouth twitches into a ghost of a smirk, and through the light reflecting in his eyes, she can see them dancing in amusement. “Given that I just saved your ass, an explanation would be nice.”

Isla scowls, all thoughts of his stupidly good looks vanishing. “I didn’t ask you to do that. I had it under control.”

It’s a lie spoken through her teeth, and Rafe can see that. “Yeah, looked real under control when you were running for your life,” he replies dryly, eyebrows rising. But then his expression flattens out, eyebrows furrowing together once again as he says, “Seriously, Isla. What gives? What the hell was that about?”

“Just—some fucking weirdos, I don’t know,” she huffs, frustration from this entire ordeal bubbling to the surface as she rubs her hands up her face and runs her fingers through her hair. “I—Can you back up?” she asks hastily, forcing a glare. Rafe, surprisingly, simply presses his lips together and raises his hands in defense while taking a couple of steps away from her. Isla is no longer embraced by his warmth, by his scent, and there’s an unexpected tug in her chest that she ignores. “My car broke down on that dirt path behind the road. I was trying to figure it out when these guys pulled up and, I don’t know, shit got weird so I made a break for it.”

Rafe frowns as he listens to her, and Isla shakes her head, rubbing the back of her neck. “I need to get back to my car,” she says.

“Seriously?” Rafe asks, scoffing. “You’re gonna go back when some freaks are looking for you?”

Isla glares at him, not at all appreciating him talking to her like she’s stupid. “My wallet’s still in my car. I need to grab it if they haven’t fucking broken into my car already.”

She moves past him to head to the gate, surprised to hear his footsteps as he easily catches up to her. “What, you’re gonna walk back?” When Isla glances at Rafe, he’s looking at her like she’s insane. No sign of the contempt he normally saves for her and her friends, which is slightly unnerving. “After you were just running from some freaks? You do realize how much of a bad idea that is, right?”

She shrugs even as the unease from before returns at the idea of running into those guys again. “I need to get my wallet,” is her meek response.

Rafe lets out a breath, running his fingers through his hair and Isla briefly frowns at herself at the way her gaze seems to run to the flex of his bicep. And the way her stomach fucking flutters because this is Rafe Cameron. The only fluttering her stomach should be doing where he’s concerned is one tinged with nausea.

Rafe then fixes her with a stern look. “Come on,” he says firmly before walking down the driveway of his house.

Isla blinks out of whatever stupor she was in and glares at his back—and at the demand he left her with. She scoffs, hands splaying in annoyance until she realizes he’s headed straight for his motorcycle. Her shoulders drop, rooted on the spot as she says flatly, “You’re joking.”

Rafe is already pulling out a helmet—scratch that, two helmets—and looking at her, once again, like she’s an idiot while she glares at him. At least there’s that bit of normalcy. “This—” He holds up both helmets in each hand. “Is better than you walking back to your car by yourself. Let’s go.”

Isla’s disbelief only intensifies. She doesn’t walk over to him, doesn’t take the proffered helmet. Instead, she exhales sharply and crosses her arms over her chest, asking, “Why are you helping me?”

Rafe has the gall to look annoyed by her question, arms resting at his sides. His gaze locks with Isla’s, but she doesn’t shy away from it as he eventually drops his head back with a groan before looking back at her once more. “Listen, contrary to your and your friends’ popular belief, I’m not a complete dick.” Isla can’t help but scoff and roll her eyes, cutting her gaze away from him in doubt. He cannot be serious. “I wouldn’t want either of my sisters to be fucking chased by some losers, so just think of this as my good deed of the month, alright? Now will you please take the damn helmet and get on the bike?”

Frankly, Isla feels like she’s just stepped into an alternate reality because, seriously, when was the last time Rafe Cameron ever did anything nice for her—if ever?

But as much as Isla’s pride is begging for her to tell him thanks but no thanks and turn and walk back to her car, fear still resides in the pit of her belly, waiting to strike. She hates to admit it, but Rafe is right. It’d be dumb of her to walk back alone at night after what just happened. Maybe she could call her sister or one of her friends, but that would just add unnecessary time to all this, and Isla just really wants to get home. So, fine; maybe she can accept Rafe’s offer to drive her to her car, and then from there maybe she can call an Uber home and call a tow truck from the safety of her bedroom.

Rafe holds out one of the black helmets in impatience, and Isla purses her lips as she pushes herself to walk over. She does her best not to admire the sight of him next to his bike, something she never would have done before tonight. Maybe this whole freaky situation has loosened some screws in her brain.

Isla all but snatches the helmet out of his hand, though a part of her feels as though it’s just for appearances’ sake to keep up her usual attitude around Rafe, and tucks her dark hair behind her ears before pulling the helmet on, the visor still up. She tries her best not to think of the weight of his gaze on her as she fiddles with the straps on her chin to secure the helmet, but she’s unable to get it right, fingers trembling despite herself.

“I got it,” Rafe says, and Isla freezes when he gently bats her hands away and steps up to her, using his finger to push at the bottom of the helmet so she can tilt her head back enough for him to see the straps. The heat of his body greets her once more and she’s silent as she feels him secure the straps, breath hitching quietly when the backs of his fingers brush against her skin. 

He’s done within seconds, but it sure as shit feels longer as she remains standing there, watching him pull on his own helmet. Isla watches silently as Rafe gets on the bike, wondering how she got here, and he says, “Hop on.”

Isla has ridden on the back of JJ’s bike plenty of times, so she gets on with no trouble, though she does have to grip Rafe’s shoulders in order to do so. They’re broad and firm under her hands, and she mentally chastises herself for even thinking about his stupid shoulders. When she’s settled behind him, her legs framing his, Isla’s heartbeat picks up at the sudden proximity, her front against his back. 

She’s sure she’s barely breathing when her skin warms because there’s barely any space that exists between them, and when Rafe tells her, “Hold on or risk flying off,” she can’t decide if she wants to smack him upside the head or beg for the ground to swallow her whole.

Sliding the visor down, Isla inhales deeply and quietly before winding her arms around Rafe’s waist, teeth gritting together because if her friends saw her now, they definitely would believe she’s lost her mind. The fact of the matter is, right now all she can seem to focus on is the solidness of his stomach against her arms and how fucking good he smells, which is confusing and overwhelming and everything in between.

The motorcycle’s engine roars to life, and seconds later Rafe is kicking off the kick-stand and they’re riding down the driveway and onto the road. She had told him her car stopped on the dirt path behind the actual road, separated by trees, and that’s all Rafe seemingly needs to know as he takes them in the right direction. The breeze as they go feels good against her, cooling her heated skin down and she would never admit it, but riding on the back of Rafe Cameron’s bike has a somewhat calming effect on her.

The tension that had tightened her muscles since her encounter with those other guys melts away, and the rapid thumping of her heart has nothing to do with anxiety and everything to do with the thrill of this moment. Maybe it’s ill advised, but it seems to be exactly what she needs as the night air mixes with Rafe’s cologne—or maybe he just smells like that in general?

God, she’s getting too weird about this.

Soon enough, her car comes into view and Isla is relieved when there seems to be no sign of those guys. Rafe stops the bike right next to her car, and another sigh of relief escapes her when she sees that her car doesn’t look damaged. Swinging her leg over, she uses Rafe’s shoulders as leverage to get off the bike, trying not to think too much about the loss of his body heat as she reaches for the helmet straps. 

They’re easier to undo than they were to strap, and she lifts the helmet off, one hand already flattening her dark hair as Rafe holds his hand out for the helmet. As she unlocks the car, Rafe asks, “How’d you manage to outrun them?”

Isla leans into the driver’s seat, reaching for her tote bag in the passenger seat. She digs through it for a moment, taking stock of her wallet, lip gloss, lip balm, and the few other things still safely inside. “I pepper-sprayed one of them,” she answers as she pulls out and straightens. 

When she turns to look at Rafe, whose helmet’s visor is up, she sees the smirk that curls at his mouth. How does a sight that made her want to knee him in the stomach before make her feel kind of weak kneed right now? Did those guys really freak her out so much that now down is up and left is right? “Nice,” he murmurs, nodding in approval. Jutting his chin towards her car, he asks, “You gonna call a truck?”

Isla shakes her head. “When I get home,” she says, pulling out her phone. 

Rafe nods as he holds the helmet out once more. “Alright, let’s go.”

Isla pauses, gaze flicking up from her phone screen where the Uber app is open to look at him. Arching an eyebrow, she asks, “Uh, go where?”

He mirrors the arched eyebrow look. “I’ll take you home,” he says as if it’s obvious when it very much isn’t.

“No thanks. I can Uber,” she answers, already putting her home address in.

Rafe scoffs, shaking his head as he remains sitting on his bike. “You’re just full of bad ideas tonight, aren’t you?” he says. Isla’s eyes narrow, irritation sparking through her as he splays his arms out to gesture to the road they’re on. “You’re really gonna wait out here on a dirt road, with no street lamps, in the dark for an Uber when I’m offering you a ride home right now?” Before she can respond, he carries on, “On the same stretch of road, mind you, that you just got harassed on?”

The irritation intensifies, and Isla’s expression twists into a glare as she snaps, “What’s it to you, huh? You already did your good deed of the month. We’re not friends, Rafe. I don’t need your help.”

Even with the helmet on, she can tell he’s clenching his jaw, eyes hard as he sets them on her. The look makes her chest burn in a way that’s not all unwelcome, and that alone should be a sign that she’s losing it. “We may not be friends, but you’re my sister’s friend, alright? Sarah would kill me if she found out I left you out here by yourself. So stop being so fucking stubborn and get on the damn bike, Isla. I’m taking you home.”

She presses her tongue to her cheek, shoulders bunched in frustration while Rafe glares at her, his own impatience radiating off of him in waves. Sarah has told Isla how stubborn her brother can be, and while Isla doesn’t know Rafe well, she knows him and has dealt with him enough to know he isn’t budging on this. So, with a huff, she snatches the helmet once more, ignoring the protests in her head that sound suspiciously a lot like her friends as she pulls the helmet on. 

She manages to get the straps this time and gets back on the bike, her bag securely hanging off her shoulder as Rafe starts the bike again and Isla swallows silently as she wraps her arms around his waist once more. Every part of her is warm where it touches him, and as he drives, she tilts her head back, practically begging for anyone listening to get her to calm the hell down.

Seriously—how the hell did Rafe Cameron become her would-be hero of tonight?

Luckily, her house is a ten minute drive from the Cameron house and Isla allows him to pull up to the front of the house, since Kie isn’t home and has no chance of peeking out her bedroom window and seeing Isla getting off Rafe’s bike. He parks the bike and Isla lets go of him almost immediately, hopping off the bike and undoing the straps of the helmet under her chin.

Rafe is already looking at her by the time she gets the helmet off, his blue eyes visible since the visor is lifted. With a close mouthed, saccharine smile, Isla all but shoves the helmet into his hands. “Thanks for the ride. Let’s never do this again.”

He scoffs as he shakes his head, but the smirk on his face is apparent. “Don’t have to tell me twice.”

Isla rolls her eyes and, without another word, turns towards her house. She’s on the front porch and fishing keys out when she glances to the right and sees Rafe still parked there, seemingly watching her. Her stomach does a stupid, weird flip as she unlocks the door and shoos him. “Go away,” she hisses, even though Kiara isn’t home and her parents wouldn’t care that Rafe dropped her off—hell, her mom would be thrilled, honestly.

Even from this distance, she can just picture Rafe’s arrogant smirk as he lifts a hand in a two fingered salute before revving the engine of his bike, and Isla clenches her jaw as he speeds off, the roar echoing down the block. Exhaling sharply, Isla shakes her head and walks into her house, shutting the door behind her just as she hears footsteps approaching her.

“Where have you been?” her mom asks, not demanding but more concerned.

Isla smiles sheepishly as she faces her mother. “Yeah, about that. . .”

[ghost-proofbaby]

ATTENTION: YOU HAVE BEEN INVITED TO A SUMMERTIME WRITING EVENT!

hey you. yeah, you. has the summer heat got you down? have you been looking for all the right vibes in all the wrong places?

same.

which is why i invite you to join me, your friendly neighborhood ghost, in a wonderful and excellently vibey event to cure all that summertime sadness and turn it sickeningly sweet.

through the month of july and august, i will be talking requests based on guidelines listed below, with the only real theme being summer. i'll be writing for all our favorite fictional crushes, so just follow the rules, submit a request, and vibe with me <3

IN ORDER TO BEGIN, you'll first need to pick your poisons: the muse, and the flavor.

for this event, i will be writing for the following characters:

♡ eddie munson (stranger things)

♡ steve harrington (stranger things)

♡ robin buckley (stranger things)

♡ astarion ancunin (baldur's gate 3)

♡ gale dekarios (baldur's gate 3)

once you've chosen the lover of your summertime fantasies, you're going to need to choose your flavor of sweetness. for these dog days, our menu includes:

♡ strawberry: fluff

♡ blueberry: hurt/comfort

♡ lemon: smut

♡ blackberry: angst

with your muse and flavor now chosen, you must choose what time of day you'll be enjoying your summer sweet treat. we have two options for this category, with two different sets of rules, so please read carefully!

summer solstice: the solstice that marks the onset of summer, at the time of the longest day.

if you submit a summer solstice request, you are requesting for a longer fic, 2k words minimum. these requests will take me longer, and should be reserved for more descriptive/specific requests. when you submit one, you will need to include a full description of what you are looking for.

i.e.: "could i please have a strawberry summer solstice with eddie munson, where reader and eddie meet for the first time at a bonfire and spend the entire night getting up to sheenanigans like stealing wine from others, skinny dipping in lover's lake, star-gazing on the shore, and eddie ends up walking reader home at the end of it all?"

you must have a description of what you are looking for in the request for this specific type. if you give nothing for me to go off of, i can't write you the minimum of 2k words of sweetness! this is for anyone who may have a specific vision for a story, but can't execute it/find it across the appropriate tags already.

midsummer's night: the eve of the longest day of summer, marked as the shortest night of summer.

if you submit a midsummer's night request, you are requesting for a shorter fic, under 2k words (500-1k words most likely). these are requests i will be able to fulfill more quickly, and work best for anyone who wants to submit but doesn't have a very specific idea in mind!

i.e.: "could i please blueberry lemon midsummer's night with astarion? maybe including an argument about a recent fight or something where one of them nearly got hurt!"

these requests have a lot more leniency, and will be more about what my mind will conjure from vague descriptions! try to avoid giving too many details when requesting this kind - if you have a more specific vision, just hit me with a summer solstice (and some patience) <3

alright. whew. now that we've gotten through all the guidelines regarding requests, feel free to drop into my inbox and let the party begin! again, i'll be taking these requests and fulfilling them all the way through august.

if there's a specific character you want to see not listed on here but i have expressed interest in before (i.e. joel miller, spencer reid, karlach from bg3, etc.), feel free to still request them but be wary that there's no guarantee i will fulfill the request!

as always with these events, be sure your requests abides by my rules, and once again, please be patient with me. these type of events in the past have spurred on enough responses i don't get to even half of them, but i'm prolonging this over two months to try and ensure i can get a bulk of whatever lovely ideas you all send in written! <3

aight. okay. let's party on, for real now. happy summer, y'all!

[inkblackorchid]

What the hell happened with Crow: an autopsy (Part 3)

Trying my absolute damnedest to finish this one and part four sooner now that I've finally covered the Pearson backstory. *Ehem* Hello again! I hope you're ready for more yelling about a certain spiky-haired Blackbird aficionado, because I sure am.

To get some things out of the way first, though, here come the usual disclaimers:

This is part three of a series of posts about hpw Crow's character was handled during 5Ds' whole run. You can find part one here and part two here. Reading them technically isn't required, but things sure will make a whole lot more sense if you do. (Bring snacks, they're long.)

This post isn't meant as a Crow hate post, nor is it meant to convince people who didn't vibe with his character to change their mind. This is my very long winded-attempt to analyse the writing decisions surrounding his character as best I can, without too much bias. That said, full disclosure, I do personally like Crow, so there's a good chance that will shine through whether I want it to or not. But also, I'm trying to have fun here, so please cut me some slack.

In case you haven't read my previous Crow posts (no shade there) and/or still believe the many, many production rumours that have been haunting the 5Ds fandom since the show's original run, please let me burst your bubble(s) with some insanely comprehensive research by someone over on Reddit (thanks again to @mbg159, who's also here on tumblr): No, Crow was not meant to be a dark signer, or the final boss of season 1, and his spike in screentime has nothing to do with his cards. And also, No, Aki didn't get less presence in the narrative because her VA got pregnant. What if you don't have the time to read either of those long posts? In that case, please take away this simple, very easy rebuttal of why the above theories are bullshit: Their would-be "key points" don't line up with the 5Ds production timeline. At all. Not even vaguely. So please, ditch them, let them die, seeing them still talked about makes me feel like I'm gonna break out in hives. And for the love of god, don't use this post or in fact anything else I post to pit Aki and Crow against each other. Both characters have their strengths and their reasons to love them. I am not the least bit interested in starting any character discourse. So please, spare my sanity. Ok? Thank you.

And now, we can get to the good part at last. In my previous post in this series, I stopped my analysis at episode 95, a.k.a. part two of the Pearson backstory. In this post, I will thus be picking up right after, at the very start of the WRGP—with the Team Unicorn match. The goal for this post is to analyse Crow's part in this particular arc, then provide some food for thought/ideas on how things that rubbed some people the wrong way could have been improved.

More below the readmore, and I give you not just my usual warning, but an extra warning, too: The universe will not let me write short things, so tread with caution, stay hydrated, and expect a veritable dissertation below, because this post feels long even to me, who has long since lost her sense of length when it comes to text. (But I'm well aware this is the result of me refusing to split the WRGP part into two separate posts, so I take full responsibility for that.)

Since we left off right after I chewed through all the issues with Crow's rather belated backstory and especially Black-Winged Dragon last time, we jump right into the thick of things now, with episodes 96 and 97, which serve as the preamble to Team 5Ds' first WRGP duel against Team Unicorn. Crow only gets two major things to do during this short stretch of episodes, the first being that he's Team Unicorn's gateway into roping Yusei into a duel during practice, which helps them set up a ruse that baits the 5Ds gang into sending Jack as their first wheeler because they think Jack's deck is best suited to countering Andre's—which, as it later turns out, it is not.

(Arguably the screenshot where Crow gives off the strongest Youngest Sibling Vibes during the entire show. Look at him, all chastised.)

Crow's second role is an odd one that I argue only he out of the main three guys could fulfill at this point: He's the one to get injured right before the Team Unicorn match, rendering him unable to compete, which leads to Aki offering to take his place for that particular match.

(Pictured: Bird Boy regretting all his life choices up until that point simultaneously.)

Here's the first moment I have to talk about in greater detail. See, the thing is, I don't know what the fandom consensus on Crow getting injured here is, but I argue that this moment was a (rare) strategic decision made by the writers at this point. Crow's injury accomplished several things: 1. It sets up the mystery of why his back wheel locked up out of nowhere, which is later paid off through Team Catastrophe's shenanigans. 2. It organically allows Aki to take his spot without introducing any argument about which of them is "worthier" of having that third spot. 3. Through this, it also allows him to actually bounce off Aki for once (a point I will come back to below, during the Team Catastrophe section). And 4. It allows the show to (TECHNICALLY) pay off the setup they did in letting Aki get her turbo duelling license and train with the boys. (Generally, Crow's and Aki's character writing intersects a bit during the pre-Diablo incident WRGP section, something I'll touch on below.)

Moreover, I think this is also the only match where they could have done something like this, and the reason for it is very simple: Team Unicorn are one-off opponents whose presence in the narrative is only relevant as far as it concerns the WRGP, and they are also one of the first teams the 5Ds gang faces. If we think about the opponents Team 5Ds has after this, it becomes very obvious why Crow could only be injured during this duel: If they had tried pulling this stunt later, it would have forced the writers to pull Aki centre stage during a much more plot-relevant duel than this one (which they were apparently allergic to, but let's not go there), not to speak of the fact that it would have forced them to sideline someone they were definitely trying to sell as the third portion of their protagonist trifecta, which would have probably been awkward. (If not for the fact that they literally did this to Crow later in the show, but I'll get there. Yes, I know there's a lot already that I'll still be "getting to".)

The thing is, whether or not it feels like an awkward writing choice to make so early in the big tournament of this arc (you be the judge of that), Crow's injury finally allows him to have a few interesting character moments for once. For one, there is his immediate disappointment about being forced to stay on the sidelines. Aside from the fact that this is a human and relatable reaction to his injury, it stings even more for the character than it does for us as the audience, because Crow got a moment where the Satellite orphans he previously took care of cheer him on for the tournament literally within the same two Team Unicorn preamble episodes.

(Say what you will, this is just stupid cute.)

So when Aki eventually offers to take his place during the match, he's understandably apprehensive—and again, this is human. It may seem mean in the moment, but from a character writing standpoint, it's a natural response. Plus, it's certainly more interesting to watch the group have a bit of conflict among themselves, rather than everyone immediately jumping straight to acceptance. It introduces tension, and, for however brief a moment, raises the question of whether Crow might refuse to let Aki take his spot. This is also the point where Aki and Crow's character writing officially intertwines, at least for the stretch of episodes between the Team Unicorn duel and the Team Catastrophe duel. And you know what? Say what you will, but I think it does a world of good for both of them. The 5Ds cast, as lovely as it is, doesn't get a lot of room to bounce off one another where it concerns personal matters anymore, once the WRGP starts. Arguably, they get little time to bounce off one another outside of plot-related discussions at all once this portion of the show comes around. The characters are treated as "fully developed", and thus, the writing largely doesn't take the time to show us how the group naturally interacts with one another anymore, especially not with how many side characters (chiefly Bruno and Sherry), antagonists, and duels the show now has to juggle. So Aki and Crow getting even a smidgen of personal conflict here is honestly a breath of fresh air. The interaction kicked off by Crow's injury isn't completely plot-irrelevant, like most character interactions during the pre-WRGP were, but it's not something that feels like it's only there to explain the machinations of the antagonists to the audience, either.

Let me go through this in a little more detail to illustrate my point.

So, episode 97. Crow storms off after Aki offers to take his spot, while Aki heads out to prepare her runner, intent on helping her team. The personal motivations here are already very nice and reflective of these characters as we've gotten to know them up until this point: Crow's angry and disappointed (mostly at himself, which is noteworthy!) because he can't compete. And specifically, he's angry because not being able to compete in the first match means he can't show the kids his duelling like he wanted to. Then there's Aki, whose offer to take Crow's place is every bit as much of a strategic suggestion as it is a bid for acceptance from her. Acceptance, which is the thing she's been all about ever since she was introduced, basically. So she pleads with her friends to accept her, see her as an equal, and allow her to duel for the team, which they do. And Crow initially throws a fit, but then...

(Listen. You have no idea how much Crow and Aki getting to actually be friends means to me.)

He comes around to the idea and not only gives Aki his express permission to take his spot, he even coaches her a bit right before the match. Moreover, as his text states above, he literally entrusts her with the kids' hopes, as well as his own. This quickly brings both of them full circle: Crow, who already has a theme of legacy attached to him, passes the torch to Aki for this match, and in so doing, offers her the acceptance she asked her teammates for. (Frankly, stuff like this makes me wonder why on earth people were so eager to pit these two against each other, when their shared moments are actually some of the best-written during the often rocky WRGP arc.) So, though this injury pulls Crow out of the duel, it, funnily enough, ties him better into the story and to the other characters.

From there, we then dive into the Team Unicorn match proper. And well, being injured as he is, Crow doesn't exactly get a whole lot to do there. However, since we're in the portion where his and Aki's writing overlaps a bit, I do need to go on a quick tangent about what Aki's portion of this duel means for Crow.

(Sigh. Okay, buckle up for a quick and rough detour.)

First, something I need to get out of the way and off my chest: I have made no secret out of the fact that I hate Aki's portion of this duel, save for the moment where she summons Stardust. Hell, this duel segment is pretty much universally hated by anone who has even a smidgen of sympathy for Aki. It's regarded by many as the very moment the writers axed Aki's character, and for good reason: After all the buildup surrounding her getting her turbo duelling license, the supposed "payoff" of it all is that she gets to duel against Andre for a depressing four turns before being defeated immediately, which leads into Yusei's frustrating portion of this duel, which, to my knowledge, isn't regarded any more kindly by fans than Aki's segment. It's a massive let-down, simply put. But the thing is, it's not just a let-down for Aki. After all, the brief character conflict she had with Crow about taking his spot here can and should be regarded as part of the setup for this moment, and as such, it can also be considered to be wasted the second Aki leaves the track after barely making an impact whatsoever.

However, I do need to mention that I have a theory on why this segment was handled the way it was, mostly because I feel like Crow's later interaction with Aki, shortly after she's out of the duel, underlines it (mind that this is just my personal theory, though, after having watched the show perhaps more times than can be considered sane): I think there is a cultural aspect to this duel. See, the word ganbaru, which anime subtitles often like to translate with "do your best" or something along the lines, has a greater significance than the translation implies. Though it's not inaccurate per se, there's more than just the idea of doing your best behind ganbaru, because it's something like an umbrella term not just for doing your best and succeeding, it's also the idea that you have to keep trying, even if you don't succeed. It's related to tenacity, to persistence, even in the face of terrible odds. And make no mistake, I don't mean the Japanese equivalent of "if at first you don't succeed, try again" here. I genuinely do mean "you have to keep trying, even if you fail". There is no guarantee of success here. And for that reason, the idea behind ganbaru is also that it's not simply the success that has value, but the effort made in the attempt to attain it, regardless of the result. (Side note: I tried to scrounge up a resource I could link to that nicely explains this concept, but unfortunately, all the promising articles were paywalled and the ones I learned it from require institutional access to lecture materials.) And this is where I will posit the tentative theory that this is exactly what the 5Ds writers were going for with Aki's segment of the duel—it was very much meant to be the payoff for her turbo duelling license setup and her plea to take Crow's place, but it wasn't so much her success that was meant to be valued, as the effort she (and by extension, Crow) made for and during this duel. And this is where Crow's little pep-talk with Aki after she's out of the duel comes in, because it feels like it supports exactly this interpretation:

(This is essentially the whole sequence. Note how Crow, despite so fervently entrusting Aki with his and his kids' hopes prior, doesn't admonish her for making a bad showing in the slightest.)

I don't think it gets any clearer than it is here. During this sequence, Aki is painfully aware of how poor her performance was against Andre, especially after she was so insistent on duelling at first, and despite having been entrusted with Stardust by Yusei, to boot. Yet, Crow doesn't have a single word of criticism to offer her. Instead, he even tells her she did well and that nobody's perfect. It very much reads as valuing Aki's effort over the result she achieved to me, and thus seems perfectly in line with the idea behind ganbaru.

However, if we assume I'm correct about the intentions behind this writing choice, we come back to why Aki's segment of the duel is so hotly debated and why it may have arguably been a disservice not just to her, but to Crow, too, character-wise. Because the majority of non-Japanese watchers of the show culturally don't have a 1:1 applicable concept like ganbaru, this writing choice was more likely to fall flat for them, because to someone who wasn't raised to understand the idea behind it, Aki's portion of the duel doesn't register as a payoff; it registers as a massive disappointment, because it feels like the writers, who had so much setup already done for her, let her fail on purpose, just to later let Yusei attain his arguably dumbest victory of the entire show. Thus, they also essentially waste the conflict she had with Crow about whether she would be allowed to take his spot in the first place, because with how little she achieved during the duel, she may as well not have gotten on the track. (Figuratively speaking. Please Do Not take this to mean I would prefer a version where Aki hadn't duelled at all. That would be worse. It would be infinitely worse.)

(Also, side note: If this post reaches anyone who's actually Japanese and still remembers this duel, I would genuinely love your input on whether my interpretation is feasible or just wishful thinking. Did you interpret Aki's part of the duel the way I did here? Or did it fall flat for you, too? If what I'm saying here feels like an absolute reach, please tell me. I'm honestly just trying my best to make things make sense here and remembered this concept from some classes I took in Japanese studies at uni.)

With all that in mind, it doesn't come as a surprise that some people were just as frustrated with the way Crow was barred from duelling here as they were with Aki's segment or Yusei's later victory. But it is what it is—the Unicorn duel concludes the way we all know it to, and with that, the show begins setting up the following duel with Team Catastrophe.

The only other, non duel-related, noteworthy thing that happens between the Unicorn and the Catastrophe match is a brief appearance at the Poppo Time by Sherry, who admonishes the signers for celebrating their victory early and warns them about Iliaster. Why do I bring this up? Because it's one of less than five times that Crow is in the same room with Sherry. Remember, Sherry. The girl he later, during the finale, talks out of working for the big bad evil guy because he suddenly seems to have such a deep understanding of her motivations and character that he can accurately deduce what argument will make her understand that working with Z-ONE won't give her what she's looking for. So, does Crow get a meaningful interaction with her during this scene, then? Nope. Not even in the slightest. Crow says exactly one sentence that is aimed at Sherry during her appearance, and that sentence is this:

(What a meaningful conversation!)

And yes, I will come back to Crow and Sherry's dynamic in particular. But we'll save that for the Ark Cradle arc post. For now, just keep it in mind as we move along to the other WRGP duels.

So. Team Catasrophe.

During the duel against this team, which was previously only hinted at ominously, the writing for Crow and Aki overlaps again, and this starts with the writers essentially doing a complete switcheroo of what came before: Instead of Crow getting injured and being unable to compete, it's Aki who crashes, ends up in the hospital, and is thus forced to give up her spot during the duel. (This also goes hand in hand with her suddenly losing her powers, which we are given absolutely zero explanation for, but let's not talk about that clusterfuck here. If you're interested in my opinions about that particular trainwreck, I have a rant for you.) Additionally, it's during this stretch of episodes (103-105, which is a whopping four episodes less than Team Unicorn got) that we find out that not only Aki's crash, but Crow's previous one, too, were both sabotage, caused by the rather unscrupulous Team Catastrophe by way of a special card that can cause real damage even when there is no psychic duellist present. (A card we also find out was given to them by Placido/Primo, but this is irrelevant for both Aki and Crow.) Crow's reaction to this piece of information, particularly once Aki gets injured due to the same thing, is where things get interesting for him again, because he gets pissed, to say the least.

(A moment I imagine firebirdshippers must have been positively delighted about.)

Here, I have to reiterate an earlier point: Think what you will of Team Catastrophe, of Aki's crash, and of the sequence where her powers suddenly don't work, but this moment here, where Crow gets angry on her behalf and swears to duel Team Catastrophe into submission—not because he wants his kids to cheer for him, or because he wants to prove himself, but as revenge for his friend—is one of sadly only a handful of moments the writers use to show the strengthened relationships between the individual members of Team 5Ds after the dark signers arc. It's one of the precious few scenes that actually shows, rather than tells us or lets us search for scraps in the subtext, that the signers, and the members of Team 5Ds as a whole, care for each other outside of revolving around Yusei like planets around the sun. Even if it's laughably small, it's at least a hint that there are individual friendships between the other signers, too, that they all stick around one another for reasons beyond gravitating towards Yusei for one reason or another. And for that alone, I'm grateful that they put this here, even if Team Catastrophe was otherwise so ridiculous and made such a bad showing at their actual match that they could barely be taken seriously as antagonists at all.

Speaking of which. The actual meat of the matter. The Team Catastrophe match. What does Crow do here? Well, he duels! Even though he wasn't supposed to, for injury-related reasons. What both his participation as well as the actual duel accomplish, though, are that they not only showcase previously established character traits of Crow's again, but they also make a (possibly unintended) callback to a previous, major duel Crow took part in: His dark signer duel against Bommer/Greiger. Where and how? Let's see.

Firstly, Crow's participation. The reactions of the other characters to this make it very evident that Team 5Ds did not plan for this, with Yusei and Jack even going as far as to say they "had no choice" but to let Crow duel, because he insisted. This is perfectly in line with the stubbornness we already know from him at this point—a stubbornness that was also a major reason for why he took Bommer on and later continued his duel with said man, despite Yusei showing up and telling him he shouldn't be duelling a dark signer.

Secondly, there's the manoeuvring thing, and here's where I can call attention to a fun tidbit: The WRGP isn't what introduces the concept of manual mode during turbo duels to the audience. It's Crow. During his duel with Bommer. Being crafty and a bit shrewd as he is, Crow, during said duel in the DS arc, purposefully switches to manual mode when he duels Bommer, because he figures that attacks that can deal real damage can probably be evaded if you actually have control over your runner and aren't stuck in autopilot.

(Don't believe me? Here it is. And frankly, it is somewhat hilarious, yet also very fitting that Crow is the only one who thinks to do this during a duel with a dark signer.)

The reason this particular bit is relevant during the Team Catastrophe duel is because Crow essentially repeats this trick here. Of course, it's a bit less impactful now, given that manual mode is standard for WRGP duels, but still: Due to Hook, the Hidden Knight, Crow is forced to pay attention to the track and manually evade the monster's attempts to make his back wheel lock up during the duel, mirroring how he thought to manually evade Bommer's attacks during the DS arc.

Thirdly, there's the revenge angle, and this one is a particularly juicy callback. Remember, Crow's major reason for taking on Team Catastrophe, despite being injured, is that he wants to get revenge for Aki. This directly parallels how his major reason for duelling Bommer during the DS arc was that he wanted revenge for his kids, whom he believed to be dead at that point in time. (It also, interestingly, establishes a bit of a connection to his deck, which boasts a fair amount of revenge effects, but I'll not get into that here, seeing as I've talked about Crow's cards a bit before.)

Keep in mind, despite all the things listed above that this duel accomplishes, it's also by far the shortest WRGP duel. It lasts a whole six turns, total, which is ludicrous compared to the likes of 27-turn Team Unicorn, 26-turn Team Taiyou, or 25-turn Team Ragnarok. And I don't think it's controversial to say that the Catastrophe guys are probably the most forgettable WRGP Team, too. Yet, somehow, despite all its shortcomings in terms of memorable antagonists and plot relevance, this is one of the best duels of the WRGP where Crow's character writing is concerned. Now, I'll be perfectly candid: Coming into this post, I did not expect the Team Catastrophe duel, of all things, to end up being as good at actually showcasing Crow's character and his ties to other characters (who aren't Yusei) as it was, but here we are. And we had better hold on to the good the Team Unicorn - Catastrophe segment did for Crow, because the next thing that's coming up is a harsh break from the WRGP, starting with the sudden appearance of Placido's home-engineered army of killer duel robots. And what does Crow get to do during this part?

Uh. Well.

(Pictured: Bird Boy being demoted to benchwarmer while the city's being ransacked by murder duel robots.)

Nothing. A whole lot of nothing, is what.

During the duel robot invasion, we only ever flash back to Crow to ascertain that he is, in fact, useless during this part of the show, something he shares in common with Ruka, Rua, and Aki here, because all of them get pretty much nothing to do while Yusei finally gets the hang of accel synchro. Granted, Aki gets to save a little girl at the hospital, but in comparison to Yusei's lengthy, plot-heavy duel with Placido, this feels like a consolation prize. And for once, Jack is only marginally better off, too, because sure, he gets to beat up a couple of robots, but that's it, really.

Where Crow is concerned, his plot relevance doesn't actually resume once the Placido duel finishes, though. (And neither does Rua's, Ruka's, or Aki's, while we're at it.) Because wouldn't you know it, the next big thing directly after the duel robot invasion are the Red Nova episodes, where three out of five signers (Crow, Aki, and Ruka, unsurprisingly) are removed from the screen almost in their entirety again while Jack gets his much-needed dragon upgrade so he can keep up with Yusei, in order to uphold his status as a classic, almost-evenly-matched yugioh rival.

Speaking of upgrades and dragons, let's make a quick detour while our protag and rival duo take their express vacation to the Nazca plains. It is, of course, no secret that no signer outside of Yusei and Jack ever got a dragon upgrade within the anime. (No, I'm not forgetting about Life Stream Dragon. But that one, unlike Shooting Star Dragon and Red Nova Dragon, was a.) teased all the way back in the DS arc and b.) didn't have a unique summoning method or some other gimmick that made it an "elevated" synchro. So I'm discounting Life Stream as a "proper" dragon upgrade on purpose.) Is this the point where I start arguing that Crow should have gotten one, then? Well, not quite. Not with the writing the show canonically gave us, at least—after all, with how late Black-Winged Dragon was introduced, it would have been bonkers to upgrade him here already, if even at all. However, I do argue that the way the show hands only Yusei and Jack upgrades seems a bit... off. Now, I know why only those two get upgrades, or at least I think I do. After all, they're the central protag/rival duo, and within the framework of the character archetypes the larger yugioh canon has created for itself, this would have always made them the first, if not the only candidates for dragon upgrades. What feels a bit off to me, though, is that specifically the 5Ds cast feels like it... chafes a bit against those character archetypes, for lack of a better word. The problem is this: The signers, as far as the first two arcs are concerned, are sold to us as equals who all have very powerful ace monsters. Yes, Jack and Yusei are still undoubtedly the best duellists among them, but not on account of having uber-powerful extra special monsters that were acquired through supernatural means that are categorically inaccessible to the other signers. However, with the appearance of Shooting Star and Red Nova, this changes. While Yusei and Jack were previously and would have always been the two guys who had a Special dynamic with a capital "S" on account of their character archetypes, their acquisition of the dragon upgrades—and even more so, the lack of upgrades their fellow signers receive—now decidedly puts them in a different power bracket and skews the balance between previous, supposedly "equal" characters. (Which, unfortunately, is yet another thing that makes everyone else easier to sideline.)

Why do I bring all this up in a post dedicated to Crow? Because this new power imbalance arguably impacts him more than the other signers—because he's Team 5Ds' second wheeler and doesn't miss another WRGP match from here on out. Thus, that power imbalance is felt in the upcoming duels, where Yusei and Jack bust out Shooting Star and Red Nova like it's nothing, while Crow is left manoeuvring with the somewhat underpowered Black-Winged Dragon and whatever else he can come up with. This is also why I claimed that the show did sideline Crow in some aspects further above. Because while some parts of his writing go to great pains to establish him as part of a protagonist trifecta that is now supposed to take centre stage before the other characters, he also permanently lives in Jack and Yusei's shadow, ultimately barred not just from reaching equal status as a signer (due to his late and rocky introduction and dragon acquisition), but also barred from becoming the equal of his foster brothers as a duellist. Frankly, I'm surprised the show didn't make this a plot point, because the first thing my mind jumps to when I think about this is whether Crow felt left behind after his brothers acquired such immensely powerful, special cards. But more on my personal writing ideas later. For now, let's just put a pin in the power-imbalance thing.

So, when is Crow back on screen in any meaningful role, then? (Note that I mean this as literally as possible. As per my discussion about "screentime" and my gripes about it in part two, I gloss over the parts where Crow is on screen, but could be traded for any other signer or even a lamppost without affecting the scene at all.)

Well, the next thing Crow gets to do isn't exactly glorious, but it sure is funny.

(I want you all to remember that he has to wear this costume and play this part in Team 5Ds' absurd plan to capture Yaeger/Lazar because he lost at rock-paper-scissors. This will never not be funny to me.)

Ignoring the hilarious outfit and Crow playing the bait at a fabricated cup ramen promo event meant to lure Yaeger in, bird boy does actually get something that's not just for funsies to do during the two episodes where Team 5Ds is trying to get more information about Iliaster: He gets to have a duel revanche against Yaeger, who, if we remember the DS arc, ditched him the last time they squared off. Much like the Team Catastrophe duel, this one, too, calls back to previous duels Crow has had: For one, it's the obvious conclusion to his unfinished, first duel with Yaeger. And for two, Crow repeats a "trick" (for lack of a better term) here that is also unique to him: losing on purpose, which we remember from his duel with Lyndon.

(Identical-looking clown family jumpscare be upon ye.)

And again, much like getting injured for the Team Unicorn duel, I argue that this story beat here is something that could also only have been accomplished with Crow. Because he's the only one who has previously duelled Yaeger, firstly, because not wanting to make a child cry by beating their dad in a duel makes sense for him as a character due to him being a family-oriented person who loves children, secondly, and because losing on purpose in this scenario is a tactic that would seem out of character from anyone else, thirdly. (We recall, the only times Jack and Yusei, respectively, ever consider/offer to lose on purpose is when the lives of people close to them are on the line, in the shape of Carly/Rally. As for the others, aside from not being present, Aki, Rua, and Ruka are so heavily sidelined at this point that they would have never been an option for this. And if his writing is anything to go by, Bruno is mostly purposefully forbidden from accomplishing Plot Things, especially through duels, while he's Bruno.) But hey, due to the way this episode is set up, losing on purpose works out for Crow, because it convinces Yaeger to stop hiding and actually share his knowledge about Iliaster. This, by the way, is the second scene where Crow gets to be in a room with Sherry for a longer stretch of time. And look, him joking that Sherry might kill Yaeger if he doesn't spill the beans about Iliaster soon is fun and all, but in light of the Ark Cradle duel later, I have to point out that he, again, doesn't get to have so much as a shred of a meaningful conversation with Sherry here. Again. But moving on. The scene with Yaeger at the Poppo Time then leads us first to the small sequence in the arcade where the gang has to win a simulated duel to get Yaeger's encoded intel, then to episode 116—the Moment Express episode, where, due to this being a Yusei, Sherry, and Bruno-focussed episode, Crow gets nothing to do again. (And also doesn't get to interact with Sherry again.)

Congrats! We've survived the WRGP break. This leaves us with three more WRGP duels before shit hits the fan and the Ark Cradle arc commences. And full disclosure, I'll be doing a bit of a quick-fire round of those three duels. Why? Because despite them all having their merits in their own rights (they're the better liked duels of the WRGP for a reason), there honestly isn't that much focus on Crow during them. He duels, yes, and I've seen people point this out over and over again as the supposed smoking gun that shows how Crow had so much more relevance and screentime than Aki and yadda, yadda. We've been there. And it's not that I can't see where this argument is coming from—I'll be the first to tell you that it's a travesty that Aki never got to duel in the WRGP again outside of the Unicorn match. But I want to use the final three matches to dig into how the way these matches—and especially the opponents to go with them—were set up made it nearly impossible for Aki to replace Crow again during any point of the WRGP finals.

First, episode 118. This is the only preamble episode we get for the first two WRGP finals teams, and here, our group is split in two: Yusei, Bruno, and Rua introduce us to Team Taiyou, while Jack, Aki, and Crow introduce us to Team Ragnarok. There isn't much to say here, because the only thing this episode does for Crow is a shallow repeat of what the Team Catastrophe duel did: By putting him in a group with Aki and Jack, and letting them decide among themselves, independently, to check out the exhibition match, it implies that he voluntarily spends time with signers who aren't Yusei. Thumbs up. Gold star. You made an effort (I guess). Then, the real fun starts.

Round one. Team Taiyou.

(Pictured: The sweetest country bumpkins to ever grace this earth. Yes, I'm biased.)

So here's the deal with Team Taiyou, from a narrative standpoint, as best as I can grasp it: They are a callback to Team 5Ds' roots. Specifically, to the boys' Satellite roots. The Taiyou boys come from humble origins, have only one, mostly home-engineered duel runner, and play using old cards that are widely considered shitty, as 5Ds canon tells us. They are essentially the non-signer, countryside version of what Jack, Crow, and Yusei once were, which is why this is the first duel where the duellist constellation on Team 5Ds' end couldn't possibly have been altered. Team Taiyou is there to remind us where our boys started, so it has to be our boys duelling them. This also goes for Crow, even though this duel otherwise doesn't accomplish much for him, character-wise. Instead, it's more of a narrative wink at the audience, as well as providing a breather between otherwise extremely tense, plot-focussed duels. But yeah, Crow's part in this match isn't much to write home about; he doesn't get any verbal interactions that are very meaningful to his character, can't get so much as a scratch in on Zushin, even with Black-Winged Dragon, and is defeated so Yusei can take out the legendary giant.

Round two. Team Ragnarok.

(Behold the pizzazz of at least two contenders for Haircuts With The Most Spikes in the show.)

Though this duel is framed as being even more so aimed towards bolstering Jack's character writing than Crow's, given the inclusion of Dragan's personal history with Jack, Team Ragnarok gets significantly more interesting for Crow again than Team Taiyou did. This is, of course, mainly because of Brave/Broder. Where Team Taiyou were a callback to the 5Ds boys' roots, Team Ragnarok are their narrative foils. Dragan is the duellist who lost his pride to contrast Jack, who's brimming with pride at all times, and Harald/Halldor is essentially the rich, "destiny isn't bullshit, actually" version of Yusei. Meanwhile, unlike the first two, who highlight our 5Ds boys' characteristics by contrasting them, Brave acts as Crow's mirror. Through Team Ragnarok's flashbacks, we see that he gets almost exactly the same, lovable-rogue-type backstory that Crow did during the DS arc, just in a different setting. The only, major difference between them is that while Crow is more down-to-earth, Brave likes to be pretty flashy.

(Keep in mind that he's doing this on a runner. Is there such a thing as courses on how to do acrobatics on your runner? Like there are courses for vaulting on horseback irl? I'm overthinking this again.)

Unsurprisingly, the duel thus ends up addressing the similarities between Crow and Brave, mostly through two things: One, the duel essentially becomes a contest of who can out-trickster who, culminating in the famous, ridiculous-in-the-good-way sequence where Crow activates a trap from his graveyard, to the shock of pretty much everyone present. And two, despite being on opposite sides, the two bond over their concern for the children they took care of and their concern for children in general, which is expressed most clearly in the scene where Crow's kids, in an attempt to hold the poster they made for him higher, very nearly fall over the barricade in the WRGP stands. Despite the hefty length of the full duel, these are pretty much the only things actually related to Crow's character that come up, though. They're good, don't get me wrong, but in a duel that is otherwise this dense with plot, Aesir shenanigans, and Iliaster foreshadowing, it's no surprise that the duel doesn't add that much to Crow's character, outside of giving him someone he can bounce off very well and relate to. Again, though, we are faced with the same situation as with Team Taiyou: Due to the way the members of Team Ragnarok are written, meant to contrast/parallel one male duellist each from Team 5Ds, nobody other than Crow could have taken the third spot here, either. It would have felt awkward from a narrative standpoint (as much as I would have loved to see Aki duel more).

Now, finally. Round three. Team New World.

(Welp. Here come the robots.)

I had to check to make sure I wasn't misremembering this, but due to the way this duel was set up so José/Jakob could bust out Meklord Emperor Granel with a ridiculous amount of attack points, Crow gets a resounding four turns total in this duel. (Gee, I wonder which other character got this treatment during a WRGP duel.) During those four turns, there are only two things he accomplishes: One, leaving behind two combo pieces Yusei later uses, and two, showcasing the shrewd tactics that earned him the label of "trickster" during the Ragnarok duel by bringing out a non-synchro monster that can take advantage of a synchro monster's attack points and effects—Aurora the Northern Lights. And arguably, this is a very smart play, moreover, it's the only time anyone in the show has the bright idea to not use synchro monsters against the known and feared synchro-killer Meklords. Unfortunately, as smart as it is, the narrative doesn't reward Crow for this play—José all but shrugs what could have been a turning point in the duel off, then proceeds to steamroll Crow the next turn, leaving Yusei to score the win, as usual. To get back to the "Crow got so much more screentime than Aki during the WRGP" thing for a second, of all the duels in the WRGP finals, this is arguably the one where Aki could still most easily have taken Crow's spot again, because here, it doesn't matter whether it's him or someone else, as this duel isn't tied to his character in any way. Unfortunately, due to the Granel-steamroller-strategy, this is also the duel where letting Aki take his spot again would have been the biggest shot in the foot, because unless they had changed Team New World's strategy, Aki would have gotten brutally guillotined here, same as Crow—something I can't imagine anyone, not even people who hate Crow, being happy about.

With that, though, we've finally made it through the WRGP. So, what's the bottom line here? Frankly, speaking from my own interpretation, Crow occupies an... odd spot during this tournament, to say the least. Though he does get to duel the majority of the time, few of the duels actually cater to his character in any way. Moreover, he only gets to be the star of the show in a WRGP duel once, during the by far most forgettable match against Team Catastrophe. And mind that I use the term "star of the show" very loosely here, because the problem the WRGP arc as a whole has, in my opinion, is that the rather lame Team Catastrophe duel is the only one in the whole tournament that isn't won by Yusei, which categorically means that any of the other character's big moments are usually undermined by the fact that they ultimately still need him to save the day. Thus, moments like Aki summoning Stardust Dragon and Crow using an anti-synchro-killer strategy that for once actually forgoes synchros are somewhat cheapened by the fact that they're not actually the turning-point moments they're initially painted as, because ultimately, Yusei always has to be the one to save the day. What's worse is that this almost feels like a bit of a non-issue that could have easily been fixed—given that the show tells us that teams can shuffle around their line-up for a match any time. But unfortunately, the writing never interacts with this as a possible strategic element, nor does it ever seem to consider letting Yusei lose, or forcing him to give up his spot for a match. I feel the need to say that I don't put the blame at Yusei's feet here, though: This strongly feels like an oversight by the writers, and perhaps a disproportionate need to have a nigh-infallible protagonist (on the duelling side of things) that their audience would never run the risk of calling "lame". For Crow, though, this chiefly means one thing: In any duel other than the Catastrophe one, it was always clear that even if he partook, he would never finish the match. And yes, this is technically an issue Jack has, too. But this is where the character writing outside of the duels comes into play, too.

Unlike Jack, who actually gets to do something during the Diablo invasion (albeit very little), who gets his very own dragon upgrade and who gets a very personal, pre-duel plot with Dragan, the show's writing doesn't bother giving Crow a lot of plot- or character-relevant things to do, once the WRGP starts. This is also why I was so surprised at how much the Unicorn and Catastrophe duels embrace his interactions with Aki—compared to the later duels in the finals, this portion still makes Crow feel genuinely relevant and interwoven with the other characters. Meanwhile, out of the three final duels, only the Ragnarok one actually tries to establish a connection to his characterisation, through Brave. The Taiyou duel only sets itself up in such a way that Aki partaking instead of him would have been awkward. Meanwhile, the New World duel just has him being treated like a floormat in a sad parallel to Aki during the Unicorn duel, seeing as they both get a nice moment where it looks like they might turn the duel around (Aki summoning Stardust Dragon and Black Rose Dragon onto the field at the same time; Crow summoning Aurora the Northern Lights, which couldn't be absorbed by the Meklords), only to have their hopes dashed as they're mercilessly cleared off the track. Outside of the duels, many scenes sadly give the impression that they may as well not have included Crow, though—he often gets so little to contribute to a moment or even to say at all that substituting him with a cardboard box seems like it would not have impacted the scene in any way. And that's without addressing his non-existent connection to Sherry, which feels extra glaring, given his later interactions with her on the Ark Cradle.

All in all, the WRGP feels like a very mixed bag, where Crow's character writing is concerned. His belated backstory, which I talked about in part two, is front-loaded and asks as many questions as it answers. Then the tournament commences, gives him some actually decent character interplay with Aki for once (at the cost of letting her succeed in the tournament, it seems), only for him to be basically irrelevant during the WRGP pause again. And once the whole thing resumes, it becomes this hot-and-cold thing where some duel aspects seem tailored to him, while others treat him as completely expendable. The end result is an arc where I'm left wondering why exactly the writers felt the need to make it seem like Crow made up one portion of a protagonist trifecta, if they never actually bothered treating him as equal to the other two. (The answer, I believe, lies somewhere between the fumbled setup they did for him during the Fortune Cup and DS arc, and the way yugioh in general treats its character archetypes. But that's just speculation on my part.) The one, saving grace the WRGP (outside of the Pearson backstory) has for Crow is that it at least doesn't introduce any new character- and/or timeline inconsistencies. In fact, his character stays remarkably true to form once the tournament begins.

Okay, onto the final bit, then. As I've done in both previous posts, let me delve into completely subjective territory and offer some ideas on how this arc could have been handled to make it seem a little less all over the place with Crow. And since his writing here canonically intersects with Aki's several times, let me try to do it while offering the best of both worlds to both characters, if I can.

As far as Crow's backstory is concerned, I've already offered my solutions to that in part two. Now, to stay consistent with my own suggestions, I'll try to branch off what I wrote in the last post. This means that, as per my previous two analyses, we're dealing with two scenarios again: One, Crow stays a signer and we try to touch canon as little as possible. Two, Crow isn't a signer and we adjust canon in whatever way we need to to make him feel interesting and necessary despite/because of that.

First, though, let's get two adjustments I personally would have made in both versions out of the way:

The way the WRGP is structured puts every character that isn't Yusei at a massive disadvantage, where character moments in duels are concerned. Thus, I propose an overhaul. Among the changes I think could have benefitted the characters (yes, all of them) are: One - Aki actually getting to accomplish something during the Unicorn duel (she can and should still have her moments with Crow, but maybe let her portion of the duel end in her thanking him for coaching her, creating a more upbeat scene that strengthens their friendship, which could double as good setup for their later double-duel against Sherry). Two - letting the Team Catastrophe duel actually play out properly (as in, they become more meaningful as opponents by having a better strategy, for example, and Crow could stick it out longer against them, in order to make this more so his win than Jack's. Also, why not let Aki actually see him get back at Team Catastrophe for her?). Three - giving Crow an actual character moment during the Taiyou duel (what if one of the country boys had played a card or two of the ones he learned to read from? It could have helped drive the parallel between the two teams home.) Four - letting Crow's anti-Meklord strategy get at least a little payoff, if only for two turns (show us at least proof of concept, damn it!). Yes, the Ragnarok duel is the only one I wouldn't rewrite (unless special circumstances are introduced, see below). Additionally, let Team 5Ds alter their line-up more than once, damn it. Let them actually strategise about the duels, let them take into consideration who should go first when and whose deck might be better suited to which scenario. Also, remove Yusei from at least one duel. Doesn't matter how, just let him not partake once. Perfect setup to let Aki duel again, and would also allow for spicy character interactions. (Arguably the best duels where this could have been done would have been any of the final duels, though it would have also required rewriting the antagonists somewhat in any case.)

For the love of god, give Sherry and Crow some setup. Let them actually interact, let them introduce their philosophies to one another, just do something, anything to make Crow understanding and talking sense into her during the finale seem earned. A few chance meetings, or maybe even a tiny side-plot could have done so much here. And if you can't let them interact outright, at least let Aki and Crow talk about Sherry! Double whammy! The two characters who end up duelling against her are made to seem even more like a team, and Crow actually gets to find out what Sherry's deal is on-screen. Just. Set. it. up. I beg you.

There we go. Now, onto the two branches.

Option A: Crow stays a signer and obtained Black-Winged Dragon.

Seeing as Crow's signer status, funnily enough, isn't all that relevant during the tournament itself (save for two notable exceptions), there aren't that many fixes to be made here. Crow can still get injured, miss out on the Unicorn duel and be the star of the Catastrophe duel. But giving him something to do during the duel robot invasion that isn't standing around and hoping Yusei will fix everything would also be nice. It's fine if he can't drive out there and duel, but why not let him do something else? He's a crafty guy, why not let him find, say, a way to fry the Diablos' runners, taking a few of them out even from a semi-stationary position without duelling them? He could at least get as much of a consolation prize scene as Aki got with her saving that child. Then there's Team Taiyou, which, save for what I proposed above, is a duel that doesn't feel like it needs changes. Crow does his thing here. That's it. The same goes for Team Ragnarok, especially given that they're specifically written to oppose an all-signers Team 5Ds. Finally, there's Team New World, which, if I'm being completely candid, I would personally overhaul to change the cyborgs' strategy entirely in order to actually let all three members of Team 5Ds shine. But this is the version where I touch canon as little as possible, so... Aside from what I wrote above, no changes needed. Just make Crow seem a little more relevant, make his strategy have at least a little payoff, even if Granel's back out and menacing literally two turns later.

Option B: Crow, as per my previous posts, isn't a signer and doesn't have Black-Winged Dragon.

This is the version that would categorically require heavier changes, though they honestly don't arrive until the break in the tournament. Unicorn and Catastrophe stay the same, I would still propose that Crow gets to be a little more useful during the Diablo invasion. But! In this version, seeing as he never acquired BWD, the break in the WRGP would be an excellent spot to let Crow acquire an upgrade for his beefy Blackwing ace monster of choice. Give him a little side-plot, too, something to do, something where he proves himself. Maybe let him run into Iliaster here, or maybe call back to Pearson again and introduce the new Blackwing upgrade as a treasure Pearson stashed away before he died (maybe this could have even been the card Bolger was actually after; the world is our oyster here). Then he's beefed up, too, and actually feels a little more on the same level as Jack and Yusei. The tournament recommences and again, the Taiyou duel could stay mostly the same, I think. Ragnarok and New World are where it gets really interesting, though. The way I see it, Ragnarok could go two ways with Crow not being a signer: Either he partakes as he did in canon and his non-signer status is called out as a peculiarity by our Swedish boys who happen to be obsessed with fate (which would make his performance against Brave seem all the more impressive), or, due to this being a duel all about destiny and celestial pissing contests, Crow's spot is given to Aki again for this duel due to her signer status (this would, obviously, require rewriting Brave, perhaps even switching him out for a Ragnarok lady instead). As for Team New World, this duel would honestly be a lot more juicy with a non-signer Crow, because much like he was for the dark signers, a non-signer Crow would essentially be an unknown in their plan for the cyborgs. He would be the guy who's Not Supposed To Be Here. Granted, he would still be beaten, but he could still get an excellent moment where his out-of-left-field anti-Meklord strategy genuinely seems to turn the tables for a bit, angering José and providing even stronger setup for Yusei to win later.

Aaaaand that's that. Somehow, I get the feeling the WRGP had the least things that needed fixing because it also had the least actual character writing. But that might just be me. It's late and I have been writing for A While. But hey, I got out part three faster than part two! I consider that an achievement.

Now, while I get my talking points in order for part four, I hope you'll have fun chewing on this one. See you in the grand finale to my Bird Boy dissertation.

[bettsfic]

hi betts!

i’ve been a fan of yours for years now (training wheels is one of my favorite stories— not just fics. stories— ever, and i really admire your style. as a writer myself, i want to ask how you’re able to keep your motivation up to complete your projects? i feel like i start out so motivated when i fall in love with an idea, but once that fevered haze fades, it’s almost impossible for me to get the motivation i need to write. i have a few wips that i feel so guilty about not finishing/not wanting to finish/wanting to finish but being unable to get the inspiration to. so, in short, how do you maintain the motivation to finish your wips?

thank you so much! i'm glad to hear it; training wheels is still very dear to me.

first, if you want a step by step guide to finishing your wips, i wrote a tutorial earlier this year in my newsletter.

also as i've said elsewhere, i believe it's more important to follow your inspiration and interest where it takes you even if it means not finishing things. one of the reasons i love fanfic is because it's the only genre i can think of where you get to read unfinished works and be present during the writing of them.

but you asked about *my* motivation to finish things, and i'll say it's taken me a long time to build the endurance necessary not only to complete big projects but also complete them to my satisfaction. in my experience, the better you are at finishing things, the worse you become at starting them, and so whereas i used to have a million wips and ideas happening at once, now i can see the ridiculous endeavor ahead of me and pick my battles more knowledgeably.

also, i don't finish everything, especially not right away. sometimes i sit years on a story before i eventually come back to it. but i've found that it's inevitable that when i put something down that i care about, i'll come back around to it when i'm ready. it's not something i have to force. my attention and interest bounces around all over the place but the things i love, i love forever. so i'll always come back around to them.

most importantly--and this is really very important--i lie to myself.

here are the two main lies i tell myself:

"this is the best thing i've ever written," and

"i'm almost done."

being a little delusional is a huge benefit as a writer. if you're too honest with yourself nothing can get done. but i've always had a natural talent for convincing myself of things that aren't true and although that's gotten me in a lot of trouble in all other aspects of my life, in writing it keeps me just far enough away from reality that i can finish things.

the process is something like this:

vague story idea!

will probably be very small, the shortest story i have ever written in fact

begin writing

feels good, feels organic

no no that's not right, bad vibes

start over

ohhh i see what i'm trying to do

outline the tiniest, easiest outline i have ever made. five bullet points. this happens, and then this and this, and the story ends. EASY

will finish by tomorrow, probably

write write write

will finish by tomorrow, probably

write write write

definitely tomorrow, almost done

check word count. 25k. uh oh

doesn't matter, almost done. have *checks* four out of five bullet points to go

write write write

five point bullet outline no longer effective

re-outline. five points turns into five pages. uh oh

check word count. 60k. big yikes

but! almost done! will finish tomorrow, probably

write write write

get stuck? how? but the outline...

the outline is ineffective. re-outline.

check word count. 100k. :(

almost done :)

a plot knot arises. spend six hours staring at a wall to undo the plot knot

plot knot is more insidious than expected. open new document. start over

*now* i'm almost done

rewrite, restructure, reorganize

check word count. 20k. :(

write write write

check word count. 200k. :((

weeks-long fugue state during which i am god

awaken to filthy apartment. i have not eaten a vegetable in many days. i have not seen the sun.

eat a broccoli

go outside

am i living? am i truly living? is this all life is? am i loved? am i worth loving?

return to safety of fictional world to avoid existential despair

write write write

will finish by tomorrow, probably

so it's really less about motivation to finish and more about motivation to chase down an increasingly elusive feeling of joy through immersion into worlds of my own making and control. it's way easier to run away from something than toward it.

[lord-squiggletits]

In the last salty asks post I unintentionally went on a tangent in the notes about how JRO wrote religious characters which is like actually something I want to bring up on its own so like

Is it just me or does JRO have some real misses when it comes to writing religious characters? Not like every religious character is badly written or evil, but like... several of the ones that are fall into really bad or unflattering/shallow stereotypes? It's hard to put my finger exactly on why I feel that way bc he does write some actually good religious characters (aka Cyclonus).

For example, characters like the Functionist Council and Star Saber are fine to me because I'm like. Well Functionism being religious in origin makes sense, it's an interesting interplay of how religion influences the state/how the state leverages religion to bend the populace to its own whims. Religious bad guys =/= all religious people bad. Star Saber is just some random zealot that wasn't meant to be that deep at all, and eh the Inquisition-type religious zealot can be cool even if it's just the vibes of it.

But then there's stuff like... Tyrest being a normal, rational, not particularly religious guy until he gets shot with a bullet that gives him brain damage, causing him to start ranting about Cyberutopia and thinking God is personally talking to him in his brain...? Like, idk, was it really the best idea for an antagonist to go "he is evil because he got brain damaged against his will w/o even knowing what really happened to him and also because he's brain damaged he's now literally delusional and became a religious (and genocidal) maniac." It comes off as really bad taste/not thinking the implications through as far as how it reflects on religious people (bc the whole "religious people are literally delusional and stupid to think that their gods could possibly exist" thing is tired and offensive). Not to mention kind of ableist w/ the whole "oh he became evil bc he got shot in the brain and now there's literally something wrong with his mind."

(Doesn't help that the MTMTE logbooks revealed that the original idea for Tyrest was to have his killswitch be about trying to identify and execute all of the criminals/"guilty people" on Cybertron, basically an extension of his role as Chief Justice which makes so much more sense and is way more interesting and compelling???? Certainly better than (gets brain damaged) "Ah I'm now going to genocide all cold constructs because God told me to")

And then Drift with spectralism which...which... basically the extent of that whole religion is the name of a single festival (the Lost Light festival the eponymous ship was named after), and some stuff about face/body paint and colors having spiritual symbolism, then the Guiding Hand/Primus stuff that's also shared with Primalism. But then you have Drift who's the main representative of this religion basically being written as a phony who doesn't even believe in the shit coming out of his mouth. Or if his beliefs are sincere, the way he acts is basically just "oooooh, I sense unclean vibes and read into the energy of the universe" which is played for laughs or mocked by the other characters most of the time. And Drift's character is written so inconsistently (and the general religious worldbuilding so one-dimensional) that it's hard to tell if Drift is supposed to be read as some kooky fake hippie type or if he's genuinely a representation of Spectralism in general. Like, idk, the best JRO could come up for for building a religion was "they wear certain colors and patterns on them and vaguely talk about sensing energy from the universe?" It literally feels like baby's first fictional religion or like, religion as understood by a non-religious/atheist person who sees religion as nothing more than an aesthetic or some quirky rituals.

I'm not saying the story had to be about religion or have religion be brought up in every conversation, it's just...... the way he wrote/did worldbuilding for it comes off as as very "non-religious person who doesn't have any particular understanding of religion/why people are religious tries to write what they think religion is about" and most of the time it's kinda cringe.

[nahoney22]

Love your writing! Do you take requests? If so, I would love an Echo x reader (fluff only), maybe where Echo sees the reader is having a bad day and comes to comfort her, confessing his feelings by accident.

Comforting Confessions

Echo X F!reader

word count: 1k

When things seemed to go bad to worse for you, your best friend comes to your aid and in the meantime, maybe let something slip on his behalf.

warnings: SFW, echo has a crush on reader, little bit of angst as reader is emotional, comfort, mostly fluff. Reader is female. Short and fluffy. Cuddles.

authors note: apologies for the delay anon, I hope you enjoy and I’ll assume you wanted female reader. 💜

As the Havoc traveled into the next star system, the air inside the ship was abnormally tense, despite the usual good vibes, laughter, and love. Everybody could pinpoint the source of the tension and yet nobody was willing to confront it, except for Echo.

"Where is she?" Echo's voice rang out as he strode into the cockpit, causing Hunter, who was twirling his viroblade around his fingers, to glance up at his brother.

Echo didn't even have to say your name, as the source of such joy had vanished from view. "I saw her head towards the bunks," Hunter sheathed his blade and crossed his arms over his chest, "Do you have any idea what's bothering her?"

Echo heaved a sigh and shook his head, resenting this sudden shift in the atmosphere. "No, I don't."

"Well," Hunter somewhat chuckled despite the situation, "if she needs to confide in anyone, it would be you." For a moment, Echo tensed up, his eyes widening.

"What makes you say that?" He muttered too quickly for his liking, eliciting an amused expression from the Sergeant, followed by a shake of his head.

"Nothing, just go talk to her. Let's raise the spirits in here, shall we?" Hunter patted Echo's shoulder before disappearing, prompting Echo to make his way towards the vague direction of where you might be.

As expected, you were sat on your bunk, legs hung over the side but as he approached he saw that your eyes were closed yet you were awake.

As he opened his mouth to speak, he quickly realized that he didn't want to disturb your quiet contemplation. Instead, he quietly took a seat beside you, hoping to offer a comforting presence.

There was no mistaking in your mind who had joined you on your bunk, the presence being very obvious to you. Though, you remain quiet despite the small smile that flickered on your lips at the silent gesture from him.

Eventually, you speak which caused Echo to jolt just a tad at the broken silence. “Hello, Echo.”

He raised a brow but smiled warmly at you. “Hey, how’d you know it was me?”

You chew on the inside of your cheek and sneak a glance at him through one eye before shrugging playfully. “Just a hunch.”

Echo analyzes your face and despite the smile you were given him, it was not at all like the ones you would usually give him. It seemed forced and the light in your eyes had gone. “What’s the matter?”

“It…” you were ready to tell him what was on your mind but it was like someone had covered your mouth, silencing your woes, “doesn’t matter.”

Echo frowns at your answer and was determined to not take your response as final. “It does to me.”

You're surprised to feel Echo place his hand under your chin, lifting your head that you just dropped to stare at your lap and instead divert your gaze to his. The touch was new and so were the tingles that ran down your arms as his warm eyes gazed down into yours. “Tell me.” He whispers, almost afraid that if he spoke too loud it’d make you recoil.

“I’m just feeling a little low is all,” you admit, the silent demons in your mind now at the forefront of your thoughts, “just having one of those days. I don’t like bothering people with my trivial issues.”

“So that’s why you came back here?” He gestures to the bunks, his hand dropping from your chin that he slowly flexes as your warmth still lingers.

“Yeah, I guess. Sorry if it’s made any of you feel awkward.” You apologise quickly, panicking that your low mood reflected on the others to which, it kind of did but Echo wasn’t going to tell you that.

Idly, he shifts a little closer to you and sincerely hoped that his leg brushing by yours didn’t put you off but since you didn’t react, he kept it there. He just thought that maybe a little bit of comfort and closeness would lift your mood and slowly, it was. “We’re not uncomfortable nor would we ever be if you’re sad.” He tells you sternly, not once breaking his gaze from you. “I adore you- I mean ‘we’!”

Your eyes wide and you quickly look up at him, searching his face to see if his words were a mistake or not. His brow instantly started to sweat and a deep heat of a blush rose up his cheeks from his neck. “Really?” You ask.

Echo stills, heart racing that he may have just let slip his real and true feelings to you. Your question has his mind reeling, uncertain if you were gesturing to him adoring you or the group as a collective. He takes a breath, collecting himself before nodding. “Yes.”

Your smile reaches your eyes this time and an amused glint sparkles in your gaze. “You do?”

Echo’s breathing was slightly ragged, your eyes always doing something to him and judging by your pleaser reaction he gathered his courage. "Yes," he said, looking you directly in the eyes. "I adore you."

Elated by his comforting confession you lean towards him and rest your cheek against his chest whilst wrapping your arms around him. “Thank you. You’ve always been kind to me.”

Echo relaxes, resting his scomp and hand on your back, rubbing soothing circles. “Of course I am. Is it not obvious you’re my favorite?” He teased you, your laughter loud and bright which was just what the ship had missed.

“Hmm, maybe.” You reply, closing your eyes as you settle into the warm embrace of Echo.

You had cuddled with him like this before and although he insisted he would be uncomfortable to lay against due to his prosthetics, you find yourself thinking the opposite. And the fact that Echo had confessed something rather big to you? It made this hug even better. Your demons were being punched away one by one and although you didn’t say you adored him too, he already knew..

“Now tell me,” Echo says softly, smiling down at you as he admires your beauty, “what’s got you feeling low, beautiful?”

Masterlist

More Echo Works

tags: @nunanuggets @andyoufollowyourheart @littlefeatherr @kaitou2417 @eyecandyeoz @captxin-rex @cwarssimp @jesseeka @ashotofspotchka @oohyesplease @megafrost4 @theroguesully @equalityforcats @mustluvecho @misogirl828 @ladykatakuri @jambolska-grozdova @chxpsi @arctrooper69 @padawancat97 @rain-on-kamino @either-madness-or-brilliance @staycalmandhugaclone @ko-neko-san @echos-girlfriend @fiveshelmet @dangraccoon @tech-aficionado @grizabellasolo @therealnekomari @autumnleaves1991-blog @tech-depression-inventory @brynhildrmimi @greaser-wolf @tinyreadersmur @rintheemolion @seriowan @agenteliix @kaminocasey @hotpinkplastoid @imalovernotahater r @whore4rex x @imperialclaw801 @swiftiexstarwarssimp @the-good-shittt @photogirl894 @s1st3r @taskfork-archive @by-the-primes

[cellsshapedlikestars]

do you plan out your stories in advanced or do you just start writing and hope for the best? I'm trying to get back into writing but I always end up completely deviating from any plan I made beforehand

My writing process is chaos, anon.

For a tl;dr: I just start writing and hope for the best

For a longer explanation of my process, see below the cut. Also, I feel dumb saying this, but spoilers for my own fics, especially the mysteries (which are better examples for plot planning than my romcoms)

1a) I get an idea, something super basic. Like, "time travel murder mystery" or "Sansa and Jon reluctant roommates". The idea then usually forms into a series of scenes or one particular scene in my head - for example: Sansa is dead, Jon goes to her funeral, later is questioned by police as a suspect, then time travel. Or, Sansa is already having a bad day and arrives at her brother's house only to find he's also letting his friend stay there and they were both unaware & kinda pissed about it, which starts them on the wrong foot as she threatens him with a knife.

1b) OR I watch a piece of media, go "wow they fumbled this great premise hard and I want to fix all the things I didn't like" and then I take the inciting incident and build my own story from there. (See: Doona. Business proposal is different, I actually liked the show, but Jon and Sansa did not fit the main leads' personalities so I had to change everything after the inciting incident. Plus I just find it more fun to come up with my own story than following the source material to a T)

2) this idea does not leave my brain, even if I want it to. I don't think you can force this step, tbh

3) I write a first chapter to get the idea/scene out of my head so I can get back to writing the story I'm already in the middle of. I post the chapter to exorcise it from my mind

4) this does not work

5) People in the comments are excited, which makes me excited! I obsessively think about it until I have a vague idea of how I want the story to go. Usually I have an end goal and some important story beats. Nothing is set in stone, and 99% of the time I don't even bother writing an outline, because I know I won't stick to it. The only "outlines" I make are just a string of ideas in the general order I want them to go in

6) I think of scenes I want, then work backwards to how to connect them

7) when I write a chapter, I know what I want the chapter end to be/the cliffhanger, and I write until I get there. Only once or twice have I had to cut chapters in two, but I try not to do this, even if the chapter ends up being pretty long.

8) sometimes you have to throw away ideas/scenes you thought were set in stone. Sometimes you start writing and those scenes Do Not Work anymore, and that's ok

For example, in mongrel heart, there was supposed to be this big, super dramatic showdown with Ramsay, like this big action movie scene. But when I got there, it felt totally wrong for the vibe of the story, so I went with a more intimate/personal final fight. The scene I had envisioned was totally gone. I had to add Oberyn kind of at the last minute, because I had come up with this elaborate world in the background, and needed to wrap that up.

For you on the run, I wrote the first chapter because "Sansa is kidnapped in a library" would not leave my head. I then posted it and had to scramble to come up with a plot. I knew the why, I knew I wanted it to be for Sansa's own safety, but WHO is out for her? I honestly don't think I decided for certain until she's back in winterfell.

In help me out of the shape I'm in, the bad guy was going to be ol' Bobby B, until I started writing chapter 4 when it switched to Joffrey because I had started fleshing out that case more and liked the horror of it being someone Sansa had "dated" more

Anyway, the gist is, I write as I go, and I go where the story takes me as I write. I'll be completely honest and say that a lot of the time, the excitement in the comments makes me excited to write and fuels my creativity. (this can backfire though. The few bitchy/negative comments on trojan horse kinda ruined the momentum for me on that one, which is why I'm not as actively writing it, despite REALLY liking it and thinking those comments were kinda dumb/narrow minded. And I'm not even talking about the rando anon who seems to have made it their mission to be negative on multiple jonsa fics, those people I don't even take into account. It was the ones from people who CANNOT escape a POV trap and make me so frustrated that I don't want to write anymore lol. I feel like how grrm must feel in these moments). But yes, the basic gist is: chaos and my obsessive brain that needs a creative outlet

I know this method isn't for everyone. I know there are authors out there who write an outline before they ever write a sentence, and they post their first chapter with the chapter count already out, bold and confident in their outline. This is not me. I could never aspire to this level of control

Anon, I hope you keep trying! Write those stories! Be creative! Remember the number one rule of fic: it's FUN, so have fun and write what YOU would want to read!

[polaroid240]

Ryo/Satan did all that because it's meant to be commentary on ecofacists

Omg my first Devilman-related ask, I'm so excited, it's actually happening!

First of all, thank you for this ask. You have NO IDEA how much this means to me right now!

Well, if we're talking about og manga Ryo, I could see this being kinda intentional but not really? Don't get me wrong, I love Devilman but Nagai isn't really the best at writing deep stories. I think the last volume of Devilman is a huge mess, which contradicts everything that has been said and shown before in the story. You can't make the demons act like feral monsters and then you're supposed to see them as an Illuminati super smart secret society. It feels weird and it ruins the message Nagai was trying to convey, I think? If demons are supposed to be a metaphor for Earth, then why turn them into terrorists out of the sudden?

In the end Satan states that everything he's ever done was because he was mad at God, whom thought Earth and its inhabitants were inferior to him. Satan is mad at The Man, he could care less about Earth's ecosystem. Does Ryo state otherwise before in the story? Yeah! That's why I'm saying it could be intentional, but Nagai fumbled his own bag and we're left with a confusing vague vibe of ideas and feelings when Akira dies. Why did our main character even die for? It was all for nothing.

We have to consider that Nagai was writing Devilman in a time when the Zengakuren movement was thriving as hell. (Pun intended) Nagai was an highschool dropout who felt like he had to tell something before he died. I don't know, og Devilman feels like a young adult that wants to change the world, but doesn't know how to actually do it. Nagai was angry and very much so, he felt like the world was so fucked that there was no way out. But- that's all there is. It's a great horror manga, I repeat, don't get me wrong! But it's a mess when it comes to themes.

So, is Ryo/Satan supposed to be an eco-terrorist metaphor? Maybe! But to me, Ryo/Satan feels more like a violent Zengakuren student that wants to do something good with his life. And he fails to do so.

You're of course welcome to disagree with me, heck, be my guest if you want to reply! :D

EDIT: I just noticed you said ecofascist, not ecoterrorist. My bad! The demons do give a vague fascist government vibe (like when Sirene talks about the Great Generals) and I won't deny that. They are obsessed with the idea that humans are inferior, yes. But again, they are treated more like feral beings who need to eat to survive. Again, Ryo says that demons are human's natural predator, so they should be treated more like animals than a society? I told you, it's weird. Nagai made a mess at some point and I have no idea what he wanted to say.

[willtheweaver]

Writerly questionnaire

Thanks for the tag @thatuselesshuman @the-golden-comet @the-letterbox-archives @theink-stainedfolk

How long have you had your writing Tumblr/ Writeblr? A fast and loose estimate is fine!

I’ve been on Tumblr for five years, although only two of those have been as an active part of Writeblr.

What led you to create it?

There really aren’t that many places where I can go off about my writing. Most of the people I know have moved all over the place.

What’s your favorite thing about the Writeblr community?

All the support from fellow writers. It’s validating to know that there are those out there who enjoy your work, and that you made the right decision in pursuing writing.

What’s one thing you’d like your mutuals to know about you?

I am always open to asks. Ask about my writing, world-building, OCs, advice, writing tips, I’m open. I do my best to answer, but some stuff I don’t want to spoil just yet.

Is there anything more you’d like to see on your dash?

Nothing I can think of.

WIP it good

Which Works-In-Progress (WIPs) are you noodling about lately?

Right now focused on A Feather in the Forest. Drafting is done, and now I’m doing editing and revising.

How long have you been working on them?

Eight months.

Do you remember what inspired them/ what got you started?

I had a vague idea in my head for a story. Just some thoughts that I thought could be made into something cohesive, and so I jumped in.

When someone’s asks the dreaded “What do you write about,” question, what do you say?

Whatever is in my head.

What do you want to say (if it’s different from what you say)?

I said what I said, and I stand by my words.

Let’s rotate Blorbos

Name any character you’ve created. Side characters, protagonists, antagonists, characters who’ve never been written, the first original abomination you’ve pulled out of your ass: whomever you like!

Are you sure about this? Very well then…here are some off the top of my head:

Fen, Playa, Opal, Sorrel, Caine, Leif, Ivy, Nettle, Rail, Quill, Volt, Halley, Hesper, Grey, Reed, Dirge, Zephyr, Cya, Gale, Morgan, Clio, Talvi, Marigold,Freya, Squall…(continues until the heat-death of the universe)

Who’s the most unhinged?

None so far, but there is more than enough time for screws to come loose…

Who comes the most naturally for you to write?

Whichever I’m in the mood to write.

Do you ever cringe at them?

On occasion.

How much control do you feel you have over your characters? AKA do they ever “write themselves” , refuse to cooperate, or do things you didn’t expect? To what degree? Are some less cooperative than others?

Do the gods hide because they are afraid that the mortals are tired of their little games and are plotting to destroy all deities? That’s how it feels sometimes.

Do you enjoy people asking about your characters? And do you have a preferred means of receiving said questions? For example, as Asks, as Replies, as Reblogs, as tags, as comments on AO3, etc.

I do. Always feels good to have someone to talk to about OCs. As I am active on Tumblr and not on AO3, any and all asks, replies, reblogs and tags are welcomed.

On Writeblr Engagement

What makes you want to follow another Writeblr account? Do you follow ‘em as you see ‘em, or take time to scoop out the blog to make sure it aligns with its contents? Do you follow based on WIPs, or vibes?

I check them out before I jump in. Call me weary, but I like to get a good feel for potential moots. If I feel like they are a good fit, I jump on in.

What makes you decide against following?

Unnecessary negativity, AI content, hate, bigotry, overly political content all turn me off.

Do you interact with non-mutuals often?

I do whenever I have free time. If anyone wants to ask about my WIPs, OCs, or tag me in tag games, I do my best to respond.

Do your mutuals’ characters occupy a space in your noodle?

Yes. A memorable character always sticks with you.

Do you interact with your mutuals often?

As often as I can.

Tagging @kaylinalexanderbooks @mk-writes-stuff @xenascribbles @words-after-midnight @nczaversnick

@bookish-karina @paeliae-occasionally @poethill @jay-avian @riveriafalll @lavender-gloom

@the-ellia-west @autism-purgatory @duckingwriting and open tag

[darkisrising]

⭐

suuuuusssshhhhiiiiiiiii my love! Thank you for playing with me, and per our dm conversation you settled on the sex worker bobadinluke au series for the director's commentary ask game. Which is gonna be hard since you were there when I was writing it, I'm not sure what I can come up with that you wouldn't already know/vaguely recall, but I'll give it my best shot.

Right away, I'll say that everyone that knows me has dragged me at least once about my fic titles. I'm not great at coming up with them, and usually just pick something at random. At the time I was writing this series, I had this idea of grouping fics together with some very loose theme. Which is why my dinluke stuff mostly have a mando'a words as titles, the big BDL series are all lines from songs by Frank Sinatra, and this series has titles that are all songs from the 2000s. The songs have nothing to do with the fic, except that the one line I used for the title somewhat had something to do with the fic itself. Which I know drives @bronze-lorica crazy, lololol, and I'm sure she'd not alone.

This series started off as three prompt fills. Three people requested "sex worker" from a list of AUs but asked for different ships, and I decided to make my life easier by setting them all in the same, modern world. This series got me by the throat as I was writing, and I'd post a little more, only to be like "Oh! And another thing..." over and over, until there were 37k words of it.

I knew I didn't want to tell an angsty story with this one-- I love angst but I wasn't in the mood--so instead I went with the idea that Luke's a sex worker that's doing this as a means to an end, and is very clear about when the end will be. So, instead of seeing him hit rock bottom and let that be the motivation for the sex work, it's more transitory than that. This is only a moment in his life that we're seeing, and he's very clear about that.

His sex worker style I sort of based on the persona I take on in my client-facing/customer service jobs. Upbeat and patient. "You can trust me" and "We'll get through this together" vibes. And since I like my triads where everyone is a puzzle piece that fits in together, providing something for each person that's unique and different, it synced up nicely to make Din someone with a repressed/religious fanatic background. Luke's very open and non-judgemental, not to mention competent, energy is like Valium to Din. It lets him soften and be more willing to engage in a way that he doesn't really with his bristly husband. Boba's my gruff, blue collar man and when I hit on the idea of him dealing with chronic pain from an accident at a construction site (the Sarlacc building project, he fell into the pit, natch, and then after I decided that, I couldn't stop hearing Andy Dwyer singing "pit. I fell in it, the pit. You fell in it, the pit. We all were in that pit.") it made sense that Luke was able to help him if he was training to be a physical therapist. After that, it was all a matter of teasing those three connection points in different directions to see how the three of them could provide for each other in unique ways. That's really where the plot (such as it is) came from. Writing it was a really organic, natural process, which isn't normally the case for me. But, I guess, I started off knowing the characters in this incarnation really well (and with faaaaaaar more clarity than usual) so it was mostly a matter of seeing where that would take me.

(link if anyone else wants to play)

[autisticlancemcclain]

I’ve really enjoyed your writing and I was curious to know if you ever experience writers block and how you try to drag yourself out of it? (I’m in need of advice)

thank you!! and i most definitely have omg. only rarely do i actually have, like, ideas for a fic. most of the time the hours are ticking past and i’m like FUCK i don’t have a goddamn thought pinging in my brain rn for tonight’s fic 😭😭 so i deal with writers block several times a week lol. i have a couple strategies for it.

1. this one is more of a future set up thing. over the weeks and months i’ve set up a saved folder where i use social media the most —inst*gram — and every time i see something that either reminds me of the blorbos or i think has story potential (which takes some time to start noticing, don’t worry if it’s slow at first, i used to add to the folder like once or twice a week and now it’s once or twice a day lol), i save it:

sometimes i send the post to a friend with a vague outline of what i’m doing, which looks something like this:

and screenshot that for later. this way i have this folder of ideas and one-offs to turn to when the well has run dry. it doesn’t always work, but it works enough that i think it’s worth the effort.

2. this one is less cool and suave, but when i don’t have any ideas, i try to just…write whatever. i don’t mean, like, write a random story, i just mean write random ass words and see what happens. i tend to work best with dialogue, so i’ll just type out a random sentence and see what happens, see what my brain does without me focusing on it. i’ll walk you through one of those now:

“Don’t.”

there’s a random starting word. just a single word. it could go literally anywhere, from humour to actiony order-barking, but i’m getting a bit of an angsty vibe to this, so i’m just going to pick a character — my beloved — who i’m very used to writing and can picture easily and add a dialogue tag.

“Don’t,” Lance warns.

okay! now we’re getting somewhere farther. now i try to ask myself one or two prodding questions: what does his voice sound like? can i hear him saying this in my head? who’s he saying it to? what emotion is he portraying? i don’t have to actually answer any of the questions, but now i’m thinking, baby steps, and i can get going easier, because i’m actually starting to hear this in my head:

“Don’t,” Lance warns, voice wobbling. “Don’t do this to me.”

from here i just see where i can go. one thing i have to remind myself is that no one is holding me to a standard but me. this can be two words or two hundred. a page or a novel. whatever i come up with. i’ll give it a fair chance, but if it doesn’t go anywhere, that’s okay, i’ll try again later. i try to just get into things and go. i’ll lean into what’s familiar to make things easier on myself:

“Don’t,” Lance warns, voice wobbling. “Don’t do this to me.”

Keith looks away. He has a hard enough time keeping steady with Lance normally, when he’s smiling, smirking, when he puts a hand on Keith’s shoulder and teases him about his hair.

But when he’s looking at Keith like Keith has a choice to make? And he’s making the wrong one?

It’s almost physical, the ache. The pain of knowing he’s hurting someone but doing it anyway.

“I have to,” Keith says quietly. He clutches the strap of the duffel bag hanging over his shoulder, picking uselessly at a loose thread. “I can’t stay here.”

“You can.” Lance’s voice is still weak, shaking, but there’s something steady to it, a resolution. He’s sure he’s right. “You always can. You’ve never had to run.”

Keith says nothing.

“Don’t run away from me, Keith.”

Lance never pleads. He’s too proud. Keith pretends he doesn’t hear the desperation in his voice, for both of their sakes.

“I’ll call,” Keith offers. He looks up as he says it, but he still doesn’t meet Lance’s eyes. He’s afraid to see the hurt that he knows is there, the disappointment. If he doesn’t look he can pretend it’s not.

“No, you won’t.”

He says it like it’s a surety. Space is vast, time expands, and Keith won’t call. Keith is running away, again.

Keith turns around and leaves without another word.

that took me about six minutes. took some thinking, here and there, but it was easier as i kept going. i stuck to what i’m good at, remembered i don’t need any context for this (it’s just an exercise!) and moved forward.

i hope this is helpful! feel free to dm me if you’re still stuck, i’m happy to bounce around ideas :))

[crazylittlejester]

Coming over here to bother you about my EAH AU thoughts because I want to write but this stupid fatigue wall let me write my daily prompt and nothing else today. Spent a good chunk of time staring at the document file.

I'm thinking about the Zeldas. Obviously most of them will fit in as the miscellaneous princesses for their respective Links, but not all of the stories even have princesses in them.

Artemis/Athena: Obviously I could just have her be Athena, but I feel like she could also do a Mulan story. She could match with Warriors, they could be Greek mythology buddies.

Flora: I think the thing that really sets her apart is her role in TotK, but there aren't any old fairytales about princesses that turn into dragons, so the best I've got is this book by E. D. Baker that I read when I was a kid. It's probably close enough? I'm already going to have to fudge things for Wild anyway.

Sun: Her whole thing is being the reincarnation of Hylia, so I feel like she should be either a full-on mythological goddess or the avatar of one. I feel like there aren't really any good real-world mythology equivalents because LoZ lore has such a distinct vibe to it. Since Sky's story is going to be about fighting the Jabberwocky, she's probably also from Wonderland, I just need to figure out her role.

Fable: I feel like she'd fit into one of the Charming families alright. Alternatively she could be one of the princesses from Oz, most likely Gayelette if she's related to Legend because they both would inherit magical abilities and Gayelette was both a princess and a sorceress. No clue how that's going to work with Camelot. Maybe Legend could have dual citizenship or something. Although I could be mean and say she's a human princess who fades into obscurity because he outlives her.

Dusk: I can't find any good old fairy tales about princesses that involve puppets or wolves. I'm probably going to have to fudge the entire thing. Which shouldn't be horribly difficult since TP is literally just a fairytale anyway, but I was really hoping to find something.

Tetra: Definitely a pirate. Probably Blackbeard or Bluebeard. Maybe one of those lady pirates that were 100% lesbians. (Side note: The Great Sea could totally be the ocean that Atlantis is under. Wind's divine parent could be one of the gods that sunk it or something.)

Dawn & Aurora: I feel like being miscellaneous princesses actually works in their favors because that's pretty much what they are in canon. I can probably just gloss over the details a little bit and say they're cousins and that Hyrule helped rescue them while he was out killing giants.

Dot: I'm just going to say she's the princess from the story about the four brothers since it fits perfectly. Least amount of work to give her a role. Honestly sort of wish she could be Dorothy from The stories about Oz because of her nickname, but that wouldn't work. She deserves a QPR with Four so that's what she's getting.

Lullaby: I don't think she really does much in OoT other than be Sheik? So my best idea is Mulan, but with the whole ocarina thing she could also be a type of magical princess like Fable, but those are in surprisingly limited supply.

Honorary mention of ST!Zelda: She should be a ghost. A victim of train assassination, maybe Orient Express style. Ends up befriending ST!Link and they get along like a house on fire and she helps him get used to being a ghost after he dies in a tragic train accident.

- A MULAN STORY OH MY GOD THAT SOUNDS AMAZING FOR ATHENA/ARTEMIS

- I am still so so so so so obsessed with Sky and the Jabberwocky I am absolutely just eating that up dude, and I can’t wait to see what you end up deciding for Sun

- A PRINCESS SORCERESS FOR FABLE GOES SO HARD and you’re right that is mean >:( im eating it up tho

- I suppose red riding hood wouldn’t work for Dusk? There’s gotta be SOME fairy tale about wolves out there, I dunno the rules of EAH but there’s gotta be at least some vague one

- YEAAAAAAAH LESBIAN PIRATE TETRA MY BELOVED 😭

- Dot as Dorothy would be soooooo good, and slay her havin a qpr with Four

- Any Mulan story I see I will absolutely eat up and encourage, that’s one of my favorite Disney movies

- ORIENT EXPRESS STYLE. I LOVE IT.

dude i am so excited for all this I love it soooo much!!! please come bother me about it whenever!!