#in fact that statement is directed AT the writers

[new-ronantics]

i care her.

[elvensemi]

I can't believe I have to say this but the skin tone of a character in a visual medium isn't a "headcanon" you can look and see it. With your eyes. If you 'headcanon' a dark skinned character as white, that's racebending or whitewashing and yeah, people are gonna get mad. Framing it as someone over-reacting because "their headcanon is different than yours" is sooooo intellectually dishonest.

[vbartilucci]

When most people heard that the Daredevil series Born Again was being effectively scrapped and restarting from first position, the assumption was that this was a Bad Sign.

But @themarysue does a good job of pointing out that this is, in fact a positive, as it reflects one of the wins from the WGA strike, that the showrunner of a show should be a writer, and not simply a marketing executive.

As they point out, you'll probably see studios come out and make statements like "We hear you - No AI writers" as if it was their idea, when it was actually a point won by the writers' strike.

[3hks]

How to Avoid "Talking to The Reader"

A lot of people will often tell you to avoid talking to the reader, but why? How? And what does it mean? "Talking to the reader" is a technique used by an author when they want to specifically address the reader directly. Depending on your writing level and style, there could be several drawbacks to using this, such as a sense of informality and sudden awkwardness. However, I'm not saying that you shouldn't talk to the reader, because how you write is ultimately up to you!

But if you're genuinely looking for some tips on how to avoid talking to the reader, then I absolutely got you! As both a frequent reader and writer, I have advice based on experience and knowledge! These simple tips can seriously elevate your writing (especially if you're pretty new), or at the very least, make you aware of certain things and offer new ideas!

Replacing the 'you' with...

A VERY common factor in talking to the reader is using the word 'you' to reach out to your reader (dialogue from characters don't count). Although you should avoid this when you're trying not to talk to the reader, there is something behind it. Majority of the time, we include this word in a story when asking a rhetorical question. This creates a certain effect that reaches out to the reader while making them think, which can't be exactly duplicated.

Okay, so how do we fix this? Well, my advice is to simply replace 'you' with the word 'one'! Let's go a bit into depth, shall we? When dealing with a rhetorical question, the first step is to rephrase and reform the inquiry into a statement that answers what you're asking. Remember that this is a rhetorical question, meaning that there IS technically a right answer that you're looking for! Next, remove the 'you' and slap the 'one' on top of it! The replace-you-with-one method also works when you're not including it in a question, but instead a statement! Let's look into some examples, shall we?

Prompt: A lot of people will often tell you to avoid talking to the reader, but why?

Let's examine this example that I took from the top of this post, shall we? While this sentence is indeed in the format of the question, I am not directly asking you to give me an answer and there isn't really just one right answer. So how do we fix this? Replace 'you' with 'one' and boom! Done!

Fixed: A lot of people will often tell one to avoid talking to the reader, but why?

Alright, how about a much more direct question?

Prompt: The king's way of ruling was incredibly biased and unfair, wouldn't you agree?

For this prompt, we can see that 'you' is in "wouldn't you agree?" so it's pretty clear that we are seeking for an answer from the reader. In this type of context, the answer is almost always "yes," so we will have to take the longer route of rewording the sentence.

Fixed: The king's way of ruling was incredibly biased and unfair, one might argue.

As you can see, the phrase "wouldn't you agree" got altered into "one might argue." Why did I choose this? Well for starters, the sentence is now a statement, not a question, and it does indirectly answer our questions of "wouldn't you agree?" because it distinctly demonstrates that they agree with the opinion that the king's rule was unjust. Now, why did I choose "might argue"? Our previous question may have been rhetorical, but not everyone is going to say "yes, the king was unfair," so adding "might" and "argue" helps include the fact that it is indeed, an opinion!

Now that we have gotten the 'you' part out of our system, let's talk about another thing that can really help you improve on your writing (while avoiding talking to the reader)!

Stop Using...

Stop starting the sentences with "he/she is or has" (including past forms) when describing someone. I can safely say with first-hand experience that repetitive use of the sentence starter can feel a bit unnatural and too straightforward. In other words, you can most definitely do better!

When writing one's attributes, instead of starting with "he is" or "she is," try starting out with a possessive form of the pronoun, such as "his" or "her"! After that, it'll work itself out; let's look at an example to clarify!

Prompt: She had long, luscious, brown hair that fell over her shoulders in waves.

Fixed: Her long, luscious, brown hair fell over her shoulder in waves.

Simple, right? There may seem to be hardly any change, but this can seriously improve your writing when used correctly! Of course, continuous use of "his," "her," or "their" will also sound repetitive, but it's a good place to start! As experience follows, you'll get the hang of creating more varied sentence styles! Let's look at an example!

Prompt: He was new to the school. He didn't know how to interact with those his age because he was homeschooled his whole life. He was nervous even when thinking about his classmates and didn't know how he was going to survive.

Does it sound choppy? Too direct? Let's fix that!

Fixed: He was new to the school. Having been homeschooled his whole life, he struggled to interact with those his age, and even thinking about his classmates made him anxious. He had no idea on how he was going to survive.

Look at the second sentence; that's the most major change. As I combined a few different parts of the other sentences and rearranged them, it should seem much smoother now!

Be creative with how to form your sentences--that's all there really is to it! Experience will be your biggest guide and best friend when it comes to this!

Did this help? Keep in mind that my advice won't work with every sentence because a lot of it mainly depends on context! Happy Easter Sunday!

Happy writing~

3hks :)

[jouxlskaard]

Strap in, fuckers. This is a long one.

I've seen a lot of discourse and discussion recently about why TMAGP isn't resonating with listeners as much as TMA did, with a lot of people pointing towards the infrequent structure of each episode and the lack of subtlety that TMA had once excelled in. And while both of these are true, I think the main culprit that has caused these problems for listeners is one thing: the pacing.

TMAGP is only going to be 60 (Edit: 90) episodes long, compared with TMA's absolute behemoth of 200. When I'd found out about this, I'd assumed that it meant TMAGP would have a much smaller story - not having to establish as much information as TMA did, and allowing the story to have lower stakes as a result. This certainly wasn't a bad thing, as many sequels that have tried to one-up their predecessors have gone disastrously wrong, but I knew that the structure would be different to TMA as a result.

However, from the 12 episodes that we've seen so far, it appears that TMAGP is going to have similar levels of stakes to TMA - not the same stakes, of course, but they'll likely be on close to equal footing. This means that TMAGP has to establish the same amount of information to listeners with significantly less time to do it in, and the pacing has to speed up to adhere to that. In the first 12 episodes of TMA, we had established one possible recurring statement character (Gerry), a disturbing worm woman (Prentiss), and the fact that Jon doesn't like his assistant and refuses to believe any of the statements. In the first 12 episodes of TMAGP, we've established every important protagonist and what they sound like, two recurring statement characters (Bonzo and Ink5oul) with one that has already physically appeared, much of Sam's backstory and his ties to the Magnus Institute and the fact that something is deeply wrong with their workplace. That is a big difference.

This difference in pacing is what I believe is turning listeners away from what they'd originally enjoyed about TMA, because there's no longer that warm, comforting atmosphere when you listen to it. Its sound isn't designed to come from a tape recorder and a tape recorder only anymore; it's no longer a sit-down and listen to the Archivist tell you spooky stories for 20 minutes anymore; and, like I mentioned earlier, the structure is no longer the same throughout each episode. The horror anthology aspect, whilst still being there, has now taken a back-burner to the metanarrative because so much has to be established in so little time. To many, that's a bad thing. They listened to the original because they liked the statements, and the little things connecting them hinted to a much larger story at play. When this story was revealed, we got to see Jonny Sims and his brilliant prose at its best, because there was no longer anything to hide and the statements were in their purest forms - no longer having to establish information to the audience, and simply basking in the fear.

I'm sure we'll get to see the same thing in TMAGP once the narrative reaches that point, but the current pacing has uprooted a lot of listeners' expectations for the show. I'm going to listen to the entire thing, personally; yeah, it's different, and it doesn't deliver the same vibes and comfort as TMA did, and I probably won't be able to fall asleep whilst relistening to the more obscure episodes like I could before, but in a frankly disturbing way, I'm still fascinated with what Jonny, Alex and the other writers have created. This type of horror is the only kind that I genuinely enjoy, and I'm excited to see what direction Protocol goes in.

Edit: I feel like I should clarify that I don't see this comparison as something that takes away from TMAGP. Alex has said that it's going to be different from the get-go, and I do think that comparing it to TMA is an exercise in futility to an extent. I just wanted to talk about the shows together because I feel like they complement one another, and the narrative beats that I've talked about are less to do with TMA on its own and more to do with general narrative structure. We have buildup, payoff and pacing no matter what show it is, because that's what makes a story. I think TMAGP could be taken a little bit like Deltarune in terms of its relation to the original source material: separate entities with some overlap in character and themes. At the end of the day, it's still early days for the show and this entire spiel could just end up gathering dust - I just think it's a cool thing to think about, and it gives me an excuse to infodump about how pacing can affect a narrative and the audience's response to it.

I wrote this while my cat was laying on me. Have a picture as a reward for reading this whole thing.

[satorusugurugurl]

I Think He Knows: (Chapter Four)

Summary: When your novel takes off and becomes a best seller, doors of opportunities open for you. You can work on the series you have dreamed about all your life. And you’re also given the chance to stay in a tiny cottage in Europe for two years to help with inspiration! Your best friend, Geto Suguru, shatters at the news. How could he tell you how he feels when you leave him? His opportunity appears right before him when you confess that your editor thinks a change of scenery will help with your not-so-steamy romance scenes. They’re lacking a particular spice because you’re a virgin. So, Suguru does what any best friend would do. He offers to teach you how things work. Will you cross that line as friends? Or will you both say goodbye?

Pairing: Geto Suguru x FAB!Reader

Word Count: 4,954

Warning: Language, fingering, hand-job, kissing, heavy description of genitals.

A/N: Here’s the update!! I'm sorry its so late. My wrist feels a lot better today!! 😘💚💚 thank you for your patience!!

Part One Part Two Part Three Part Five

You were glaring at your computer screen; the words struggled to come to you. Nanami was pleased with the changes you had made to your latest chapters; he said the kiss scenes were much more realistic, all thanks to your best friend, but as much as he liked it, it still didn't change the fact that your smutty mutual masturbation scene sucked balls.

“It’s getting there.” He glanced back at the words. “You’ve moved on from using meat stick to penis—while is anatomically correct, it’s not quite rousing. Perhaps try using the words shaft, dick, maybe cock.”

“Kento!”

“I’m being serious, how many erotic novels have you read where the writer uses ‘she grasped his penis in her hand’ no ‘she grabbed his cock’.”

“Right—”

“Then there’s the climax.” Nanami sighed, flipping through the pages. “Be honest with me; have you ever seen a man have an orgasm? It’s not like a fire hose in hentai—” A judgmental look was shot in your direction, which was well deserved. “It’s more like spurts.”

“Ugh, seriously?”

“Yes, and Oaklynn’s orgasm, you just described her facial reactions and breathing. Get into the pulsing or contractions she feels. Hell, make her squirt. Ilsan is a knight; he's been to brothels so the man would know how to please a woman.”

“Squirt—?”

The way Nanami deadpanned at you before running a hand down his face told you he had figured it out. He must have finally put the deli meat sex scenes, terribly written orgasms, and your lack of knowledge of female orgasms. You slowly sank lower into the booth with a flushed face.

“You’re a virgin.”

“You’re a virgin~” You mocked, sticking up your nose as the nightmares and flashbacks of your luncheon came to an end. Nanami’s suggestion to watch porn gives it a better understanding of how orgasms work. There was no way in hell you were doing that. “I don't need to have sex to know how to write a good sex scene!”

That statement was true, and having some experience would benefit you. It had kissing scenes. And it most definitely would help you with the grinding scene in the alley you were adding in. Suguru made things comfortable for you; he wasn’t pushy or manipulative. He was so gentle and kind, making sure you felt okay. You were so grateful for him, but after you started feeling weird last night and told him to stop, maybe he didn't want to keep doing stuff with you.

If you were honest with him, maybe he'd understand. But it wasn't very comfortable. It felt so intense, and you were all tingly.

Once you finished your rewrites, you would have to sit down and talk to him. You just hoped he didn’t think you were avoiding him after what happened. The sooner you finish, the sooner you can talk to him, get things back to normal, and maybe ask him to help you more. His lessons truly were helping you.

If only we weren’t having such a hard time with the stupid scene!

“Come on, just type it, dick, just type out the letters. DICK.” Your fingers hovered over your keyboard, your eyes narrowing at the screen. “It’s just a word!”

Before your fingers could even touch the ‘D,’ a fist pounded against your door. At first, you were startled; your heart lurched into your throat as your hand rested against your chest. The fist slammed against the door once again. If someone knocked at your door at 2:30 in the morning, it wasn’t a good sign. You were about to grab your phone to call Suguru when you heard his voice at the door.

“Answer, answer god, please.”

He repeated the exact words as you shove your lap desk off to the side before jumping up for the door. You open the door just as Suguru pulls his fist back to knock again. His face was pale, and his dark bangs clung to his forehead with sweat. The dark circles under his eyes were the evidence of the nightmares that he had been having and the lack of sleep.

Regardless of his appearance, your eyes still frantically searched him up and down. You were trying to find evidence of injuries or something that told you what was wrong. You could find no traces of anything other than his insomnia. He was in a white T-shirt and baggy gray sweats and stood there silently. Look of relief washing over your face. He just stood there. A look of relief washed over his face at the sight of you.

“Suguru? What’s wrong? What happened?” He doesn’t answer your frantic questions; instead, he grabs you, pushing his way inside your apartment and kicking the door shut. “Suguru?!”

You yelp as you both fall to the floor, his arms wrapped firmly around you as he holds you flush against his chest; your best friend is shaking, his breath heavy as he clings to you as if you would vanish if he let go. Seeing him in such a state made you sick to your stomach. He didn’t deserve to be plagued with the pain of what happened years ago. You knew he blamed himself for what happened with Riko. You wish you could take the pain away from him.

While that was impossible, you could be there for him when he needed you the most. So you wrapped your arms around him and squeezed, hugging him as tight as possible. “Thought I lost you.” He whispered, his hands clinging onto your tank top.

“Suguru—” you whisper, hands gently caressing his back. “You’re not going to lose me.” You feel him relax against you, shaking softly as he pulls back an inch. “Nightmares again?” His dark strands of hair cover his eyes, but he nods. “Sugu, oh sweetie—do you wanna stay the night with me?”

Your words seem to hit him like a freight train. The panic and fear in his eyes turned into relief. His muscles relax as he exhales through his nose. You reach up and caress his cheek, letting him know you are there, and he leans into your touch, nuzzling his cheek into your palm.

“Yeah, can I please?”

“Of course you can.” You lock the door before grabbing Suguru’s wrist and pulling Jim into your bedroom. “You can go to sleep. I need to finish editing this page before I lay down.”

As you sit back down, placing your lap desk in front of you, Suguru takes a moment to look around your bed. There are tiny Post-it notes and looseleaf paper spread out over your comforter, along with the mini spiral notebook you had in your purse. He had teased about it initially, but he realized that you need to jot down your ideas when inspiration hits you. So your stocking was full of the little mini notebooks you loved to carry.

Seeing that blissful smile tugged at your lips, in the warmth of the flush in your cheeks, made Suguru float with happiness. That joy that was brought on by notebooks was something he would never forget. He wanted to make you happy for the rest of your life. Not just with notebooks but a life you both could build together in a romantic relationship. Suguru wanted to give you the world on a silver platter because you deserved it and much more.

“Oh fuck, sorry, Sugu.” Small hands quickly removed the notes and the papers covering the other side of your bed. “Just transcribing and everything.” You motioned for him to lie down, patting gently on the mattress.

Suguru crawled into bed with you, covering himself with the sheet, before snuggling his head against one of your pillows. The smell of your favorite shampoo and conditioner had his nerves relaxing as he watched you glare at the screen. From the way your nose was turned up, you were deep in thought. His curiosity got the better of him, and he learned in closer, his eyes roaming over the screen.

‘Oaklynn’s face scrunched up in pure pleasure as her orgasm hit her. Her breathing was heavy, and Ilsan growled in her ear, pumping his fingers in and out of her vagina.’

Vagina?

‘That’s it~ such pretty sounds—nngh!’ Ilsan’s voice cracked as Oaklynn’s soft hand squeezed his penis, twisting her wrist as she stroked. ‘O-Oh gods! Oak~ Oaaak!’ A spray of cum coated Oaklynn’s hand, his sticky seed spraying all over her, pooling onto the mattress below them.

“PFFT!” Suguru tried hard not to laugh, his hand flying up to muffle the chuckle. But god, it was too funny!

Upon hearing the laughter from your best friend, your eyes snapped down. There he was, tears in his eyes, tanned skin flushing a rosy color as his eyes remained glued on your screen. With a tiny gasp, you slammed your screen shut before hiding your face in your hands. Your jerky, panicked motions seemed to set Suguru off more as he threw his head back, barking out in laughter.

“Oh my god! Stop!”

“W-Why was he cumming like a faucet?!” Suguru rolled onto his back, wiping at the tears.

“Stop it!”

“And using the words vagina and penis? I preferred it when you called it Meat Stick and Fairy Cave!”

You grumbled before moving your hands to push him. “Could you please stop talking!? Please, I know it’s bad!” Those words had Suguru jerking his head up, finding you flushed cheeks and glimmering eyes.

“It’s not bad—”

“Yes, it is! This screams, ‘A virgin wrote this! She’s never gotten any action,’ Which is true! How can I describe an orgasm when I’ve never even had one?!”

The truthful outburst left you panting as Suguru’s laughter abruptly stopped. His dark eyes were transfixed on your face before you got up, putting away your notes and laptop, and as you silently moved around the room, you could feel Suguru’s eyes on you. And they stayed locked on you until you crawled into bed with a sigh, curling onto your side.

The self-doubt was in your every move, from how your body tensed to your shallow breathing as you fought back tears. You knew Suguru didn’t laugh to be malicious, but it wasn't a confidence booster either. At times like these, you questioned if you were good enough to do this and if writing a smutty fantasy was what you were capable of.

Suguru frowned as he watched your body tremble, soft whimpers sounding in your chest. God, he felt like an asshole. With hesitant movements, Suguru inched himself closer to you. His hand gently inches itself around your waist, pulling you into his chest. Seeing that you didn't fight him or verbally tell him no, Suguru wrapped his arm underneath you, spooning you.

“I’m sorry.” His breath was hot against your cheek. “I shouldn't have been snooping, especially when you were in rewrites.”

“I-It’s okay. I’m struggling with it; I want to be the best I can, ya’ know?”

“Mhmm, I know princess.” The warmth of his body had you relaxing. “Can I ask you a question?”

You turned your head and pressed your cheek against his. “Yeah, of course you can.”

“You’ve never had an orgasm?” His voice was so smooth and sultry, making you shiver. “Like ever?”

It was true; you struggled to reach the mythical ‘Big O’ since you started masturbating. You felt like you would get close, it was within grasp, but you would fall short. There was a time you thought maybe you did, but the fact you had to question yourself was the only answer you needed to know that you had, in fact, not had one.

“No, I haven't; I think my fairy cave is broken.”

Suguru’s chest rumbled as he laughed loudly, giving you a tight squeeze. God, he had it so bad for you. You were so innocent and cute; you had such a good sense of humor.

“I don't think it’s broken.” His statement had you rolling so that you were facing him. “You just need to explore it some more.” His hand reaches down gently, resting it on your ass. “I could talk you through it if you want.”

Tingles ran down your spine as he squeezed the fat of your ass. It was a mixture of relief and excitement that your reaction didn't turn him off from the night before. Your hands moved, gripping his shirt gently before biting your lip. You had tried so many times before, but Suguru—he knew what to do.

“I don't want you to talk me through it—I want you to do it.” Suguru’s dark eyes went wide, his pupils the size of pinpricks. “If you want to.”

Your best friend leaned close to your ear before placing a kiss against it, and he moved further down to your neck, his tongue past his lips, kisses and little licks over your sensitive skin. The sensation had you squirming, your pulse racing in your throat, and a shuddering sigh left your mouth. Suguru sucked on your neck as his hand groped and massaged your ass. Your body felt like it was kindling with fire, a low burn in the pit of your stomach as he continued to pepper kisses over your neck.

“You want me to make you cum?”

“P-Please.”

“I’d do anything for you.” He grunts gravelly into the crook of your neck. “I’ll make sure you know what an orgasm feels like. That way, your already amazing writing is more accurate.” Teeth grazed over the skin, leading to your shoulder, as one of Suguru’s hands slipped under your shirt, trailing over your belly. “Can I touch you?”

“Y-Yea—aah—” his hand groped your breast the second he heard ‘yeah’ leave your mouth. He gently squeezed it, massaging it between his long, thick fingers. His thumb gently brushed over the nipple with every squeeze. “Mmm—” you pressed your lips together as your eyes tailed down, watching his hand move underneath your tank top.

Suguru continued to kiss and nip at your neck, trailing kisses so gently over your skin; well, his other hand pinched and pulled at your nipple, rubbing the bud between his fingers. The way your body twitched and jerked underneath his touch had his cock throbbing hard within the confines of his sweats. The breathless gasps, the way you took your bottom lip between your teeth, gently gnawing at it, you look so fucking hot; he wanted to do more to see what other reactions he could draw out from you.

Suguru’s hand left your breast, slowly trailing down past your stomach before pressing his whole palm over your clothes-clad pussy. Being touched intimately for the first time had you jerking, eyes snapping shut. Suguru groaned, rubbing his hand over your pussy, feeling the warmth of your sex. You gasped as he pulled his hand away to his index and middle finger over your clothed clit. Your body jerked forward, your arms wrapping around his neck, hands sticking into his hair as he brushed over the sensitive bundle and the nerves a second time.

“Does that feel good?” Suguru asked, his mouth pulling away from your sensitive skin.

Your mouth fell open as your eyebrows knitted together. “F-Feels r-real good.” His fingers began rubbing against your clit in slow circles, drawing out a whine from your chest. “O-Oh fuuuck S-Suguru.”

“I got you~ I got you, don't worry.” His fingers rubbed faster, memorizing how you jerked and reacted, repeating the same movements to get you to respond more.

The intensity of everything was becoming too much for you to handle. It felt like your whole body was on fire, like a pot on the stove roaring to a boil. You needed more; you weren’t sure what, but you needed more of this, of Suguru. He needed to quench your thirst, to put water on the flames burning with every nerve of your body, and you knew that his fingers would be the only thing that could help you.

“I-I want more.” Your voice was so timid, making Suguru’s hand seize up momentarily. “Please.”

“You sure?” he asked, his voice dark and husky.

With a nod, you grabbed his wrist, bringing it up to the waistband of your shorts. “Yes, I’m positive.” You gently pushed his wrist down, allowing his fingers to slip under the elastic band. You could’ve sworn Suguru choked on his breath, his eyes widening in the low light of your bedroom as they glanced down to his hand that had breached your shorts.

Suguru wrapped his arm around you, holding you steady as his hand dipped lower, brushing against your slick folds. The initial contact has your head tilting back m as he groaned, feeling your delicate skin before rubbing at your clit gently. You gripped the fabric of his shirt, digging your nails into it. Your body trembled as you buried your face into his neck, whimpering against his skin.

“S-Suguru—”

“Is this okay?” Suguru moved slowly, carefully listening closely to your breathing and noting how you shook—memorizing each twitch, saving it for him to jerk off to when you fell asleep. All you could do was nod your head as you lost yourself in the pleasure. Seeing that you were doing so well, Suguru slipped his hand back further, his thumb rubbing against your clit before slowly sliding two fingers into you.

“Nngh!” You gasped out, pressing your lips against Suguru’s neck as you mewled. “Sugu~! Sugu~!” Your walls were beginning to flutter and convulse around him as he slowly curled his fingers in.

Feeling your hot breath against his neck, how your lips gently traced unintentional kisses over his sensitive skin had his cock throbbing hard. Suguru pressed into you, rubbing his hardening cock against your thigh. He slowly began thrusting his fingers in and out of you, wet squelched flooding the room as he rubbed your clit harder.

“I want to make you cum Princess.” He snarled against your cheek.

The vulgar words had you clamping down harder on his fingers. Your body was getting hotter, from your toes to your pussy, all the way into your stomach. That coil from a few nights before began tightening, coiling deep inside you. The intensity had you tugging on Suguru's shirt.

“S-Sugu~ f-feels intense a-again—Ah oh fuck it’s l-like before.” There was a twinge of uncertainty and fear in your voice. “I-I—”

“I know it's weird, but just let go. I got you—it’s going to feel so fucking good in a second.” His fingers moved in and out of your tight, wet heat faster, drawing out more gasps from you. “Trust me.”

“I-I do feel good, b-but—” Suguru hooked his fingers up, moving them in a come hither motion, causing your legs to shake. “Fuuuck! Oooh fuck!”

“God, you sound so good,” he whispered so softly you couldn't hear him over your moans. “So good.” Suguru had dreamed about doing this to you for so long, to have you underneath him, showing you how much you meant to him. It was a dream to have you clinging to him, gasping his name.

“Sugu—Suguru—” You could feel something coming; it was intense, making your toes curl. “S-Sugu—I-I—I think—!”

“That’s it~ that’s it, let go~ you’re gonna cum.”

His fingers pressed into the sponge spot inside of you. The pressure of his fingers and his thumb rubbing your clit had you seeing stars. You screamed into his neck, shutting your eyes tight as your thighs clamped around his hand. The pure fiery pleasure had your whole body and pussy convulsing as you cried out loudly, so loud Suguru heard your neighbor hit the wall with a ‘shut up.’

Suguru couldn't care; he wanted you screaming his name. He groaned as he felt your slick on his fingers, slowing down to help you ride out your first orgasm. "Shhhh, shh—princess, don't be too loud~" You panted heavily against his neck, tears in your eyes as the last waves of pleasure washed over you.

“Oooh fuck.” You wheezed out as Suguru gently pulled his finger out of you. “Oh my god.” As you rolled onto your back, Suguru quickly slid his fingers into his mouth, sucking your cum off with a satisfied growl. You tasted sweet with a tang of citrus; it was addictive. God, what would he do to taste it firsthand?

As he pulled his fingers out of his mouth, you rolled back onto your side and stared at him. Suguru smiled cocking an eyebrow at the almost unreadable expression on your face. “Yes? Can I he—eeegh!” Your hand brushed over his hard cock, catching him off guard. “W-What are you doing?” you say up on your knees, cheeks flushed with post-orgasmic glow and determination.

“I-I've never seen a man cum! A-And seeing that you offered to help me, c-could I watch you jerk off? O-Or maybe if it’s okay, could I touch you? Y-You’re hard, right?”

Your bluntness and straightforward request left your best friend gaping at you. You wanted to touch him? God, this was like two dreams coming true. But as much as he wanted to have your hand on him, he was afraid he’d blow his load the second your fingers wrapped around him. So he's going to have to compromise for now.

“How about I jerk off, and you can wrap your hand around me?”

“Okay! Um! Let's start.”

You sat back on your heels, swallowing hard as Suguru pulled the sheets off his body. You could hear your pulse pounding in your ears as you watched your best friend sit up, resting his back against your headboard, dark hair falling over his shoulder with every movement. Why were you so nervous? It was just Suguru’s dick, just your best friend, who just made you cum your brains out. Nothing about this should make you anxious! He was helping you! This was research!

But your research had your pussy throbbing as Suguru hooked his thumbs under the waistband of his pajama pants and pulled it down. When he did, his thick erect cock bounced, landing against his stomach with a hardy thump. It was heavy and thick, and it had you pressing your thighs together. The tip was a deep, dusty, rose color, dribbling out a clear substance from the tip. His shaft was tan; thick veins ran up and down as it twitched.

“Oh—” you whispered, taking in his well-trimmed pubes, admiring his happy trail that went from the bottom of his belly button down to the base of his cock. “Oooh fuck.”

“Yeah—” Suguru groaned, tilting his head to the side as he watched you with dark, knowing eyes. He saw the way you looked at him, your gaze lingering on his cock. “this is it.”

Suddenly, it became crystal clear why he had so many romantic partners. He was thick and big. You’re sure it would hit every place inside you that would feel good. Wait a minute, not you, his previous partners! It must’ve hit all the right places inside of them. It probably felt so good. Like how his fingers felt pressing that spot inside you. His cock had the perfect curve that would hit it just right.

“You good there? Did your virgin brain malfunction?”

In a way, it did, but you wouldn’t acknowledge that it had. “W-What!? No, of course not!” your eyes started to burn with a visible flush. “No.” Suguru just laughed breathlessly.

“I'm just teasing you, come here, I’ll show you what it looks like when a guy cums.” Your eyes slowly drifted back towards him, your breath catching in your throat at the sight of him stroking his shaft. His hand moved silly up and down, smearing what you could only assume was pre-cum over himself. “Fuccck.” he grumbled, “I’m so hard, I-I'm probably not going to last long.” That was okay with you. “You can wrap your hand around mine.”

With his invitation, you placed your hand over his moving your arm up and down as he stroked his cock. He didn’t go all the way down to the base. Instead, he focused his attention on the head of his cock. Each time, he stroked his cock, his head tilted back against the headboard as his legs spread. The muscles in his upper thighs constricted with each jerk. He looked so fucking good, like some sex god.

Seeing him in such a state had you trying to match his movements as best as possible and attempting to keep up with his steady but jerky pace. Your eyes wandered to where his shirt pulled slightly up, just enough for you to see the bottom half of his abs that were clenching with each stroke that focused on the head of his cock.

While his movements utterly entranced you, Suguru’s eyes were drawn to you. The way you took your bottom lip between your teeth, how your eyes roamed over him, focusing on the muscles in his stomach, before trailing back towards his cock. Your presence was enough to have him dribbling more pre-cum out. Suguru straightened his legs out, toes curling as his hand moved faster up and down over the head of his cock. He had it down so bad for you that it was going to be enough to send him over the edge.

“Oooh fuuuck~ fuck fuck fuck~” he growled through gritted teeth. “Fuck yeah.”

Fuck, oh God, he looks so good. Watching him pleasure himself had you feeling warm and fuzzy deep inside. He was really into jerking his hand up faster, squeezing himself hard. He looks so fucked out of his mind, and you were sure if you could see your face, your expression with mirror his. There was something about watching him getting off that had your pulse racing in your pussy throbbing, your shorts were already wet enough, and you could feel more slick coating them.

Moving your hand with his wasn’t enough. Biting down on your lip, you pulled his hand away. “Hey, what ar—aah—” Suguru’s head lolled back as you wrapped your soft hand around him, jerking your hand up and down at the same pace he was going.

“O-oooh.” You were not expecting it to be as velvety smooth as it was. The feeling of his cock in your hand had awakened something in you. You leaned over him, resting your free hand on his upper thigh. Stroking your hand over his cock up and down faster and harder, squeezing it like he had done to himself.

Suguru threw his head back against the headboard, hissing through his teeth as his eyes watched your hand move up and down over him. He had the scenario so many times in his head and his wet dreams when he would stroke himself until he would cum all over his hand. The final push was to feel you touching him with such enthusiasm.

“C-Cummin! Fuck! I’m cumming Princess!” Spurts of thick white cum shot out of his tip, lashing out over his stomach and his T-shirt. It wasn’t all like a hose; it was small ropes, for it to be exact, that lashed out over him and your hand. “A-Aah!” His whole body jerked his abs, clenching as his eyes rolled back, and you continued jerking your hand, milking him for all you could.

“W-Wow, tha-that was hot.” at the sound of your voice Suguru shot his hand forward, grabbing your wrist, stopping you from continuing to move over his cock. “O-Oh, sorry—“

“N-No, you’re okay, just sensitive.” He grunted as he let you go, allowing you to pull your coated hand back.

You both sat in your bed, traces of your orgasm coating both of you as Suguru came down from his high. Silence filled the open air between you, but it wasn’t at all awkward; instead, it was thick with tension, sexual tension. A tension Suguru was familiar with while the feeling was alien to you. Part of you wanted to reach out and kiss him, but something inside you prevented you from moving forward. Because this wasn’t a relationship, this was just your best friend helping you when you were struggling. It was nothing more than that.

Seeing as you were the only one capable of functioning, you got up and headed into your bathroom, grabbing a warm wet rag to clean you both off with. “Thank you for letting me do that.” You whispered as you cleaned off your hand before gently handing him the rag. “That was very informative, and I think it will help me with the pages. I’ve been struggling with it.” Suguru stared blankly at you, taking in your words as he wiped his cum off his stomach and shirt.

“Of course, I’m glad I could help you out.”

“Uhm, so do you wanna go to bed?”

“Yeah—yeah, that sounds good.”

“Awesome!”

After snatching the rag from him and tossing it in the bathroom, you crawled back into bed with your best friend. A man you had known since your childhood who you had grown up with. The two of you had been through thick and thin together, always there for one another no matter the circumstances.

As you lay down on your side, Suguru wrapped his arms around you, pulling you flush against your chest. You couldn’t help but wonder if you both had crossed the line tonight. Or if you had taken a step towards a new chapter of your relationship? Those questions could wait until morning because you were only concerned about how good it felt to be wrapped in his arms, listening to his heartbeat as you both drifted to sleep.

Forever Tag List:

@darkstarlight82 @pandoness @nealeart @simp-plague @sugurubabe @chilichopsticks

Tag List (TO BE ADDED AGE MUST BE IN BIO)

@lemonintrovert01 @spankmydepression @renttheannihilator @witchbybirth @missmuffinr @lialia3945 @theobsidianempress @aquasan29 @toffeebrat @aussiemeerkat @chimichangagirl @zoroisminty @spankmydepression @em-aizawa @gojosimp26

[greater-than-the-sword]

Why doesn't the Bible just say, "Jesus is God?"

I've made a series of posts already elaborating the backing for Trinitarian beliefs, and so you may be thinking about how it's actually come up several times that the Bible actually does say Jesus is God on a couple of occasions namely in the confession of Thomas and also of course Jesus's famous statement, "Before Abraham was, I Am."

The question remains though, why does the majority of the Bible typically refer to Jesus by other titles other than "God"?

The answer is, actually, what I consider one of the strongest, if not THE strongest argument for the deity of Christ, so hold on to your hats.

The fact that the Bible doesn't outright say "Jesus is God" except in indirect cases is more reflective of the relative importance and etymology of the word "theos" (translated as "God") than it is of Jesus's identity.

That is because this word is relatively generic.

The writers of the New Testament would have considered the word "Lord" ("Kyrios" in the Greek) as a much more definitive way of tying Jesus's identity to Yahweh, the God of the old Testament.

This is because, in the Septuagint, which is the Greek translation of the Old Testament as quoted by the writers of the New, the word "Yahweh" was rendered, infallibly, in Scripture, as "Kyrios".

(Note: Kyrios translating to English as "Lord" gives rise to the indicator "LORD" in modern English bibles for the name of God.)

Therefore, every time that the New Testament writers use the word "Kyrios" to say "Christ is Lord", they are not merely calling him, "a lord" as someone in the middle ages might perceive it, but calling him God in a much more direct and personally identifying manner than using the term "theos".

Once you have this in mind, the Bible actually says Jesus is God on almost every page of the epistles, because you can hardly turn anywhere without seeing that Jesus is LORD, and it is not shocking why the NT writers found this term more urgent and compelling than Theos, which is already often used many times alongside the divine title anyway, as "The LORD God".

There should be absolutely no need for any confusion here.

[victoriadallonfan]

Lets Talk: The Predator Franchise

About two months ago, I put my thoughts into my feelings on the Alien Franchise, and why I felt that they've been faltering so much.

It felt only fitting that I do the same for the Predator franchise, but I ran into a very curious thing... there's only one bad Predator movie.

A shocking statement, I know, but I'm not counting the AVP movie series (that's it's own separate thing). The Predator (film) is easily the only bad film in the entire series, but I'll get to that later.

First things first: lets talk about Predator (1987).

It's an all time classic, a great deconstruction of the 80's action film, with insanely quotable dialogue and memorable characters - not just the Predator itself, but all the human characters are easily recognizable.

Unlike the Alien (1979) and Aliens (1986), Predator is not predominantly a horror film, nor is it emphasizing a tough topic such as sexual assault. It does HAVE horror aspects (the first time they find the skinned corpses is intensely unnerving, especially when they realize that this group of marines apparently lost all self-control and fired in all directions), and it does touch a bit on how the US government is using its own soldiers as cannon fodder to destabilize third-world countries.

But it's not really built to scare the viewer so much as to present a simple idea: what if these action heroes met a bigger, stronger, more advanced version of themselves? And the result is a near total party wipe.

Watching the original film, you realize that the Predator is depicted as incredibly unfair. The majority of its kills are it sniping someone from afar, rushing them when they aren't even looking (while cloaked), and doing a combination of the above. It would have killed Arnold while his back was turned, if the net trap hadn't been set in place.

Hell, it even kills a wounded soldier that Arnold is carrying, after Billy's "last stand" (that lasted mere moments at best, implying the Predator didn't give him the time of day).

(Also, speaking of Billy... he's psychic? Apparently?)

But yeah, the Predator depicted is not the honor clad warrior that some fans may stan (and some writers believe) but more like the equivalent of Counter-Strike hacker. The fact that it takes Arnold untold amounts of traps, ingenuity, and willpower for the Predator to finally face him man to man, no tech, no weapons is meant to be a testament to how impressive Arnold is.

Likewise, the Predator decides to blow himself the fuck up while cackling manically like a supervillain as he tries to finally kill Dutch, also opens him to showing that as alien as it is, it's remarkably human. A spite filled asshole of a human, but humanish nonetheless (amplified by him copying human speech on prior occasions).

It's a really great film about how alien life, if more advanced than our own, might see us as lesser people or outright livestock to hunt (keep a pin in that).

Predator 2 (1990) is often divided amongst fans.

Some hate the fact that it takes place in the "modern day" LA, instead of sticking to the blazing heat of the jungle (as the lore of the first movie implies that the Predator or a Predator visits at the hottest time of the season to create the local bogeyman figure), but this film does a fine job justifying the LA heatwave and honestly... the idea of keeping the Predator to one type of biome is pretty limiting. So I don't mind that.

As one can tell already, I don't think this movie is bad. As good as the first? No, it rehashes a bit too much for that. But it's still a fun and good movie.

And, notably, scarier.

But for context, Predator 2 is set in the far future of... uh, 1997 LA, where there has been open warfare between the LAPD and the Jamaican and Colombian Cartels. Like, not drug busts or stings, but actual warfare with armies of gangs and shit.

The late 80's and early 90's loved to depict LA as a dystopian hellscape where "law and order" was the only defense from total anarchy (as anyone who has ever lived in LA can tell you, racial tensions, especially between the public and police have not been good to say the least).

This entire setup is like a D.A.R.E nightmare or wet dream depending on who's asking.

(Also the Jamaican drug leader, King Willy, might also be psychic? This is the last time it's brought up, but man, I sort of wish we could see future plot lines where people are randomly psychic in these films.)

Anyways, the situation is certainly perfect for this Predator (named City Hunter to differentiate between Jungle Hunter), who takes to the city with a gusto. The difference in how the Predator is portrayed is fascinating, because the bare bones remain the same: he hunts people who are deemed as sport with alien technology.

Fitting with the ultra-violent theme of this film however, this Predator feels like a legitimately horror movie monster. Unlike the Jungle Hunter, City Hunter doesn't prefer to attack from afar, but rather ripping and tearing in close quarters combat, and when he does use ranged weaponry, it's stuff like spears, bladed discs, and nets that shred people into bloody messes.

And he's 110% a bigger asshole that Jungle Hunter: when the City Hunter decides to focus on our lead man, Danny Glover, he doesn't just hunt the man but psychologically torture him. He murders his partner - who is probably the least threatening human in the entire series - just so he can taunt Glover with his necklace at his own grave. He then copies the innocent words of a child just so he can use it as a creepy catchphrase when he decides to hunt Glover's other partners.

The iconic subway massacre perfectly exemplifies both aspects of the City Hunter. He interrupts a massive stand-off between armed civilians, gang members, and the police, just wading in and killing everyone indiscriminately as people frantically scream and claw over each other trying to escape.

(Speaking of, this film does have a LOT of fun having the Predator on modern sets. The above subway scene, City Hunter investigating a meat locker, and him performing emergency surgery in an apartment bathroom are all really cool).

Also, for being so divisive, this film creates a lot of Predator lore: the Predator won't kill (unarmed) children, he won't kill pregnant women, and he WILL kill the elderly if they are packing heat.

And this includes the trophy wall (with xenomorph skull - actually funny because we never see a Predator collect a xenomorph skull in the AVP films) and that the Predator tribe will honor and respect those who defeat their kind with a reward.

It does include that the government is aware of the Predator existence and tries to capture them, but this won't be a major plot line again until The Predator (2018) though it gets some tongue in cheek reference in Predators (2010).

Anyways solid film, lots of cheesey scenes and very tropey stuff that hasn't aged well (or aged in a way that makes it amusing). It's also that last movie that actually tries to be true horror, in my opinion. The rest of the films stick to Action with Gore, but Predator 2 is truly the last film where you feel like this was written to be a horror film.

Also, this film will be the last to really play into the world as being an overly dramatic action movie earth. It's all realism from here.

And then the film franchise will go quiet until 2004 and 2008 for the AVP films (that I won't cover here).

Finally, we get to Predators (2010), and obvious title call back to Aliens (1986) and I have to say, a pretty good trio of ideas: The human targets are actually kidnapped and dropped on a safari planet, there are multiple Predators with their own unique designs and gimmicks, and there is a internal war between the Bad Bloods (aka the Predators who break the "honor code") and the 'normal' Predator clans.

(It should be noted that Bad Bloods have been a thing for years in comics and books, but not really in the mainstream until this film introduced it to movie audiences)

I have to say, despite having a fondness for the film and loving the new ideas, this film is not as enjoyable as Predator or Predator 2. It unfortunately suffers from what I call 2010ism, where there's a lot of CGI blood/gore, a lot of lighting/shadows aren't natural in a horror sense, and the dialogue isn't memorable because it wanted to ditch the action movie dialogue.

The last part isn't necessarily too bad, and it even works with how Adrian Brody is portrayed as a cynical asshole who is purposely meant to be the opposite of Arnold in every way. But the most memorable dialogue is definitely from Walter Goggins (including his highly disturbing "bitch raping time" speech).

Also, it really wastes Topher Grace, Laurence Fishbourne, and Danny Trejo, along with the whole idea of a gang of multinational killers/soldiers/enforcers forced to work together. Not nearly enough time is given to them to bond as a team and have a moment where they show off how cool they are like Predator and Predator 2 did.

Coupled with the safari world being just... a jungle, it feels like a lot of good ideas with "safe" execution.

I don't mean to rag on the film, it's still very fun, and a lot of that is due to the Bad Bloods.

The idea of a particular group of Predators being so evil that they are even warring with their (smaller) counterparts is a great idea, imo, and these Bad Bloods are memorable for their gimmicks.

You had one who used drones as "falcons" to scan and scout out large tracks of terrain, another who employed alien "hounds" to harass humans like a fox hunt, and the leader who had a rapid-fire plasma caster that was overpowered as hell. They also employed other tech like alien bear traps, net traps, and voice decoys.

This movie definitely had the most advanced Predator tech seen on film at the time, making the Jungle Hunter and City Hunter look low tech by comparison, and I think also served to try and force the idea of the Bad Bloods being really "unfair" compared to others.

And of course, we get our first Predator vs Predator fight, which was suitably graphic and badass. Also, I liked that one Predator died by a human pulling a suicide vest attack. Idk, I thought it was pretty ironic considering that's what predators do when they are about to lose, and thought it was neat.

Ultimately, there isn't much else to say about Predators (2010), even though the film ends on a cliffhanger with more people (and aliens) being dropped on the planet. I enjoyed it, it had a lot of cool ideas, cool tech, and cool lore... but if the prior films could be compared to novels, this one felt more like a guidebook.

And now... eight years pass and we get The Predator (2018)

Where do I begin with this movie.

I guess I start with the obvious: it's bad. It's a genuinely awful movie with few redeeming qualities. I'd say it's on the tier of Alien: Resurrection, except this movie is actually offensive because of autism ableism (turns out that autism is actually the next step of human evolution and makes you naturally predisposed to using Predator technology).

And don't get me started on the sex offender controversy.

Sorry, I'm getting ahead of myself. It's just that this movie... jesus christ, I rewatched it for this post, and it feels like a fever dream.

The Predator (2018) ultimately, is a film that looked at everything that came before it and said, "What if we did it all on a grander scale? And make it bad?" The plot is that a Predator is being hunted by an even larger, more powerful Predator, because it plans on harvesting humanity. You see, in this movie, some Predators use the genes of animals they hunt to improve themselves. The Super Predator as he is called, is a massive 10 foot tall monster that has turned his body into a super weapon, with technology built directly into his biology.

The Good Predator arrives on Earth to warn humanity and deliver a "Predator Killer" suit of Iron Man armor that will help humanity defend the Earth from the oncoming invasion force. The Super Predator wants humanity harvested because... autism makes them super geniuses.... and he declares that a 12 year old boy with autism to be the greatest Predator he's ever met... just because he has autism...

Look, I don't know how the fuck I'm supposed to describe the plot of this movie. It's just bad. It's stupid. At one point they turn a Predator hound good by giving it a bullet lobotomy.

It feels like this movie hates everyone. It hates the Predators, literally killing off the Good Predator not even halfway through the film. It hates the cast, because all of them are forgettable except for Olivia Munn and Super Predator, and it kills the mystique of the Predators because it has Super Predator monologue like an actual supervillain.

The dialogue is genuinely awful, the actors have no chemistry, and the comedy (oh yes, this film acts like a comedy on several occasions) is the definition of cringe. I would call it "ChatGPT writes Predator" but honestly, ChatGPT could do it better.

Let it be known that my words do not do how awful this movie is justice. You can only understand how bad it is by watching it, but it's absolutely NOT worth the time.

Is there anything good about this movie? Besides the Holiday Special on home release?

The effects are pretty good. We see a lot of high tech Predator stuff and that's always cool. I think this had the highest budget of any of the films and it shows.

There's an action set-piece where Good Predator escapes from a government facility and uses an M4-Assault Rifle which is badass. One of the best action scenes in the movie and a neat tie-back to the government investigating them.

The Super Predator is a cool concept and I actually enjoyed him for a large part of the film. I liked that he could just pick up a human like a toy and gut him like a fish before tossing him aside. I love the idea of a Predator that isn't a hunter, but rather a soldier sent in to fuck shit up, showing off the different tech. Really gives the impression that their society has different roles and tech for Predators beyond hunting.

I wish they gave him a helmet and didn't let him monologue like a supervillain.

And that's it. That's the good stuff. Nothing else matters. It says a lot that I don't think Super Predator or the autism plot has been accepted into lore in comics or books.

It's even been argued that this film was deemed non-canon because of how abysmal the reception was.

Suffice to say, after this awful film, fans were pretty low spirit. Which made it all the more surprising when Prey (2022) was released 4 years later.

There was a lot of drama about this film: the franchise is dead, why is the film so woke for including woman and minorities, how can any human expect to beat a Predator with a bow?

This drama is stupid and should rightfully be mocked.

Prey (2022) was a breath of fresh air for the franchise and I'd argue the best film in terms of quality.

It quite literally goes back to the roots of the series and does something that really elevated the film: it made the Predator symbolise something!

This film takes place in the 18th century on the Great Plains, following Naru the Commanche healer who dreams of being a hunter. Meanwhile, a young Predator - known as the Feral Predator for his aggression - is dropped on the planet for his first ever hunt.

Obviously, you can see the parallels between the two as Naru learns to use tricks and tools to handle her weaknesses, while Feral uses brute-force and high tech equipment to slaughter the animals and humans of the planet. The Bear hunt scene, where Naru is forced to flee from a bear and helplessly watch Feral kill the creature with it's bare hands (haha), thus condemning her in his eyes as not a threat is perfect character foil.

Also, he's such a piece of shit, cheating the moment he feels like his prey has the better of him. But in a good way that makes sense for his character.

But on the grander scale, the Predator represents colonialism. A secondary antagonist of the film are the French fur trappers, who have been skinning wild buffalo and depriving the commanche of their food source, openly compared to the Predator skinning animals/humans for trophies instead of resources.

It's actually a lesson Naru has to learn from her brother and mother, that to become a true hunter is about doing so to support a community, not just for ego and idolization.

Its no accident that the Fur Trapper leader dies when Naru sabotages his gun and Feral dies when Naru does the same to his gun as well, with both of them trapped and crippled without any means of escaping their demise.

This film finally moves to make the Predators feel like evil villains who are supremely selfish, much like the first 2 films emphasized (and the third film did to a lesser extent).

But talk of how amazing Naru is as a protagonist and how great the Feral predator is as an antagonist, the film is just good. The cinematography is gorgeous, the actors are great, the Predator effects and costume are terrifying, and lore wise, it does a lot to show that the Predator society is not stagnant.

They evolve over the years and it shows.

And my god are the action scenes incredible. The Predator vs Fur Trapper fight is probably one of the most iconic scenes in the entire franchise now, and for good reason.

Or Naru's knife fight massacre

All in all, this film really shows that the Predator films can be more that action films and... whatever the fuck The Predator (2018) was trying to be.

These films can be used to explore the history of humanity and symbolize concepts that deal with oppression, bigotry, and dehumanization.

The title of Prey - the focus on making the protagonists human - versus the Predator title is incredibly fitting.

While a sequel is left up in the air, we do have confirmation that a new standalone film - titled merely Badlands - is set to come out soon.

I can only hope they learned the right lessons from Prey and we can leave the horrid past of The Predator (2018) behind us for good.

[betweengenesisfrogs]

A HOMESTUCK MANIFESTO

I want to think about what comes next after Homestuck.

That’s a challenge to the world as much as a personal mission statement.

I want to see writers and artists and creators making the next Homestuck, taking its themes and binding them into new fabrics, giving life to new creatures even more beautiful and uncanny than the original species.

I hunger to see new forms of story and image evolving with Homestuck in their DNA.

This process is already underway. Homestuck is a massive boulder dropped into the waters of culture, and the full wake of its ripples is still to be felt. But let’s call attention to this process and ask: what would happen if we engaged in it more consciously? If we sifted through our feelings about Homestuck to create something new, deliberately, with great and wonderful purpose?

The tools we need are within our grasp. Homestuck presents itself as magic, but it’s a work constructed in time out of specific storytelling choices. So let’s understand those choices. Let’s understand how Homestuck did what it did, and use Homestuck’s tools to build art that grips the soul of future generations as strongly as Homestuck did ours.

What follows is not a traditional literary analysis. It does not cite its sources; it does not seek to give us a comprehensive understanding of Homestuck. If it does, it does so only to the extent it suits its larger purpose.

Our goal here, our quest, if you will, is not to understand the Homestuck that exists, but the Homestuck that comes next.

Let's begin.

0. THE WILD GARDEN

Let’s lay the absolute groundwork here.

Homestuck is constructed as a re-appropriation of itself. Or to put it another way, it’s a big improvisational move, a process of “yes and”-ing so hard it develops a sprawling continuity.

Tiny details are constantly re-contextualized to become part of something else. A joke might turn tragic. A silly aside might turn into something profound.

But it didn’t have to be that way.

It’s crucial to understand that what we experience as continuities were in fact choices made at specific times. Homestuck is a garden where seeds were scattered in every direction, grown en masse, then weeded down to create patterns and forms.

The shape of the garden is designed to conceal the gardener’s hand. But the gardener’s choices are there, every step of the way.

If we are to follow in its footsteps, what choices should we make?

Let’s talk about themes.

1. THE MEANING CRISIS

Nobody in Homestuck knows what they’re doing.

And neither do we.

All the old idols have broken down. The values we were taught in our childhood fail to measure up to the problems of the world we live in. We grasp after careers and lives we were told would make us happy and wonder why we’re left empty. The selves that we were told were us now fit us about as well as clothing we’ve outgrown. Crises loom, political, economic and environmental, and everywhere it feels like the people who are supposed to guide and lead us aren’t doing enough.

It's widening gyres and slouching beasts all the way from here to Bethlehem, is what I’m saying.

The reason people go absolutely insane for Homestuck is that it depicts this crisis of meaning. It shows the questions we might want to ask, and attempts to provide some kind of answer.

The protagonists of Homestuck struggle with what I’ve called “received narrative.” That is, they’ve inherited stories from their families, from the world, that they try to use to define their lives, and it doesn’t work. But these stories are so familiar that it’s hard to think outside them. They have to develop new stories by which to live. Sometimes they succeed, but other times they can’t escape the gravity of the ones they were given.

With me so far?

Great. Now understand that all this was improvised and discovered largely accidentally over the course of ten years.

Here’s a seed that became quite an impressive tree:

The streets are empty. Wind skims the voids keeping neighbors apart, as if grazing the hollow of a cut reed, or say, a plundered mailbox. A familiar note is produced. It's the one Desolation plays to keep its instrument in tune.

It’s a joke. But it was never just a joke. There’s an idea here of dissatisfaction with the stereotypical idea of American suburban life. Egbert here is looking for something more, dissatisfied for reasons they can’t fully articulate. This is typical fantasy protagonist stuff, but there’s something more here, too.

Eventually it’s redirected towards the idea that there really is an unseen riddler. But let’s put that aside for now.

This page, in its moment, says: your life is not the full picture. There’s something else out there, waiting, that’s going to change everything.

That's a potential set-up for a very powerful payoff. It gives us the sense that Egbert and all their friends are going to have to rethink what they know. That this suburban life is not going to be enough for them, that somehow or other they’re going to encounter something they aren’t prepared for, and they’ll have to find a new way of acting and being. That, try as they might to avoid it, they’re going to change over the course of this journey.

But to understand how they change, we need to talk about SBURB.

2. THE PORTAL FANTASY OF IT ALL

A lot of people like to joke that Homestuck is an isekai. I think it might clarify things to use the term portal fantasy instead.

Portal fantasy is simply the fantasy subgenre of characters, usually kids, going to a magical other world. Maybe they make friends, maybe they learn lessons and stuff. You know the drill. I don’t have to to tell you more because the story structure is already so familiar. That’s what gives it power.

Portal fantasy differs from the related Japanese genre of isekai in that isekai in its current form is much more heavily based on video games such as MMORPGs. In the most pervasive isekai narratives, protagonists are rewarded not so much for achieving personal growth as being able to exploit the game mechanics of a game-like system. That’s pretty different from your typical Narnia scenario.

The influence of portal fantasy is everywhere in Homestuck, especially in the beginning. We have nods to the fantasy films of the 1980s that gave us our contemporary idea of this story structure, such as The Neverending Story (itself, in its original book incarnation, a phenomenal commentary on the genre). Our protagonists are genre savvy; they recognize what’s happening here.

But it doesn’t fit quite right. The odd note is first sounded when Egbert asks Nanasprite if what they’re doing is going to save the world. They’re bit unsettled to learn the answer’s no, that something else is going on here. Next we have the fantasy worlds: the planetary lands each present a veneer of exciting adventure. But their inhabitants, the consorts, aren’t fully-realized people, they’re largely cute animals going through the motions, not really understanding the story they’re telling. The carapacians are a little better, but they’re still trapped in a fatalism that feels uncomfortable.

As things rev up in Act 4, we learn about doomed timelines from alt-timeline Dave and Rose, how your entire existence in this setting may be fodder for something other than you. When we learn the true purpose of SBURB and its froggy details in Act 5, we see that SBURB is more like a biological creature, mainly interested in its own reproductive desires. It was never really about the portal fantasy at all. The kids are just along for the ride.

So when we see that Rose wants to tear through SBURB, find out a way to escape fate, and snatch meaning from the jaws of futility, it makes sense. We’ve been given hints already that this is the conflict at hand: the characters vs the story that’s telling them. 

(Note: it’s certainly possible to have a reading that SBURB is not evil so much as empty, that it reflects what you bring into it, that its will for you is your will for you. But that’s also a difficult thing, right? If you lack self-understanding, it’s a struggle to bring about your ideal reality.)

What we haven’t mentioned yet is that this is all mediated through the lens of video games. Which makes perfect sense. Because where do we seek meaning, especially as kids? In imaginary worlds that make more sense to us than real life, that give us achievements to take pride in and clear objectives to pursue.

SBURB evokes mechanics from games like Final Fantasy. We see its players complete objectives, cast magic spells, gain power-ups with colorful costume changes. But unlike the narratives implied by traditional video game progressions, leveling up doesn’t mean you grow as a person or process your trauma. Later, in Act 6, when we meet a player who has made his life about winning the game (Caliborn), it’s horrific to behold. 

Homestuck is a portal fantasy, but it’s fundamentally a portal fantasy about games. It’s a portal fantasy that shows us how characters seek meaning in being the best at arbitrary game mechanics, but ultimately fail to find it.

So I guess…it actually is an isekai? Huh. Wild.

(But seriously, Homestuck is actually fairly prescient in predicting the ideas that come out of isekai and LitRPG. It’s engaging consciously and deconstructively with the weird ideas of self-fulfillment these genres are drowning in.)

So what might a Homestuckian work look like? It will almost certainly critique a false narrative we live by. It may comment on portal fantasy, or our personal satisfaction that comes as easily as playing a video game. But it doesn’t have to be limited to these things. It might talk about our popular TV shows and movies. It may take apart what’s flawed in Marvel, the latest triple-A game, or the modern dark fantasy novel. 

Among its tools will be discomfort. Showing a disconnect early on between our character’s expectations and their happiness can serve as foundation to build on, so that when the flaws of the genre narrative are revealed, it feels like the truth. We may see characters who accept their narratives passively, or rebels like Rose Lalonde, who chose to rip everything apart in search of something better.

These are only some of the possibilities.

When I tell you the stories we live by mislead us, what is your relationship to that? If you were to tear these received narratives apart, what would you focus on, what would you try to say? The art that comes out of this question will be deeply personal to the soul who makes it.

But here’s another question:

Just who is giving us all these narratives, anyway?

3. THE PARENT FLIP

The world we live in was not made by us. It was shaped by forces that predate us, over which we have no control and are born into the grasp of without the knowledge of how to escape.

For instance, our parents.

The guardians who raise us provide our template for how to interpret life. We spend a large part of our lives immersed in the world they built, believing as they believe, living by the values that they instruct us in, so that we might carry their goals forward to the future.

This is an effort that is certain to fail.

Because the problems of today aren’t the problems of twenty or thirty years ago.  At best, their messages can only to help in a limited way with the crises we go through as we live our lives. At worst, they actively hinder us from dealing with them productively.

If we are to escape the broken patterns of our world, then we need break out of the stories an earlier generation gave us.

How are parents discussed in Homestuck?

Initially? As jokes.

If we take our “future knowledge” goggles off for a moment, we can see that the early depictions of the kids’ parents are a goofy parody of standard parental tropes. Mom and Dad are nameless, faceless, exaggerated cartoon stereotypes, and conflict between them and their children is initially expressed through a silly video game fight.

There’s a seed of something real here, though. What we’re parodying is a familiar trope of tension between parents and children in kids’ fiction and YA fiction. But that trope exists for a reason. This conflict is rich with potential for any story about growing up. And Homestuck has smuggled the idea of it in as a silly RPG parody.

So we can extrapolate, for instance, that there’s tension between Egbert and their father in part because Egbert doesn’t know yet who they want to be, and that Rose and Mom’s relationship is awkward and contentious, with alcohol involved. We see that there’s something profoundly uncomfortable going on between Dave and his Bro, and Jade’s life in the shadow of a dead Grandpa suggests a psychology that’s not entirely a healthy one.

Understand that I’m not saying that all this was there from the start. Rather, a choice was made to develop these interesting possibilities out of the jokes, to tell a story about how parents that act like these ones might have affected their children.

A major turning point in this regard is when Egbert learns their father’s seeming clown obsession was the result of a failed attempt to connect with them. It’s quite silly, but it plays around with the idea of a gap in perception between parent and child. It’s also a sign the story’s starting to take more of an interest in character psychology, suggesting that what Egbert processes consciously is not the same as their deeper unconscious feelings. This in turn can become a setup for a portrait of Egbert as someone who represses things they don’t want to think about. From this moment, in the long term, comes June Egbert.

When the psychology machine revs up for all the characters in Act 4 and Act 5, it’s able to do so because this foundation was laid.

We also, as early as Act 3, get hints that the parents have intentions and personalities outside of how the kids perceive them. The original purpose is to hint at a larger conspiracy around SBURB, with Mom building a secret lab, Dad trying to investigate the mystery, and Grandpa jumping in and out of time. But what this suggests is that the psychology of the parents might at some point come into play.

But the most exciting development in the relationship between parents and children is Act 6.

The great role reversal. The parent and child flip.

How do you make your faceless parent figures into characters?

By making them kids.

We’re so used to this concept now t that it’s hard to remember how wild it is that Roxy is a teen version of a main character's mom. But the concept is genius. Meeting these characters on the same level forces our protagonists to understand them as people and reflect on their fallibility.

For us as readers, it adds detail and nuance to the cartoonish portraits we got in the beginning. Conversely, we also see what our protagonists might have been like as parents themselves—and turns it from a story of “parents just don’t understand” to a story of how people, despite their best intentions, can wound each other.

(The Homestuck Epilogues are a difficult text to evaluate, but one of the best things within them is Egbert’s arc in Candy, where we see how Egbert might have done as a parent, how their struggles with finding purpose in the world might lead them to embrace a narrative of parenthood yet struggle to have a good relationship their kid. It’s brilliant, and the culmination of everything we’ve talked about here.)

Thus the Homestuckian work of art will be concerned with themes of parents and children. It will play with the boundary between what children understand about their parents and what they don’t. It will show parents as people—fallible people, who make mistakes with severe costs, whose stories fail their children and themselves. It may build from a simple base of what children understand, or it may weave parent and child perspectives together. It may even show us how children fail when they become parents themselves.  It will show us the cycles we are trapped in, how we wound and are wounded by our context.

And it will force us to look for a way out.

4. CLASSPECTS AS SIGNPOSTS

Hey. You want to know a secret?

Come closer, and I’ll whisper it to you.

Classpects aren’t actually all that complicated. Ultimately, they boil down to one thing:

Symbols we can use to construct a self.

If Homestuck is about a crisis of meaning, then classpects are part of its answer.

What do we do, when the world gives us no story we can live by?

We make one. We make one out of whatever symbols and messages we can find and put together from the stories we’ve read, from the people who teach and inspire us. Such collages are powerful things. They give us a way out of the dark, they give us a sense of something we are and can be, where there was nothing before.

They give us, in short, a personal mythology.

Classes and Aspects have often been read as codes to be unpacked and solved. It might be more productive to see them as creative tools, signposts designed not to narrow down meaning, but to allow us to explore it.

For instance, the portrayal of Light in Homestuck is unique. As a symbol, it combines notions of brightness, knowledge, future, luck, wealth, and narrative focus. These things aren’t inherently linked out in the world, but they are here, and that’s a choice, and an interesting one. It encourages us to imagine connections between these concepts, and to see if they have any relevance to ourselves. Identifying with the concept of Light, in other words choosing to value clarity, luck, and importance, might be a powerful tool for finding one’s way in the world.

Classes play with signposts at an even more basic level. Sure, we can talk about what a Knight does in the context of the story.

But a knight is already a powerful symbol. We bring so much cultural context to it. The word conjures up images and narratives of devotion, duty, violence, the slaying of dragons, armoring oneself against the world, and the rescuing of princesses. If we put that together with a concept like Time, we get a distinct character. If we put that together with our own experience of the world, we can create powerful concepts for who we want to be.

Interestingly, this complicates what we said about SBURB. As much as our protagonists struggle to find meaning within it, there’s still something there that they can latch onto. Classes, aspects, denizens, even consorts and lands—these things don’t have to be devoid of meaning. We can choose to affirm them; we can build something out of them, and say, yes, this is me, this is myself.

But it’s a double-edged sword.

We are responsible for the narratives we choose to live by. And we may find ourselves falling into a narrative that hinders us more than helps us, that creates a self-destructive self.

What does it mean to believe deeply that you are a thief, that taking from others to benefit yourself is the best way or comes to you the most naturally? What does it mean to tell yourself over and over that you’re a prince, with all the attendant baggage of power and grim responsibility that comes with that concept? Or, to follow the path further, what does it mean to tell yourself over and over that you are a destroyer or must be destroyed?

If we are to escape the story we’re trapped in, we must take care, lest we trap ourselves in a story of our own making.

Homestuck never quite resolves the ambiguity around these symbols of self, around whether SBURB hurts or helps, whether classpects are things you create or things that create you. But this ambiguity is a productive one. It gives us symbolic tools we can use in the creation of meaning, and it shows us the side of them that should make us wary.

The work that is to come after Homestuck will be about symbols. It may show us how we seek them in popular culture, or the people around us. It may use some of the clusters of meaning that that we see in Homestuck, but it will not be limited to them. It will write its own language of symbols, joining Light and Time to notions like Memory, Need, Rupture, and War, and be filled not just with knights and princes but brigadiers, lancers, healers, druids, taxidermists, sentries and waifs.  It will build with tarot cards, enneagram types, and Babylonian gods. It will place all the signposts we’ve created in millennia of existence into new contexts and meanings.  

By such means will it show us a way forward.

There’s one kind of symbol we haven’t talked about yet, however.

The kind that holds a mirror up to the world.

5. THE POWER OF ALTERNIA

There’s a reason dystopias have been so popular in young adult fiction. Sure, they’re cliché now, but they speak to something raw and visceral.

When you’re growing up into a world that doesn’t make sense, it’s natural to find refuge in emotional extremes. Stories of blood and violence, fates worse than death, and governments that demand horrific things of their citizens speak to the anxieties of the adolescent mind. They validate the feeling that something is wrong—that the world we’ve inherited is broken and unfair and has no place for us. And they’re right.

Alternia taps into these dystopian feelings perfectly. What makes it so fun is that it’s an inversion of a teenage fantasy. It’s a world where there are no parents, where kids can have access to power and violence, where you can sit around and play video games and design your own house. It almost feels like a response to the “parents don’t understand” themes of the early acts.

But the dystopia’s there, and it’s sneaky. A land of lost boys and girls isn’t actually all that great to live in. It’s lawless, survival of the fittest, with children killing each other left and right. And the future adult roles most of the troll kids aspire to are a glamorous veneer over competition for slots in a fascist military hierarchy. Which is to say nothing of the blood caste system as a way in which the kids are taught by their world to abuse and exploit each other. Crushes, personal slights, competition for status, group dynamics, attempts to define identity – all these familiar teenage dynamics play out on a backdrop of maiming and murder.

Which is perfect. Because when you’re young, all those social interactions genuinely do feel like life or death, and adulthood a regime of exploitation and horror bearing down on you. Alternia is a heightened, exaggerated version of reality. It expresses an emotional truth, not a literal one, validating our most intense feelings and giving us a road map to understanding them.

No wonder so many people wanted to skip to Act 5 and get to the trolls.

(See also Hiveswap Friendsim and Pesterquest, which explore these themes really really well.)

And Alternia, for a world where parents aren’t really a thing, tells us a surprising amount about the parental generation. In mid Act 5-2, Ancestors are added to Alternia’s wordbuilding, and we learn that as much as the trolls skipped having traditional parental figures, they were never devoid of role models. The deeds and exploits of notable figures throughout ancient Alternia gave them models to think about each other and themselves—even when those models were toxic ones. In a way, this isn’t so far from the human kids at all.

Furthermore, as time goes on, we acquire an origin for Alternia’s fascist worldview. Doc Scratch, manipulator of society, stands in for all those aspects of the world that work to create the false narratives we are born into, a true evil father figure – or uncle, if you prefer. And he's an extension of the ultimate evil father figure, Lord English, who controls not just Alternia but the timelines of the human children as well, whose belligerence and apathy give us aeons of toxic narratives and abuse. We see that story played out in Alternia in every interaction, in every moment, the beliefs its architects live by.

This is the power of dystopia—it can hold a broken mirror up to the world we live in.

Therefore the Homestuck that will come after Homestuck will worldbuild gardens of horror. It will not pull its punches but show us insidious societal systems and the effect they have on the people who live under them. It may depict fascism, authoritarianism, feudalistic tyranny, or all three. It will be unafraid to evoke blood and guts but use them to paint a picture of what we want, what we fear, and how we break under our false horizons.

As it depicts the path out, so, too, will it have its reverse side—it will show us all the hells and purgatories we’re trapped in.

6. SAILS TO THE WIND

Much has been written (including by this very author) about Homestuck’s metafictional aspects – the way it comes to foreground a more direct clash between character and narrative.

But the point I want to make here is that the metafictional angle wouldn’t work without these earlier choices. They allow the comic to talk about these concerns long before any notion of canon rears its head.

There are many ways of approaching these themes, and we don’t have to be limited to notions of Ultimate Selves and Beyond Canon to explore them. Such things are valuable, but they are only one retelling of the myth. If we are to make the next Homestuck, we must make our own.

I want to illustrate the space of possibility by offering some examples of works that explore similar themes. Note that I’m not saying these works were influenced by Homestuck in any way, but rather that they use some of the same tools to speak to the same questions, anxieties and concerns.

In trying to make what comes after Homestuck, we might consider:

Revolutionary Girl Utena, which foregrounds the archetype of the Prince as duelist, tyrant, and hero and dares its characters to break free from the false reality that shapes even these aspirations and dreams.

The Familiar by Mark Z. Danielewski, author of Houseof Leaves, whose core narrative concerns an twelve-year-old girl in thrall to an entity whose intentions are unclear but may be shaping the fabric of reality itself; which depicts the inner lives and uncertainties of her parents with just as much detail as they struggle, and sometimes fail, to make the right choices to help her; a story which, even in its incomplete form, explores a notion of a greater S.E.L.F that is not just you but also those who share something with you, where characters from other realities blur into transcendent archetypes in this one.

Digimon, perhaps the quintessential work of portal fantasy, not only Digimon Tamers, which steers the genre into a place of trauma, cosmic horror, and adults horrified by children saving the world, but also Digimon Adventure, which creates strong character arcs for eight very different children as they try to navigate a strange alien world, and shows us their struggle to reconcile with their parents as part of the process of understanding themselves.

The Neverending Story by Michael Ende,foundational text for Homestuck, which tells us not only about the rich possibilities inherent in reading oneself into fantasy worlds, but also the terrible potential for harm in making oneself an emperor over them.

Pale, by Wildbow, author of Worm, an urban fantasy story about three teenagers thrust into a world of magic and murder, a world where symbols literally create reality, where concepts like Carmine and Aurum have a powerful pull, where the Self is something that can be nourished or taken apart and put back together, a story where the parents are not just supporting cast but fully realized people forced to reckon with the ways in which they have deeply failed their children, and which contains perhaps the most thorough investigation of the question of “is it good for children to go on magical adventures?” ever committed to the page.

Heaven Will Be Mine, by Aevee Bee,in which the giant robots we pilot through space become the symbolic manifestation of our inner selves and our way of bringing about our ideal reality, and, relatedly, We Know the Devil, in which the repression of those selves causes them to burst out from us in terrifying and glorious new forms.

Crow Cillers, by Cate Wurtz, an often trauma-filled horror comic in which a group of kids and, eventually, adults, tries to fight back against an ever-present death cult that has its grips on every corner, all the while encountering Psyforms, beings made of pure mind, while characters from television and cartoons dance in the margins and all the while the line blurs between audience and art until it becomes difficult to tell who created who—a story that asks what it means to find meaning in stories when the corporate entities that own them are trying to devour us.

It's a tragically short list, I know. But perhaps it conveys some of the angles we might take.

We can also look at works that are known to have inspired by Homestuck. There aren’t many yet, but there are a few.

Undertale is famous for its Homestuck influences, with parallel timelines, an idea of agency that persists across them, and a contentious relationship between player and character, but for my part, I’m just as interested if not more so in Deltarune, which seems to be slowly building a grand thesis about portal fantasy, where the kids' adventures in the Dark Worlds seems to be offering them an escape and helping them become their best selves—but hints at a coming challenge to that simple worldview in the question of who’s really experiencing that escape.

The Locked Tomb, by Tamsin Muir – This is the big one, that really shows what building on Homestuckian themes can achieve. It turns out there really is an audience for weird aggro formalism in scifi publishing if you make it sufficiently gay. But smartly, like Homestuck, the Locked Tomb builds its weird mysteries gradually, adding on layer after layer on the solid foundation of characters we can follow and get invested in. There’s so much to notice – there’s the highly categorized teenagers involved in a murder feud, there’s the constant whiplash of humor and tragedy, there’s the endlessly open spaces in the story to interpret and project on to.

But to me, what stands out the most is the portrait of God and his court as every bit as emotionally chaotic as the sniping teenagers. You go to heaven, and God’s making out in the corner with his friend group, and you look for the adult in the room but the adults in the room don’t know what they’re doing and they never really did. It’s a portrait of the parents, it’s a portrait of the Ancestors, it’s a portrait of the gods of the new world, and it’s exquisite.

The Locked Tomb gives us a world at war with its own mythological narrative, rich with angst and irony. It’s a worthy successor to everything Homestuck was doing. It shows us how much these themes can say to us, and it gives us a hint at how powerful Homestuck's legacy might be.

7. THE APOTHEOSIS OF HOMESTUCK

There’s a lot of discussion about how to continue Homestuck. How to do it justice. What post-canon might look like, and what it might not. What fan comics, what fan fics, what semi-official works truly live up to the spirit of its characters and its multiverse.

To be clear, those discussions are awesome. I’m so glad those things exist, and it’s wonderful to see them unfolding.

But I don’t want the process to stop there. I'd be disappointed if it was only about adding to and re-articulating Homestuck itself.

I want this—

—This multifaceted, complicated, emotionally laden thing that is the experience of engaging with and creating with and interpreting Homestuck—

To go out into the world and to be infused into the world, to become waves spreading further and further. I want to experience the Homestuck artistic movement, the Homestuck school of thought. I want it to be an influence on the fiction of the coming generation of authors, and the next, and the next.

I want Homestuck to be one of those albums that's too obscure to be known by the general public, but everyone who listened to it went on to start an enormously successful band.

Homestuck can appear like a thing that was conjured out of the ether, but it isn’t. It’s a product of a particular time.

But that in itself is profound. When you create art, you reach back to all the things that have shaped you, and you listen to what the world around you needs, and you try to say what needs to be said. Which means you're a part of a history and culture that needs to say those things, which will be different from the things that needed to be told yesterday, and different from the stories that will be needed tomorrow.

There’s no otherworldliness to it, no platonic other reality. But for all I've talked about art being made of choices, there's still something transcendent here.

To make Homestuck—and to make art inspired by Homestuck—means being a node in a web formed of millions of people, where a light passes down the chain to you, and for the briefest of moments, you get to be filled with its presence, before it moves on to the next person in the chain.

That light isn't yours. Not really.

But at the same time, you do get to choose how that light manifests.

And to engage with that process consciously—to think deliberately about what we want to create—that gives us power and agency over that process, our sense of the world, and ourselves.

So let’s do this. Let’s make the thing that Homestuck is telling us can exist, the thing it’s paving the way for, the thing we know in our soul can come to be.

Let’s make the next Homestuck happen.

—Ari

POSTSCRIPT

“To put out a manifesto you must want: ABC

to fulminate against 1, 2, 3

to fly into a rage and sharpen your wings to conquer and disseminate little abcs and big abcs, to sign, shout, swear, to organize prose into a form of absolute and irrefutable evidence, to prove your non plus ultra and maintain that novelty resembles life… I write a manifesto and I want nothing, yet I say certain things, and in principle I am against manifestoes, as I am also against principles… I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air…”

— Tristan Tzara, “Dada Manifesto 1918”

"The cyborg is resolutely committed to partiality, irony, intimacy, and perversity. It is oppositional, utopian, and completely without innocence....the cyborg would not recognize the Garden of Eden; it is not made of mud and cannot dream of re-turning to dust...This is a dream not of a common language, but of a powerful infidel heteroglossia. It means both building and destroying machines, identities, categories, relationships, space stories...I would rather be a cyborg than a goddess."

— Donna Haraway, "A Cyborg Manifesto"

“What we need is works that are strong straight precise and forever beyond understanding... let each man proclaim: there is a great negative work of destruction to be accomplished. We must sweep and clean…to divest one's church of every useless cumbersome accessory; to spit out disagreeable or amorous ideas like a luminous waterfall, or coddle them—with the extreme satisfaction that it doesn't matter in the least…freedom: Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies: LIFE.”

— Tristan Tzara, “Dada Manifesto 1918”

“These are really the thoughts of all men in all ages and lands, they are not original with me,

If they are not yours as much as mine they are nothing, or next to nothing,

If they are not the riddle and the untying of the riddle they are nothing,

If they are not just as close as they are distant they are nothing.”

—Walt Whitman, Song of Myself

𖤓

[yatima]

A propos of nothing in particular I wanna talk about Lieutenant Colonel Henry Blake from my other favorite TV show, M*A*S*H. Henry was based on a historical person who seems to have been pretty shitty, and in the sitcom he starts out as a terrible leader and kind of a hateful jerk. Over time, though, he demonstrates competence, shows real growth and, thanks to a terrific performance from a gifted actor, becomes a beloved character.

In the final episode of the third season, Henry gets his much-wanted honorable discharge from the Army and is given a hilariously chaotic send-off from his unit in Korea. Just as we think he's going to be safe for the rest of his life in Bloomington, Illinois, Radar comes into the OR and speaks the words that are engraved on my HEART: "Lieutenant Colonel Henry Blake's plane was shot down over the Sea of Japan. It spun in. There were no survivors."

My God. People were SO MAD at the showrunners. Henry worked so hard! He went through so much! He deserved an endless retirement full of fishing! He didn't deserve a random awful sudden death! We loved him and how he interacted with all the other characters and we missed him for the rest of the show!

My God if the rest of that show wasn't immeasurably changed and improved. After Henry died for real, everything had stakes. Profound tone-shift from wacky hijinks to still incredibly funny but character-driven and insightful. Frank and Margaret went from flat caricatures to - well, at least in Margaret's case - one of the best and most complex women on TV at the time. (Team Let Frank Be Trans can still win.) The shallow nihilism that the early seasons shared with the novel and the film was replaced by a hard-earned melancholy that set the comedy in high relief. Henry's death underscored one of the most memorable exchanges in the show, that came two entire seasons later:

Hawkeye: War is war, and Hell is Hell. And of the two, war is a lot worse.

Father Mulcahy: How do you figure that, Hawkeye?

Hawkeye: Easy, Father. Tell me, who goes to Hell?

Father Mulcahy: Sinners, I believe.

Hawkeye: Exactly. There are no innocent bystanders in Hell. War is chock full of them — little kids, cripples, old ladies. In fact, except for some of the brass, almost everybody involved is an innocent bystander.

M*A*S*H isn't just a show about war. It didn't just define the modern workplace comedy, it did so by making the point that the modern workplace is where most of us viewers spend our lives trying to reckon with the violent empire in which we are embedded. At its best, M*A*S*H showed us that the resistance lives and endures in pockets of unconditional love and mutual aid.

Henry wasn't being punished for anything, and his death wasn't a statement on the part of the writers that people like him don't deserve to live. The writers loved Henry too. People, unfortunately, die. We are all going to die (cue Sufjan Steven's Fourth of July), some of us old and surrounded by people who love us, and some of us way too young and unfairly and not infrequently as a direct consequence of the aforementioned violent empire. The randomness and cruelty of it is what makes love and resistance so utterly necessary and beautiful.

Rest in peace, you lovable jerk.

[tobiasdrake]

And then Steve's ending sucks and is bad.

Steve's ending infuriated a lot of Stucky shippers for obvious reasons. But. Like. Here's the thing: From a filmmaking standpoint, the Stuckies are right. Sending Steve back in time just doesn't work for multiple reasons, both in and out of universe.

This is going to be a longie.

#1 - Time Travel Doesn't Work That Way

The first problem is the in-universe one. This ending is so busted that the directors and writers actually have separate interpretations of what happened, and they're both wrong.

According to the directors, Steve created a parallel timeline where he's lived with his Peggy. He used the time machine to return to this timeline and go to that bench, but only once he was super old for, uh, some reason?

Problem is, according to this movie, you can't do that. You can't make a new timeline without removing an Infinity Gem from it, and also making new timelines is bad, remember? Further, the film gives no indication that Steve time traveled here. He doesn't appear on the Quantum platform. He's not wearing his time suit. He's just chilling on a bench, staring at the horizon.

The reason the film gives no indication for how Steve arrived here is because of the writers' interpretation: Steve arrived in the past of this, the main timeline. Steve himself was Peggy's mystery husband back in Winter Soldier. Old Steve has always been here, waiting for this moment.

That's actually worse than the directors' explanation. The movie has been very clear on the point that you can't directly change the past. Even after they prune the timelines, Loki didn't actually escape in 2012. That never happened. The events of the Time Heist never happened, from a historical perspective.

The internal logic of Steve's jaunt doesn't work out, no matter which way you slice it.

#2 - The Future is Scary and You Should Run Away

The second problem is what it does to Steve as a Man Out of Time. The white-hot core of this character direction is that he is an old man living in a world he doesn't recognize, and having to adapt to changing times. That's something we all have to deal with eventually.

So what is Endgame's final statement on Steve's efforts to fit into society? It's that he can't. Trying to live in this world he doesn't know is a futile gesture. In the end, Steve gives up, sinks his head in the sand, and rejects modernity. He embraces the shallow image of a woman he once loved was attracted to and lives out the rest of his days in a reactionary fantasy world.

I guess there is no value in changing and growing to adapt to the new world around you. What a shitty ending.

#3 - To the End of the Line

And finally... yeah. I'm sorry to tell you this, but the Stucky shippers were right. Not necessarily about Steve and Bucky's relationship being canonically romantic. But about Steve and Bucky's relationship being the driving emotional throughline of the entire Captain America trilogy.

In the end, this ending is the epitome of the problem with the way writers write platonic relationships versus romantic ones. Throughout the trilogy, Bucky is the most valuable and important person in Steve's life.

Steve defied orders and officially joined World War II, venturing deep into enemy territory alone, for Bucky. He was ready to die for this man. He laid down his shield and accepted the Winter Soldier's violence out of love for the man behind his eyes, and that sheer unrelenting loyalty brought him back from the monster he was programmed to be. Steve went to war with the Avengers out of love for Bucky.

And whether you take that love to be romantic or platonic, it doesn't change the fact that this is what drives the films. Not Peggy. Never Peggy. The films occasionally pay some attention to Peggy and Sharon, but they aren't actually interested in using these characters as characters.

(In fact, they're so disinterested in Sharon that she drops off the face of the universe in Infinity War and Endgame. Not even a namedrop. The moment the filmmakers decided to send Steve back to Peggy, Sharon ceased to have any value as a character and was consequently erased. They do not care about these women and their stories. The Carters are just the obligatory love interests.)

Instead, Peggy is merely the symbol of what could have been. She represents the life Steve lost, but is barely treated as a person in her own right. She's just a picture in his wallet that he can pine after. She doesn't move the story along, and his feelings for her rarely amount to more than Steve being sad for a little bit and then continuing along with what he was doing.

And this is how it always is. The best friend is the diehard series-defining relationship that moves mountains and saves the universe. And the girlfriend is just there, getting little focus or development. Steve and Bucky prove their importance to each other again and again, but no attention is paid to why Peggy is important. "She's a woman. He's a man. What more do you need?"

I'm not, personally, a Stucky shipper. But "I'm with you to the end of the line," still meant so much to me. This was the emotional core of the Captain America trilogy, right up there with "I can do this all day." Steve suddenly quitting on the future, quitting on Bucky, and running off to bury his face in Peggy's bosom felt like a betrayal of everything the films have ever told us about these characters. Peggy just wins. Because we need to marry him off somehow if we're going to tie up his journey!

It is neither a joke nor an exaggeration to say that the trajectory of Captain America throughout the MCU was ruined at the very last possible second by the straight agenda.

[pocketseizure]

I still consider it a crime that the Gerudo sage of the past had NOTHING to say about Ganondorf in TotK. They could have grown up together. They could have trained against each other. They could have been siblings, friends, lovers, or just classmates. Is she sad or angry at him for attacking Rauru? Did she like him as king before he attacked Rauru? Is she jealous that he gets to rule the Gerudo and not her? How does she feel about the other Gerudo joining him over her? So much missed potential.

This is all true. So much missed potential. The same goes for Riju.

The same goes for all of the Gerudo, especially given that anyone can see the giant geoglyph of Ganondorf in the Gerudo Highlands from the walls of the city. A main theme of the development of the Gerudo in Tears of the Kingdom seems to be the reconsideration of their rule not to allow men into Gerudo Town, which stems from "a long-held belief that men only bring disaster." The revelation that the Eighth Heroine was a man in Rotana's "Heroines' Secret" quest could have been used to make a strong thematic statement in this regard, as could the stories of several other NPCs in and around Gerudo Town. Unfortunately, since no one is allowed to acknowledge or discuss the existence of Ganondorf or the origin of the prohibition against men, all of these narrative threads are left hanging.

I understand that a lot of the writing in Tears of the Kingdom was outsourced, and the contracted writers were almost certainly given the directive not to include anything that might inform or contradict series lore. For most of the NPCs in Hyrule, this is fine. In fact, I'd say it's actually quite lovely to be able to see all sorts of small stories that have nothing to do with magical princesses or ancient kings. For the Gerudo in particular, though, the inability of characters to talk about a major element of their history and culture is extremely awkward and frustrating.

[olderthannetfic]

One commenter is mad at me because I had "clearly ace-coded" a character and then "chickened out" by "reversing" his sexuality. After a lifetime of abuse at home, he knew he didn't want to be pushy with his love interest, but developed a people-pleaser complex, where he would go along with whatever the other person wanted automatically. So when asked if he actually wanted to have sex, he stared at them and had a moment of "...if she wants to? I want what she wants" because he's 16 and he's Bad At Feelings.

Apparently this was clearly me saying he's ace and my having him turn out to be fine with the idea of sex when he's older is ace erasure. And I should feel bad, because I wrote something and then took it back, which is cruel to do to the aces in the audience, because ace rep that's not aro but still ace is so rare and this makes my only ace character in the story aroace (and not looking for a relationship and not having sex), which is "a hurtful stereotype and a child's understanding of what aroace is". Apparently I was "acebaiting".

And I have just had my inbox open and been staring at this in confusion for an hour because... sometimes teenagers are bad at knowing if they want something. He was never coded in any direction other confused teenager coded. Also, where is this person from that there's a ton of aroace representation? Actual canon aroace characters are super rare, as evidenced by the fact there are none in canon for the show I'm writing for.

Also, why does he have to be representation of anything? I'm a fanfic writer, I'm not leading a Pride parade. Sometimes a teenage boy side character represents nothing because this is a story, not a bold political statement. Not every character needs to represent something. But also, uncertainty about sex because your entire life has been spent doing what other people want automatically in an attempt to appease others and being asked what you want is weird? That's an experience people have. Why is that not worth representing unless it turns out a Pride flag is involved later?

I'm not anti-headcanons. Headcanon him away as ace or demi or whatever pleases you most. But your headcanons are not the author's responsibility to live up to and the author isn't being offensive when they fail to live up to it.

--

Some audience members are hilariously entitled. They don't need to be handled with kid gloves.

[shadowynn]

| the paradigm complex | two |

pairing: ot8 ateez x fem! reader

genre: yandere!vampire!cult!poly! ateez au

warnings: yandere behavior, cursing

They'll do whatever you ask. Anything you need. Anything you want. It's yours. They'll fulfill your every desire and whim. Give you the life you had always dreamed about.

And in exchange, you wouldn't just give them your soul. Oh, no. They weren't demons. What good was your soul alone when your purpose was better served alive and well? Your soul was nice, sure but it wasn't all they wanted. It wasn't all they needed. They needed your body, your mind. Your blood. You entirely. Every single fiber of your being was essential and would soon be theirs and theirs alone.

The moment you signed that contract, everything would change. For them and for you.

You just didn't know it yet.

And there was nothing you could do about it.

wordcount: 6.3k

a/n: okay, okay, so i totally went into this as like a fun little side project, so i was and still am absolutely blown away by the support you all gave me for part one. like, i was not expecting that at all and just want to thank you all for all the love you sent my way and i'm so appreciative of you all. i totally planned on getting this part out sooner, but writer's block hit a little hard and i spent more time editing and rewriting than the first part due to the interest the part received. so, once again, thank you all so much and i hope you enjoy part two. :)

| one | two | three |

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

"You're really going to wait and pretend to leave when she gets here and then sneak your way inside?" Seonghwa's arms crossed, shifting his weight against the doorway to the front office when he saw San idling near the building's entrance. "Just so you can 'accidentally' bump into her and introduce yourself."

"Yup," San replied without any hint of shame, simply bouncing on the balls of his feet next to the entrance. "It's only right that I go out of my way to introduce myself since we will be living right next door to each other and make sure she knows I'll be right there if there's ever anything she needs."

"Oh, wow, really? Who would have known?" Wooyoung's voice floated out from further within the office, heavy with sarcasm. "It's not like you haven't rubbed that fact in about a hundred times by now."

"Shut up, Woo. We all know you, Seonghwa, and Yeosang are going to get to see her the most." San's smirk slipped. "After all, you are the ones who'll be getting to work with her."

"Perhaps, but why do I get the feeling someone will be abusing their power to tweak the schedules and benefit themselves." Wooyoung's voice grew louder as he left his desk and made his way to the doorway Seonghwa leaned against, stretching out the muscles in his back from sitting. "I wonder who that would be, huh?" His eyes narrowed in Seonghwa's direction.

"Well, I am the senior manager." The elder made no attempt to rebuke Wooyoung's statement, simply smirking at the implication.

"A title you only got by fucking age, you bastard." Wooyoung rolled his eyes. "And if I start to notice a trend, I'm going to tell Hongjoong someone hasn't been playing fair."

"And you don't think he's not going to use his seniority to influence her either?" Seonghwa asked, shifting his position against the doorway. "We might all be sharing, but that doesn't mean it won't come down to every man for himself when it comes to who gets to have her first. And we all know playing fair won't be a part of this game."

At the thought of finally having you, finally tasting you, San was unable to keep his fangs from growing as a newfound thirst took over. His tongue rolled over their sharpened points, the image of your body beneath him and the supple skin of your neck bare and exposed just for him, all but begging for him to take you, filling his head.

"It'll be a while until we fully get to savor her though," Wooyoung interrupted San's thoughts, taking note of the direction his mind had gone from the fangs that had extruded past his lips. "Yeosang says she reeks of him. It'll be a few weeks before we get his blood out of her system."

"What was it I said?" Yeosang interrupted their conversation when he suddenly rounded the corner from the stairs, a cup of tea in hand and looking like he had just tumbled out of bed with the messy state of his hair and the yawn that followed. "Oh," his face fell, "she's not here yet."

"Fucking hell," Seonghwa sighed, shaking his head. "You too?"

"Me too, what?" Yeosang cocked his head, an overtly innocent expression on his face as his thumb pointed to the mailboxes at his right. "I'm just here to get my mail."

"Dressed like that?" Seonghwa's eyes glittered dangerously as he took in the casual outfit Yeosang wore, the tight-fitting sweatpants and loose tank exposing his sides all but screaming for attention. For your attention. "And precisely," he paused to check the time on his watch, "two minutes before she's supposed to be here?"

"Precisely," Yeosang smirked and took a sip of his tea, making no further move to get his mail like he had claimed.

"And here I was thinking you were better than this."

"Then clearly you don't know me half as well as you think you do if you believe I'm going to waste an opportunity as this one." There was a slight edge to his tone, yet his expression remained playful, reminding Seonghwa and the others of the darker side beneath Yeosang's generally easy going attitude.

It had been a long time since someone had piqued his interest anywhere close to where you had, and his reaction only served to excite the others even more. If you had him this riled up, this eager for your attention, you must have been something quite extraordinary.

"I am the one who found her, after all," he quipped, leaning back against the wall behind him, "and I won't just stand aside to let the rest of you catch up."

"You didn't find shit, Sangie, and you know it." San shook his head, rebuking his statement. "She came to us, remember? Willingly. You just happened to be the lucky bastard who was working that day."

"Perhaps," Yeosang shrugged, "But that doesn't change the fact I was the one who convinced her to fill out the application and I'm the one she'll be thanking for helping her get accepted."

"God, why the hell did you give the open house to him?" Wooyoung whined.

"Because the one time I left you in charge of an open house, you ended up killing one of the attendees and then Hongjoong and I had to spend the rest of the day fixing things," Seonghwa answered, giving Wooyoung a pointed look. "And we all know Yeosang has the best sense of smell out of all of us, so it's only natural he's the one that picks. He hasn't failed us yet, has he?"

"It's a good thing I did it too because I highly doubt the rest of you would have been able to pick it out," Yeosang replied. "Sure, I was suspicious as to why another vampire's scent was all over her, but it wasn't until we were outside and the wind blew just right that I noticed the subtle hints of her own scent coming through. And trust me, there's no way she's not a-"

Yeosang was interrupted when the office phone began to ring, alerting them all to what was about to happen and ending their current conversation. In a matter of seconds, each man was moving towards the task at hand to ensure your first interaction with them was nothing but flawless.

Wooyoung collapsed into his chair, hurrying to press the button that would open the front gate for you, more than eager to finally see you face to face. He had seen the pictures Yeosang had snapped of you without your knowledge, and these had only added to his excitement, your beauty more than evident.

San kept his place next to the front door, checking his appearance one last time in the nearby mirror as he waited for the perfect moment to 'leave' the building and bump into you.

Yeosang took his time finding his mailbox, casually shifting through the few pieces it had contained while he waited for you to enter the building and have a chance to speak to you once more.

Seonghwa rolled his eyes as he strayed for just a minute longer, eyeing both of their childish antics with partial annoyance. He couldn't really blame them, not when this day was something each of them had waited centuries for. Not when this was something they had all begun to believe would never happen to them, all but losing hope someone like you would come walking into their life. If the roles had been reversed, he knew he would have been acting similarly to them, but today's events were important. What happened today would dictate your future with them and the last thing any of them needed was to fuck it all up because some of them couldn't be patient.

He knew their behavior wasn't really a cause for concern, however they might have annoyed him. You may have not been legally theirs yet, but you had sealed your fate the moment you had stepped into their domain and nothing you said or did would change that.

When neither one showed any intention of giving you space for the time being, Seonghwa sighed before following Wooyoung back into the office, taking a split second to check his own appearance in the mirror. Over the centuries they had been together, he had long learned there was little he could do to control any of the others. No matter what he said, they would do whatever it was they wanted and damn the consequences. Instead of concerning himself with their shenanigans, he needed to focus on the task he had been given and ensure you sighed the contract.

And you would. Willingly or not, it didn't matter. You wouldn't step a foot outside this building until it was signed. And if you showed any sign of hesitation, he would simply push you in the right direction with a little coaxing, your kind's mind weak and powerless to his power of persuasion. In the next few hours, you would sign your way over to them. He would make absolutely certain of it.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

"Oh, sorry!"

You stepped out of the way as the door to the building swung open before you had a chance to find the button to buzz the office. A man stood on the other side, head and attention directed behind him as he finished up his conversation with whoever was back there before he left.

At your soft apology, he turned to face you and you had a hard time stopping your cheeks from tinting pink as you took in his features. He was beautiful. A few inches taller than you, black hair effortlessly swept back from his face, bringing full attention to his strong cheekbones and sharp jawline. All of which made it more difficult to control the blush blooming at the back of your neck. And when he smiled down at you and motioned for you to come through first, you knew there was no way your cheeks weren't at least a little bit pink by now.

"Thanks," you reply, returning a timid smile of your own before tucking your purse closer towards you and slipping past him inside.

"Oh, hey, y/n!"

Your gaze was directed past him and to the right when you entered, surprised to hear your name being called out. A man stood near the mailboxes, smiling and waving at you as he shuffled through his mail. It took a few seconds for you to recognize him, the addition of glasses and casual wear a stark difference from the man who had been your tour guide a little over a week ago.

"Are you here to sign the lease?"

"Yeosang, hi!" You returned the wave, unable to stop your eyes from momentarily roaming over the rest of his body and wondering how you hadn't noticed just how attractive he was before. "And yeah, I think so. I was told to come in and meet with Seonghwa to finalize everything."

"Oh, you must be the new tenant of 604 then," the man who had opened the door for you spoke up behind you, directing your gaze back towards him. "I'm Choi San. I live in the unit right next to yours, 603."

"Oh, hi." You hesitantly took the hand he had extended in greeting. This? This was who you would be living next to? God, you could already hear the jokes Felix would start when he found out who your new neighbor would be. "I'm l/n y/n. It's nice to meet you."

"Likewise," San replied, an easygoing smile still stretched across his features. "I'm also one of the people in charge of maintenance here, so please just let me know if you ever have any issues with anything and I'll be more than happy to help."

"Thank you. I'll keep that in mind."

You had to admit that having maintenance right across the hall from you was nice, but as sincere as his willingness to help seemed to be, you knew it would be a while before you ever approached him for any help. The last thing you wanted him, or any of the other workers here for that matter, was to think you would be taking advantage of them in any way. They had already done so much for you with the new job and new housing, the last thing you wanted was for them to think you were trying to wring more out of them. No, you would do your best to pay them back for the kindness they had shown you and ensure you weren't a burden on anyone. Ensure that you didn't need to depend on anyone anymore.

"y/n, I presume?"

You turned in the direction the new voice had come, finding yet another very attractive man around your age leaning against a nearby doorway. He appeared slightly taller than the other two, hair dyed a bright, startling white.

"I'm Park Seonghwa, the senior manager here at the Paradigm."

Shit.

This was Seonghwa? This was the man who would likely be serving as your new boss?

"Hi, yes, I'm l/n y/n." You nodded, making your way over towards him. "I'm so sorry I'm late. I had some issues getting a few of the documents you needed and then there was a wreck on my way here that slowed everything down."

And by issues, it seemed someone had conveniently forgotten to give back the key to your lockbox that you kept on your keyring. It wasn't until after nearly ransacking the apartment looking for it that you remembered you had stowed a spare key in your car a year ago that you were finally able to get the identification documents you needed without having to call your boyfriend and ask him where the hell he had taken it and raising unnecessary suspicion.

"Don't worry about it," Seonghwa waved your concerns away, motioning for you to follow him inside. "I had a few things I still needed to finish up for your arrival, so your timing is perfect."

"Oh, well, I'll still apologize nonetheless. I'm incredibly thankful for this opportunity you've given me here and I don't want you to think I'm taking any of it for granted."

"I assure you, it's fine," Seonghwa replied. "Things are pretty relaxed here for the most part, so no one's worried about a few minutes here or there. And it's not like I haven't had to drag Wooyoung or Yeosang out of bed before when they've slept through the first hour of their shift."

"You're one to talk, Hwa." Hearing his name mentioned, the other man inside the office spoke up, alerting you to his presence. His head was propped up in his hand and a teasing smile was directed towards the man in front of you. "Or have you forgotten how you missed half your shift the morning after your birthday last year."

"Like I said," Seonghwa's eyes narrowed back at him, but he didn't try to rebuke his statement, "we're fairly flexible around here."

"I'm Wooyoung by the way." The red haired man's eyes moved towards you. "We spoke on the phone earlier."

"Right." You nodded, returning his smile and fully realizing how much more awkward you would have felt in that conversation if you had known just who you had been talking to in that moment. "It's nice to meet you, Wooyoung."

With greetings out of the way, you followed Seonghwa to his desk in the back, sitting down in the chair he pulled out for you. As he began to go over everything pertaining to your time with them, you slowly began to relax. Despite being originally intimidated by his appearance and status, Seonghwa truly was nice. He was easy to talk to and just as it had been with Yeosang, you felt a pull towards him and could see yourself fitting in well here with them. Easily slipping into the casual workflow they had here, much less stressful than anything you had to deal with at your current place of work.

But before you got around to signing the multiple documents to seal everything in place, Seonghwa walked you down to the on-site clinic to get your blood drawn before the doctor on schedule closed for the day. The nerves that had previously been quelled by Seonghwa and the others' affable personalities slowly crept back at the notion of having your blood drawn. You had done your best to push the thoughts aside when Wooyoung had mentioned it earlier, but you had a hard time remaining calm as you followed him, your fear of needles beginning to get the best of you.

You didn't know what you had expected when Seonghwa mentioned Yunho would be the one to draw your blood today, but it sure as hell wasn't the tall, gorgeous man smiling at you when you entered the room. But then again, after everything else you had experienced here this far, should you really have been surprised by the real life equivalent of Carlisle Cullen - minus the vampiric qualities of course.

"Are you okay?" Yunho asked as he sat down on the stool next to you, taking the arm you extended towards him to begin prepping it.

"Yeah," you nodded, attempting to still your fidgeting nerves and praying you wouldn't come close to passing out like you had the last time you had been stuck. "I'm just not the biggest fan of needles, but it's fine." You were quick to add the last few words before he could say anything, not wanting him or Seonghwa who was still hovering near the entrance to the room to think you were trying to talk them out of this. "I used to give occasionally when I was younger, but then something must have happened because the last time I attempted to give, it didn't go well and I haven't been able to give since. I've wanted to start giving again though, so perhaps this is just the push I need to get over the fear."

You really didn't know what had happened to cause the fear. You had never liked needles before, but you had always been fine with them. It wasn't until two years ago that you had your first panic attack from them when you had gone in for your flu shot and very nearly passed out. And when you had tried to give blood a few months later, you had passed out and found yourself growing antsy at the mere thought of needles. You had no idea what had caused this sudden onset, having no bad occurrences with them in the past, but whatever it was, was enough to keep you avoiding them.

"Well, I assure you I will do my best to make this as quick and painless as possible." The smile he sent your way nearly had you melting in your spot and you felt your nerves begin to relax the slightest. "Just try and focus on me instead, okay?"

You nodded, unable to stop the blush that tinted your cheeks at his words, embarrassed at how your childish fear was playing out in front of him and all the more flustered by him because of it.

"So, y/n, tell me about yourself," he began in an attempt to distract you from the needle sliding in, but you still flinched, turning your head in the opposite direction. Looking at it was only going to make you more woozy than you already were. "What do you like to do?"

"A little bit of everything, I guess. When I have the time, I like to read, but with school and work, I don't have nearly as much time as I used to. I also enjoy both volleyball and skiing, but only really get a chance to do either of those during school breaks," you began, doing your best to focus on the conversation at hand and not on the fact there was a needle inside you at this moment, a thought that had you closing your eyes and sinking further into the chair. "And then I do quite a bit of art as well, which I suppose I would have to, seeing as I am getting a degree in graphic design."

"Seonghwa, I think we're all good here now. Feel free to head on back and I can walk y/n back to your office when we're done." Yunho diverted the conversation for just a second, turning his attention to the other male in the room before focusing on you once more. "You said you're getting a degree in graphic design. What do you want to do with that when you're done?"

"I'd love to work in the video game industry, but it can be a tricky field to get into and make a living off of, so who knows." You took a sip of the drink Yunho had handed you before he had begun, hoping the sugar from the juice would help keep your head level. So far, you were still feeling okay, but knew it could change in a second if you let your head dwell elsewhere for too long. "But my friend Felix is a computer engineering major and is also interested in gaming, so we've actually been working on creating our own game this past year. He handles all the coding and logistics, while I work on the artwork, animation, and story design."

"What's the game about?"

"Oh, well, it's still in pretty early development as neither of us ever have much time to work on it, but the gist of it is that you play as a character who has been transported to the middle of a giant labyrinth and must survive long enough to find a way out before it's too late. As you journey through, you'll find both enemies and potential allies and it's up to the player to decide just how you'll escape and who all will make it out with you. And with the labyrinth randomizing with each game, you'll be guaranteed a different playthrough each time. Or at least that's the goal."

It was hard to tell if Yunho was truly interested or not as you began to ramble on about your project, but his trick to get your mind off the matter at hand was working and you didn't dwell on the matter too long before you continued, unable to stop yourself from rambling with the nerves coursing through you.

"Felix also thought it would be cool if there was some form of romance in the game, so we've also recently started working on implementing some sort of relationship aspect to it. One which will not only allow you to form romantic relationships with the companions you meet along the way, but also friendships and enemies as well. So, if you end up making one of the npcs mad, you might just want to sleep with one eye open. Otherwise, you might just wake up with all your supplies stolen or a dagger to your throat depending on who you upset."

"And it's just the two of you working on it?" Yunho asked, to which you nodded. "That's impressive. It sounds very cool."

"You think?" You took a risk and turned your head towards him, attempting to gauge his response.

"Of course. It sounds like something I would enjoy playing." His eyes lifted upwards for a moment, giving you a reassuring smile.

"Oh, well, maybe I can show you what we have done so far sometime."

"I'd like that."

His smile was infectious and you couldn't hold back your own grin at his words before turning your gaze away once more. Was there anything about this man that wasn't perfect?

"Does that mean you like to play video games too?" you asked after a few moments, taking another sip of your drink to try and get a hold of yourself once more.

"Maybe not as much as some of the others here, but yes, I have played quite a bit over the years," he replied. "In fact, there's a group of us that usually gets together on Tuesdays for a game night. You should join us sometime when you're all settled in and feeling up to it. We'd love to have you, though I must warn that things can get heated at times. Some of us have a harder time taking a loss than others."

You laughed, knowing all too well what he was talking about. Your friend Felix also fell in that category of people. "Sounds like fun. I'll have to keep that in mind."

"And on that note, we are just about all done here," Yunho said as he applied a cotton ball to the crook of your arm to stop the bleeding before beginning to bandage you back up.

"What? Really?" His words surprised you, too distracted by your conversation to notice he had slipped the needle out already. "Wow, you're good. I didn't even feel it."

"Not so bad then?" he asked, collecting the vials of your blood and standing up to properly store them before they got sent off for testing.

"Well, considering I passed out the last time my blood was drawn, I'd say this was a vast improvement." You could feel the endorphins kicking in now that it was over, a huge wave of relief washing over you. "After that, I sort of stopped going around needles as a whole. My mother wasn't very happy when I stopped getting flu shots, but seeing as I haven't gotten sick in years, I'd say I'm okay."

"Here, why don't you eat one of these." Yunho extended a plate of cookies in your direction. "I didn't take too much since we just needed a sample, but you should still probably eat just in case, especially if you're going to be driving later."

"Did you make them?" you asked, taking one from the plate and giving it a try. "They're really good."

"No, sadly that credit has to go to Wooyoung. Despite how he may appear at times, he's actually a really good cook."

"Really?" Like Yunho said, this fact did surprise you. You hadn't pictured the playful redhead as someone who might have enjoyed cooking, let alone be good at it. But here you were. Was there anything about these men that weren't perfect? "I'll have to let him know if he's still around when I get back."

You waited there with Yunho until he was done putting everything away, taking the time to recover and sneak another cookie or two before getting back on your feet. Once you were good, and certain you wouldn't be passing out anytime soon, you followed Yunho back towards the front office when he had closed everything up.

You chatted idly with him as you went, finding him just as engaging as the others. When you arrived back at the front office, however, your attention was stolen by Wooyoung. You were too distracted by praising him for his baking skills that you didn't notice the additional male that had made his way into the room in your absence. It wasn't until you had finished up your brief conversation with Wooyoung and began making your way back to Seonghwa's desk that you finally noticed the man beside the senior manager. He was seated on the edge of the desk next to Seonghwa, and though his back was directed towards you, his head turned in your direction when he noticed your hesitant approach.

"y/n, this is Kim Hongjoong, the owner of Paradigm."

Once again, the introduction took you for a spin. Of all the mentions you had heard about the man, the person sitting before you was the very last thing you had ever imagined in your head. He looked no older than the rest of the occupants here, including yourself, making you wonder if he had inherited this place from a family member or bought it with a fortune he had inherited. It was the only two plausible explanations you could think of.

"It's a pleasure to meet you, Mr. Kim." You had a hard time stopping yourself from wriggling in your spot as he took you in. Not just from knowing this man was the one responsible for your admittance here and his role as your boss, but also from his appearance, easily just as attractive as the other coworkers you had met up to this point. "I'm extremely thankful for the opportunity you've given me here."

"Please, just Hongjoong. Mr. Kim makes me feel old." He smiled, alleviating a bit of your nerves. "And after everything Yeosang and the others have had to say about you, we're all excited to have you on board with us here. I just came down to introduce myself and make sure Seonghwa had everything in order."

"I believe we've just about gone through everything." Seonghwa motioned for you to sit down. "All that's left is to sign everything and you'll be all set." He pushed a stack of papers alongside a pen towards you. "Feel free to scan through these, but all of it is just a reiteration of everything we've already gone through or just a part of the lease agreement attached to the email Yeosang had sent you earlier. I've also gone through for you and highlighted each of the sections you need to sign or initial to make things easier."

You nodded, taking the pen that sat on top of the stack before beginning to go through and sign the various documents. You briefly scanned through the first few pages before signing them, but upon seeing Seonghwa was right, and each sheet was just a repeat of everything you had already talked over, you eventually began to just skim through the pages in search of the areas Seonghwa had highlighted for you.

"I think that is everything," you began, finishing your signature on the last page and briefly flipping through the previous documents in search for any spot you might have missed before handing the stack back to Seonghwa across from you.

Seonghwa took a second to flip through the pages as well, double-checking your work. "It appears everything is signed and in order." He dropped the stack back on his desk before opening one of the drawers to his left. "Congratulations on your new apartment, Miss l/n." The object he had reached for was a small bag which he now extended towards you. "I know you said you wouldn't be able to move in or start until two weeks from now, but your unit is ready and everything is in order, so here are the keys to your apartment and mailbox, alongside the card you'll use to unlock the doors to the building and the sticker you'll need to put on your windshield to unlock the gate to the garage. So, feel free to come and go as much as you'd like until then because for all extents and purposes, you are now officially a resident of the Paradigm."

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

"Felix, I swear to all things holy, this place is going to be the death of me." You could hear the laughter this statement elicited from your best friend through the car's speakers, and you had a hard time hiding your own flustered smile despite knowing he couldn't see it. "No, I swear, Felix, how the hell am I supposed to work and act normal when everyone around me looks like the physical embodiment of a god. We're talking Haneul level here, Felix. Haneul."

High on finally finding a place of your own, and at The Paradigm no less, you had gone up to see your new apartment one more time before you left. You had spent longer up there than you anticipated, fully basking in the realization that this was now yours and no one else's. Just yours.

It hadn't taken long for the thought to overwhelm you, causing you to break down in the upstairs bathroom for a few minutes. The realization you were finally getting out and starting over hitting you hard.

Once you had finally gotten a hold of yourself, you had taken a picture of the lower level with your newly acquired keys to the place and sent it to your best friend in order to update him on your decision. It had only taken a few seconds after you sent the photo for Felix to call you, nearly as excited as you were.

"Haneul level?" At the mention of the coworker the two of you had both been admiring from afar the last few weeks, Felix's voice took a slightly more serious tone as you were finally able to drive your point down to him. "All of them?"

"Well, all of the ones that I've met so far, but yes!" you cried, though the hint of a giggle did break through, still giddy from the day's events. "Now do you see my predicament?"

"y/n, I don't think that's a predicament," he began, "I think that's heaven. And as your best friend, I think it's only right for you to let me come see your new place in person... and perhaps these gods in the form of your new coworkers."

You giggled once more at the way Felix quickly spit the words out at the end, rushing them to make it harder for you to make out. "Well, Felix, you're in luck because I just so happen to need some help moving a few things into the place this Saturday."

"I thought you weren't moving in until the following weekend."

"I'm not, but I figured I could get some stuff done this weekend since Jae is still on weekends." Despite the joyous occasion, you still felt your spirits fall at the mention of your soon to be ex-boyfriend, wondering just how you were going to pull this all off successfully. "I thought I would go out and get some of the items I need and move them in so I don't have to worry about all of it the following weekend."

"And you still plan on keeping it all a secret from him until the last moment?"

"Yes," you sighed, running a hand through your hair and wondering just how you were going to make it through the next two weeks without letting anything slip. If you had it your way, you would have moved in today, but knew that wasn't a smart move to make, not when you planned to finish up your scheduled shifts at your current job. If you were to break things off with him now, you knew he would come find you and convince you to change your mind and go back with him. "I know it's not right, disappearing with little more than a note after all these years, but I'm terrified of what might happen if I try to tell him in person. You know what happened last time I tried, Lix. What if it happens again and I ruin everything I've finally managed to set up for myself."

The last time you had pulled the courage to end things, Felix had offered you a spot at his place until you got back up on your feet. Everything had been set up and packed, and yet, when you had stopped and told Jae what was happening when he came home from work that evening, he had flipped. You didn't remember much of what happened afterwards, but just as before, all your belongings had been put back up and away. He had been extra attenuative to you that following week, even calling out of work to spend more time with you, making you wonder for a moment why you had ever tried to break things off.

"I'm not judging you, n/n. The guy's a piece of shit and doesn't deserve a proper break up after all the shit he's put you through," Felix replied, taking note of your fallen mood. "You, however, deserve the fucking world, including this new start with your supposed godlike coworkers, and I swear if he tries anything to fuck it up, I will personally kill him."

"Thanks, Felix. I don't know what I would do without you," you mumbled back, comforted by his constant support and friendship. You truly didn't know where you would be without him. "But if I'm being honest, as attractive as these men may be, I think it's time to take a nice, long break away from any sort of relationship and focus on myself for a little bit."

Sure, they were attractive, but you truly didn't have any intention of acting on anything at the moment. And even if you did, the chances of them not already being in a relationship or even remotely interested in you was slim to none and setting yourself up for something that was never going to happen would only make you feel worse than you already did. Though time had numbed the pain, you knew you were hurting after years of being stuck where you were now. Pain that would quickly resurface if you attempted to bounce back into the dating game before you were ready. You needed time to heal, time to recover from the shit you had been put through these past years. And the only way you were going to do that was if you spent a good bit of time focusing on yourself.

And this might have been what happened if you were heading to some place normal, some place sane. If you hadn't just unknowingly signed your entire being over to the very men you were just talking about. Each of whom had no intention of letting you do anything on your own now that you were theirs.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

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a/n: please let me know if i missed you, added you to the wrong taglist, or if you would like to be added/removed :)

[ilikekidsshows]

When did Astruc say Adrien was lame for being feminine? I thought he welcomed the gender nonconforming headcanon? Or writing a lame character that Marinette being exceptional would like? I thought he was canonically popular with girls (and boys haha). Are there tweets I missed?

Oh, no, this isn't based on tweets. This is based on things in the show.

If you pay attention, a lot of characters criticize Adrien for being passive, not standing up for himself and being too emotional. I'm a media analyst, so I'm pretty good at spotting patterns in shows, and Adrien being criticized for his feminine attributes is a pattern, alright.

First we get these comments from Gabriel, but, we assume we're meant to disagree because Gabriel is abusive and the main villain, but then other characters get in on it.

Félix, during his arc from villain to hero, repeatedly criticizes Adrien for all of these things, and isn't exactly refuted by anyone. Félix is morally gray at this point, though, so a lot of people take whatever he says with a grain of salt. However, it should also be noted that Félix, after his debut, is the writers' pet who always succeeds in whatever he does, so we can't be too sure that the writers disagree with whatever he says.

Then come the actual characters no one can refute we're supposed to agree with. Kagami criticizes Adrien for not standing up to Gabriel and Félix more. A heroic character, who has repeatedly given valuable advice to our leads, is saying this, so we're inclined to agree. When Adrien agrees with her, the show is telling us that this (Kagami accusing Adrien of being too passive) was good advice.

What really solidifies this is Adrien himself being made to say it. That stuff in Kuro Neko about how he's too emotional and too sensitive. That's Adrien saying the parts of him that are girl-coded are wrong because they cause Ladybug trouble. And Ladybug treats this as fact. She doesn't say she agrees, but she does instantly soften towards him and accept him back into the team after he says it, implying her agreement with the statements.

Astruc doesn't need to say anything. He's the most unsubtle creator I've seen and the show speaks for him.

But, if it's direct quotes you want, the writers' commentary tells us that the reason Adrien isn't in the finale is because he's the 'princess' in their fairytale, they call him the "princess sleeping in her tower". So they're replicating sexist story tropes about "sleeping princesses" with no agency in their stories but just reversing the genders. Sounds like adrien's girl-coding specifically being the excuse the writers use to diminish his role to me!

[bas-writes]

a lot has happened lately, but so far i haven't made any official statement about my decisions and the path i want to take as a writer. it was a long road of trial and error & detailed examination of conscience in regard of my bad habits, gained experience, and goals and expectations. there are some massive changes that i need to address, followed by explanation of my decisions. i know i don't need to explain myself but i feel it's only fair to my loyal readers to share at least little insight into the context.

I. One Piece goes on indefinite vacation...

not going to lie, i was falling out of this fandom for years. it's started in 2021 when i fell victim to bullying and stalking, initiated by a widely-known (and still active, as far as i am aware of) x reader writer. it's the biggest reason for my slow withdrawal but not a sole one: pressing discourse around my comfort characters, toxic environment i fell into when looking for a relief from relentless bullying, forcing myself to write for topics and characters i didn't even like, readers overstepping my boundaries over and over again, falling into a trap of purity culture...oh, the list is long. way too long.

i still love one piece but i don't want to create for it en-masse anymore. right now it's just a wound that's far from healing, i need to treat it at my own pace. aside from an occasional poke at sapphic topics and my fav trio, i doubt it will appear in other way than commissions or gifts for friends. and some characters (kid, sanji, marco, katakuri, shanks & a few more) will never return.

II. ...but new fandoms arrive!

jujutsu kaisen is right now the main love of my life & will remain as the main fandom for long. but i found more series and characters i adore enough to feel that creative spark buzzing in my veins. soon you should see fics appearing for: demon slayer, chainsaw man, haikyuu and hell's paradise!

i'm keeping my head low rn when it comes to requests but i want to hold at least a kinktober open for them so you definitely will have an opportunity to see your faves from those series from me!

III. It's a gender neutral & afab Y/N sphere now!

it's something that was inevitably floating over me and my fics (and some of y'all definitely caught the whiff of it already), but i couldn't quite find courage to put a hard limit. we all know how it is in the y/n circles: way too many people expect from writers to cater to everyone, and treat it as a personal offense if you prefer to play in your own sandbox. as if writing y/ns was "activism", not a fandom activity like any other.

so, i won't force myself to write against myself anymore. i feel the most happy and comfortable when i make my y/ns gender neutral and when i'm giving them vaginas (and sometimes boobs) when i'm writing smut with them. i don't want to battle my weirdly-veiled dysphoria to force female reader out of myself. i don't want to stress myself while writing amab y/n, from the sheer biological fact of being unable to relate via lack of penis, to being sick and tired of the toxicity and misogyny that m!reader circles reek of.

so, gender neutral and afab it is. sometimes i will stray towards afab nonbinary or transmasc direction, if i feel like i need some good gender vibes coming from my fics.

it doesn't mean i will never write different y/ns. commissions, gifts for friends, exchanges, random ideas for a plot that requires a specific kind of y/n, sapphics feels, and such will appear here and there. i will also interact lots with f!reader fics, since it's what i see lots around & don't mind reading, if i feel more fem or if it's from a writer i like and trust.

incoming ino x reader (that i hope to publish tomorrow) will be the last non-sapphic f!reader that will appear for a long while. all requests i'm keeping in my drafts right now will be turned into completely gender neutral or from fem to more general afab reader (i don't have any requests for amab readers rn anyway). unless you really don't want to have f!reader taken out of your request - then please, let me know, i will delete it so you can head with it to a different writer.

IV. Never miss a fic again - sign for a tag list!

and now a little treat! if you don't want to miss a fic about the topic that might interest you, you may sign for a tag list by filling a simple form!

V. And what am I going to do now?

write, write, and write even more! i wanna write the in the heat of spring drabbles before the spring is gone, have three fully-fledged multichapter fics outlined and itching to be written and posted, and an interactive event with which we will welcome the summer 💦

in june i want to publish a few sapphic fics that i had in mind for a while now & later towards the second half of summer (think august-september) i'll smile at you again with a kinktober i really want to complete this year!

there might be a few smaller events on the way, depending on how busy i'll be. there's an idea for dilf enjoyers and for a chubby y/n, as well as many others that still didn't take a clear shape.

i also didn't forget about the kiss event and nonsexual acts of intimacy for the fluff enjoyers!

if you survived this wall of text (or just scrolled down here lol understandable) - thank you for your patience, understanding, and support. whether you're here with me since the very beginning or clicked the follow recently, i'm happy to have you here ❤ if you have any questions or just want to talk, my askbox is open for any kind of interaction! and if you want to support a poor writer who has way too many health-related spendings lately, you can buy me a ko-fi ❤