#it brought great dialogue

[junkyardstrash]

Francis Dolarhydes entire storyline is just this image

[spinach-pine]

The ending to Harlan Ellison's "The City on the Edge of Forever"

"No woman was ever loved as much, Jim. Because no woman was ever offered the universe for love."

ok SOBS

"You could come with me for a rest. You would feel comfortable there."

hahahaha ok SCREAMS

[lady-tortilla-chip]

Ngl I feel like the best fics out there are the ones that fucking make you giggle helplessly

[thormanick]

Ngl Furina's story quest might be my absolute favourite quest in the game

[harvestmoth]

pocket monster ideas

[rosielav]

Finally caught up on @ameliapodcast

Can safely say it is my new favorite podcast :)

I love all of the characters, all of the stories are interesting, and I find myself longing for more. With every answered question comes a dozen unanswered ones, questions I didn't know I *could* have...

If you haven't listened, and you love archive or voicemail based podcasts, or audio dramedy in general, you absolutely *must* give The Amelia Project a try. I can't recommend it enough, and I would be honored if anyone listens for the first time and yells at me about it. I love genuine excitement about new-to-you media and I'd love to share this gem of a podcast with someone :)

The trailer does a much better job of explaining the premise than I ever could, so hop on your favorite podcatcher and listen to it, if you're interested!!

[bleachbleachbleach]

Bleach 065

aslfaklfk I feel like this scene is just. PEAK BYAKUYA BEHAVIOR. I realize that’s the point, because we are just meeting him. But omg he’s such a weirdo. I love him. I feel like I’m probably primed to read everything he says as having been said by a weird weirdo, thereby augmenting the degree to which Byakuya comes across as a weirdo. But like. Here he is, using someone’s name as punctuation at the end of his sentence again, even though it could not possibly be more clear whom he is addressing. Here he is, stating equally self-evident information that, when said out loud, sounds worse than had it gone unsaid. Here he is, just being That Guy.

I realize there’s ~narrative function~ to that, but I don’t really care to talk about Kubo’s craft; I’m here to talk about Byakuya. I think there’s a few ways you could take his lines here: 

This will be the final time we exchange words... Rukia. Our next meeting will be at the execution block.

I can’t imagine a world where Byakuya would come by and chat with Rukia after this, and Rukia probably can’t either, which is why this feels self-evident. (Though I’ll point out that he does actually. Come by the tower later.) So he’s not actually offering new information to Rukia here. He could be using this seeming statement of fact as a Byakuya version of a fuck you, because he does that too, but I don’t think that’s really the vibe he’s giving off at this moment.

I don’t think he means for his words to cut any particular way. They’re just a statement of fact because It Is True, and speaking it aloud confirms it as such for anyone who might be less clear on the matter. (Similar to the names thing.) It helps reify the situation and keep the world ordered.

It’s just that the facts also include a family member’s execution, so it’s hard for that to come across as simple statement of fact, regardless of intent.

[mariocki]

Edward Woodward stars as Ian in Lindsey Vickers' long forgotten horror film The Appointment (1982), recently rediscovered by the BFI

[washeduphazbin]

Hello! I really loved the Adam x Reader Wife interaction hehehe reminds me too much of the dialogue: -You're an Idiot. -Yes... But I'm YOUR idiot... And forever 😌 Can we see a little more of this relationship?

You ABSOLUTELY can because it's the only thing on my mind since writing it. This will mostly be snippets of fluff between Adam and a female reader from my last one-shot. This is much shorter, but I wanted to give more of this dynamic before I work on a bit of a longer request someone sent in for them during the finale.

TLDR: Welcome to the Adamverse

⋅•⋅⊰∙∘☽༓☾∘∙⊱⋅•⋅

"So this absolute cunt really thought it'd be okay to take one look at me and suggest that those Losers in hell can really make it into heaven and be redeemed!" You hummed as Adam sat with his head in your lap, complaining about his musical meeting with Charolette Morningstar. He looked up at you through his black lashes with a pout on his lips; you very clearly weren't paying attention. You had a book in your hands, which was taking more of your attention than Adam was taking up.

Now, that was something he couldn't let happen.

Your book was thrown halfway across the room in one swift movement, "Adam." You huffed, looking down at his innocent face, twirling his brown hair around his finger.

"Reading will rot your brain." He brought a clawed hand to his head and made a crazy motion against his temple.

"Pretty sure you've got that backward, darling." You felt his wings shiver under your touch as you stroked them tenderly, finally giving him your undivided attention. He stretched out in your lap like an oversized cat; Adam hummed pleasantly,

"Readings for losers, and my wife is not a loser." He shot back, yelping as you tugged on one of his feathers. "You bitch, the fuck was that for!"

"You seem to forget how much your bitch wife loves to read fuckhead." You shot back with a dirty look,

"Jesus, what's got your panties in a twist! I'm the one who had a rough day. First, I got blue balled and couldn't get to finish inside your sweet pus, and then I had to go to the most painful meeting of my life with the biggest doe-eyed fool I've met since her father. Now my wife is ignoring me when I'm clearly in distress." He watched in amusement as you tossed your head back with a sigh; you...his favorite winner. You caught the softer look in his eyes as you glanced down at him,

"Adam, you know I love you more than anything."

"I'm aware of how great I am, yes- if you keep giving me those bedroom eyes, I'm not going to be able to hold back."

"Glaring Adam. I'm glaring at you. I in no way want to fuck you right now."

"Impossible. No one ever glares at me AND no one ever doesn't want to fuck the fuck master; I'm a goddam delight, sugar."

He watched you take a deep breath of air in, "You did not just call yourself the 'fuck master.'"

"Ugh, duh, of course, I did. I am the fuck master. I've never heard you complain about this dick babe."

"You're an idiot."

"Ugh, duh. But I'm your idiot, forever." He mused, wiggling his fingers with his wedding ring on it. "Because you're gross, and you love me,"

"Unfortunately."

"HEY!" He sat up, brows furrowing in frustration. His jaw was set in a way you only recognize as a moment of slight panic and stress. "The fucks that supposed to mean?" You sucked in a small intake of breath, cupping his cheeks between your palms. He glared at you but still nuzzled against the soft palms of your hands.

"Darling." You spoke softly, moving to rest your forehead against Adam's, "I love you. I wouldn't want to be with any other person in heaven, hell, or on earth." His eyes softened, and you could see his face drop, "You're annoying as hell. But so am I; that's like our thing." You gave a crooked grin, nuzzling your nose against his, only to nuzzle his nose right back against yours. "I love you and that you're trying to keep everyone here safe and protected."

"I am; I want to keep you safe. You don't belong down there with them, and they don't belong here with us." He nodded rapidly, "You're so...good."

"You're giving me far too much credit, I didn't do drugs, and I didn't kill anybody when I was alive. I wasn't like a saint."

"You're a saint to me." You felt your cheeks burn, and you hit Adam gently with your wings; you saw his face light up and snicker. "What? You are. My saintly wife," You let out a strangled sound of embarrassment as he began to pepper kisses against your face. "Who's so good at praying on her knees-"

"And you ruined it." Adam tossed his head back in a laugh, pulling you close to his chest. You hummed as he nuzzled his face into your breasts, “Adam?”

“Hm?”

“I love you.”

“Love you too.”

[vspin]

On Act 3 and the lack of companion reactivity and dialogue.

So, I officially hit 400 hours on BG3 yesterday (no lifing it lmao) and I've been thinking about some things I wish Larian would improve or wish that they had implemented. A big thing that comes to mind is how much companion reactivity and dialogue abruptly stops in Act 3.

Act 1 really shines with companion reactivity. They always have something to say to the MC, to NPCs, or even to each other! I love the interaction after you use your ilithid powers for the first time and it's a 4 way conversation between everyone.

Then we get to Act 3 and there's such huge drop-off. Some big offenses:

Very little reaction to quests and locations. When I killed Raphael I only got comments from Astarion and Gale! Seriously?? We just survived a trip to the Hells! This happens with multiple quests

Blank faces when Durge is killed by Bhaal.

Camp is lifeless. Everyone just stands in front of their bed, There are no interactions.

In my playthrough, the Emporer admitted to my Tav he was manipulating her and didn't really care. It was bummer I couldn't talk to the other tadpole gang about it.

I remember coming across a Druid in the city. He was trying to heal a tree. So I went back and grabbed Halsin because he was complaining no one in the city cared about nature or balance. So I thought surely, he would have an interaction here! Nope, nothing!

As soon as you finish a companion's personal quest that is basically the end of your interactions with them; even if you romance them.

What I'd like to see: (Disclaimer: Just my opinions. I have no expectation of any of this being added to the game)

More camp interaction between companions. Jahiera and Minsc had a great example of this. Let there be a quick cutscene of Minsc and Halsin arm wrestling. Shadowheart, Karlach, and Astarion drinking wine. Anything. DA:I did a great job at this. It seemed like anytime I approached someone for dialogue they were in the middle of an interaction with someone else. Or events like the card game. It brought a lot of life into the party.

More random city encounters. They did a good job with Karlach; she has interactions with the steel watcher and her friend Fitz. Would have been cool to have some of those with Wyll, maybe he meets another noble or a flaming fist and has to deal with their shock of seeing him as a devil. Or with Gale in Sorcerous Sundries (he is a famous wizard after all!). Astarion mentions he needs to keep a low profile in the taverns; what if someone called him out!

More reactions to story events.

Expand on romances a bit more. We don't need it to be a dating sim but if you finish your LI's quest early on get used to just asking for small pecks and that's it. I would like to see more romance-specific dialogue for quest reactions.

And Finally:

We needed all companions at the final battle. Everyone should have been at the main keep before confronting the brain. You should have had your final conversations with them before you all potentially die in battle. DA:O style. A passionate kiss with your LI (not a tiny little peck lmao). This was a huge exclusion.

Anyway, these are my thoughts on the matter. Thanks for coming to my Ted Talk.

[noneoutofnone]

Getting whiplash going back to Armored Core VI after playing Starfield

Starfield trips over itself letting you know all of the quests are chill and good actually. The choices in dialogue range from doing a good deed to doing a good deed… for money😈. The only way to join the Space Pirates is to be offered the chance to go undercover first, making sure you see the Pirate but you’re a good guy option. If a persuasion check with someone fails, leaving you only with the prompt [Attack], your companion will say something to the effect of “woof, that was rough. But you did what you had to do.”

The most recent mission I finished in Starfield was for the United Colonies. You stand in front of a council of bureaucrats trying to convince them to hand over banned archival weapon data. This could help stop a small but growing danger to the galaxy. The council argues that it could also lead to that weapon falling into the wrong hands - It was locked away for a reason. It’s a great moment because it was the first time a character in starfield stood up and said to me No, you are in the wrong here, your research could lead to the weapon data leaking, civilians will be put it danger. ALERT. oh no. ALERT. Just as this conversation is happening an entirely contained but also extremely dire attack occurs. ALERT. You rush out and save the day. The threat is proven to be real and the data is necessary. No more questions about is it the right thing to do. Forget about all that other stuff we brought up, you were right. The whole council apologizes to you profusely. Here, take the nuclear launch codes, and here’s a thousand credits as an apology for insinuating that you weren’t the galaxy’s goodest bestest boy.

Mission 1 of Armored Core 6 is called “Illegal Entry”.

In mission 4 “Destroy the transport helicopters” the helicopters are just that. No weapons. Trying to run from you. The rubiconians who stand between you and the helicopters are defending their families. During the fight the enemies bark about you being the bad guy. After the mission your Dad calls you and says “It’s just a Job 621. All of it.” Throughout the entire game you are flooded with voicemails, calls, voices in your head, that all have an opinion on whether what you’re doing is good or bad or just a job.

Starfield is telling you not to think about it too hard. Armored Core is telling you to think about it. A lot. Screaming at you to think about it. What are you doing. It’s not just a job. The game is talking about your actions through all sorts of different lenses.

It’s stepping out of a lazy river and then immediately riding down Niagara Falls in a barrel. Sometimes literally. You see the same safe boring landing cutscene a million times in Starfield. Twice 621 has packed themselves into a barrel and yeeted it into danger.

[justhereforthemeta]

Romantic expectations and the story we didn't see: A magic trick hiding in plain sight

Here's a hopeful meta for all my fellow celestial brainrot sufferers out there. Cheers! :)

This idea started as a dead end, trying to track the movements of Crowley’s sideburns/tattoo because I thought time travel shenanigans were afoot. I had to abandon that theory when it was pointed out that David was simultaneously filming as the sideburns-having Fourteenth Doctor, and in-universe Crowley can do whatever he wants with his facial hair whenever he feels like it. But hey - null findings are still findings!

On the bright side, pausing the show to make notations in a spreadsheet forced me to slow down and notice other changes I'd overlooked the first time around: acting choices, costuming choices, references to book lore. And possibly a few surreptitious flicks of the wrist, in places where we’re meant to be focused on the magician’s other hand.

@amuseoffyre and @ineffablefood had a great exchange recently about romance and “the significance of misdirection and three-in-one (magic) tricks” throughout the show. I suspect Neil has done something brilliant with the audience’s long-standing expectations (since the 1990s, really) for the love story between Crowley and Aziraphale to develop. And while it is a wonderful story indeed, playing to this expectation lets Neil distract his audience from the blink-and-you'll-miss-them seeds he's planting for the final chapter.

Continued below the cut...

Let’s start at the beginning of Episode 2. First, context: In the previous installment, Crowley stormed out of the bookshop, was whisked away to Hell by Beelzebub where he learns about the Book of Life threat to Aziraphale’s existence, then returned to the bookshop to dance a little apology dance and hide Gabriel with an unintentionally massive joint miracle. In S2E2, we and Shax catch up with Crowley as he's snoozing in the Bentley.

Shax: “You’re in trouble”

A. J. Crowley, cool as a cucumber: “Obviously. Former demon, hated by Heaven, loathed by Hell. How will our hero cope?”

Interesting! Sarcastic? Yes, absolutely; but that’s also a good 4500 years and an averted apocalypse away from “I’m a demon. I lie,” wouldn’t you say? Someone is sounding a whole lot less depressed and aimless and navel-gazey (do snakes have navels?), and a whole lot more like he’s got a project to focus on, since his "what's the point?" ruminations on the park bench in E1.

And of course we all noticed the costume change right away. Hello, black turtleneck. Feeling cute today, thought I’d cover up my graceful long neck? That sounds unlikely. Let’s put a pin in this one.

There’s also an interesting acting choice going on here. Crowley speaks to Shax in a funny, drawling, too-cool-for-you voice that we haven’t heard in a while. Specifically, not since 1967. If you go back and give the S1E3 scene in the Dirty Donkey a listen, you’ll hear it (and if you know of another instance of it that I've missed, please let me know!). In S2E2, he keeps up this odd voice (if anybody knows what kind of affect this is supposed to be, please do tell!) throughout this dialogue with Shax, except for the brief moment when she first surprises him about the joint miracle having been detected.

1967 was a fun year. Crowley masterminded a heist! And seemed like he was having a ball doing it, right up until his little caper was called off after Aziraphale brought him the thermos of holy water. Crowley spoke to his co-conspirators in that same funny, very 60’s-caper-film voice. He wore a hip 60’s turtleneck. He bought petrol for the only time ever, so he could get those sweet James Bond bullet hole decals for his car (per the book, seen on the Bentley in the show).

Those James Bond bullet hole decals would of course have been part of a promotion for this 1967 release, which you just know our film-enjoying demon went to see in the theater:

Starring this suave, be-turtlenecked guy:

And now - begging your forgiveness - a brief rant.

There are a number of posts out there that refer to Crowley’s S2E2 turtleneck as a flirtatious sartorial choice - actually, ‘slutty’ seems to be the favored accusation. There are even a few posts floating around commenting on how sweet it is that Crowley swaps out his slutty, kinky, throw-me-over-your-desk-and-take-me turtleneck for a more dressy and appropriate collared shirt specifically to attend Aziraphale’s Jane Austen ball. 

Now this is all in good fun, and Crowley does indeed look fantastic here, and I do love a good fangirling sesh as much as the next person. However, fandom’s collective tendency to interpret what we are seeing on the screen through the lens of romantic expectation can, at times, give rise to a kind of blinkered enthusiasm that obscures the original text in a haze that is part Mandela Effect, part unrestrained horniness, and part in-group code talking and identity reinforcement.

Respectfully, Crowley’s black turtleneck does not appear at all in S2E5: The Ball. In fact, it never appears again after the end of S2E2.

For Someone’s sake, let’s collectively pull our heads out of the romantic fog/gutter for a moment and focus on what we are actually seeing in the book and on the screen. For Crowley, this is an uncharacteristic within-period costume change. There is a surreptitious flick of the wrist happening here, out in broad daylight, and we are all missing it.

So here’s a thing. Aziraphale appears to have settled comfortably into life on Earth, his neighborhood, his books, using Crowley as an outlet for sharing his good deeds that he would once have reported to Heaven. Meanwhile, at first glance, Crowley appears stuck in a rut. There he slouches on a park bench with Shax in S2E1: a guy who lives in his car, stagnantly clinging to old familiar habits, mulling over the pointlessness of it all.

Setting aside the bit about living in the Bentley (I’m going to attribute this to well-documented issues between him and Aziraphale, discussed in many other excellent metas, and move on), Crowley has at least two very good, proactive reasons for maintaining his contact with Hell through Shax. First and foremost, it’s a source of information he can use to keep ahead of potential threats to Aziraphale and himself.

But also, I would posit…he kinda likes it.

Recall that book GO was first conceived as a parody, with Aziraphale and Crowley as spy-against-spy (but not really) field operatives in an ages-old cold war between Heaven and Hell. Their entire book dynamic is rooted in the trope of two opposing agents who have been in the field for so long that they now have more in common with each other than with their respective head offices. Their St. James’s Park meetings among other spies and ministers trading secrets are a sendup of what was once a well-known Cold War-era cliché. 

Our contemporary Crowley still likes slick outfits and hellaciously expensive watches and high-performing vintage cars and pens that write underwater while looking like they could break the speed limit. He coaches Shax on how to blend in as a demon on Earth, and he helpfully redirects the wayward contact looking for the Azerbaijani sector chief. He loves improvising and getting away with shenanigans under the institutional radar. And boy golly was he impressed with Jane Austen: master spy, brandy smuggler, and mastermind of the 1810 Clerkenwell Diamond Robbery. 

And if you look at it a certain way, for as long as Crowley has considered himself to be on “[his] own side” - going at least as far back as Job - he could almost think of himself as a sort of double agent. It’s actually a very romantic sort of notion, befitting our hopeless romantic of a (professedly former) demon; but it’s romantic in a very different way than we, the audience, have been primed to watch for.

In other words, in a very “on my own side” kind of way, Crowley really gets a kick out of being a spy. Or at least, dressing up and accessorizing as one, and moonlighting as a good-doing double agent when he can get away with it. And also being a plotting criminal mastermind. Two sides of a coin, really. Just look at Jane Austen.

My point is: No, Crowley did not wait around for Shax to come find him in a turtleneck so that he could go flirt with Aziraphale later. He’ll flirt with Aziraphale no matter what. No, this:

is actually this:

Much like the one he wears to the Dirty Donkey in 1967: 

whilst holy water heist-plotting. Here's a clearer shot with gratuitous Bentley, because I love them:

…and which he'll wear again, with appropriate camouflage, while infiltrating Heaven in S2E6:

That is the 1967 planning a HEIST turtleneck for committing ESPIONAGE and STEALING THINGS in. Because turtlenecks are what modern human master spies wear to get their hands dirty - after all, he saw it in a movie once. 

Crowley dons his tactical turtleneck sometime during the first major break in the action (which doesn't happen until after the joint miracle to hide Gabriel) after he learns about the threat the Book of Life poses to Aziraphale. Loverboy started mentally preparing himself to go after that book immediately upon learning that it was in play as a genuine threat. 

Now let’s pick up at the S2E2 Dirty Donkey scene, reading the story from this angle. Of course, Crowley enables Aziraphale’s delusions about Heaven by hiding information from him, and does not disclose the Book of Life threat when they meet again. They go into the pub, Aziraphale shamelessly paws Crowley’s chest like the seductive Bond Girl he is, and Crowley gets to act all smooth and suave and intimidating as he chases off the interloping Mr. Brown (or Mr. Collins for the Pride & Prejudice fans, take your pick).

Ergo, theory: beginning in S2E2, Crowley is already thinking of himself as a Jane Austen/James Bond action hero (“How will our hero cope?”), psyching himself up to rescue Aziraphale by getting his spy game on and stealing the Book of Life.

Now, watch closely...This is where Aziraphale and Crowley brainstorm their plans to solve the problem they both know about: getting Maggie and Nina to fall in love and thereby get Heaven off their backs. Crowley’s vavoom plan is drawn from yet another movie (“Get humans wet and staring into each other’s eyes - vavoom, sorted. I saw it in a Richard Curtis film.”). But Crowley also implicitly shares his solution to the problem he hasn’t told Aziraphale about. And true to form, Crowley’s Jane Austen solution isn’t the same as Aziraphale’s Jane Austen solution. 

Two solutions that fail by the end of Season 2, and a secret third one that might still work...and there's our magic trick of three.

‘“I’m lost. Am I doing a rainstorm?” Yes, babe. And a heist, too - just not until season three. Can I get a wahoo!? 

I won’t spend time on A Companion to Owls during this meta, except to note that in all three minisodes, we get to watch stories that involve Crowley acting as a double agent on “his/their own side” - successfully making Hell and Heaven think he’s fulfilling their will while saving Job’s goats and children; failing to fool Hell when he does a good deed in Edinburgh; and of course, collaborating with Aziraphale whilst evading detection as an infernal turncoat during the Blitz.

(Because this is getting long, I'll also skip over Crowley's interrogation of Jim in this episode - I'll probably come back to that in another meta. But interrogating is a rather spy-ish thing to do.)

When we catch up with Crowley again later, he’s already slipped out of the bookshop, having left Aziraphale to his biblical reverie about Job. He saunters snakily down Whickber Street as usual, but with a very pointed and swift glance over his shoulder (see pic above). This demon is up to something - possibly something we didn’t get to see, something that may have happened offscreen while he stepped out. In any case, knowing there’ve been unfriendly angels in the neighborhood that morning, he’s rightly concerned about being spied on.

From this point until the beginning of episode six, there isn’t a whole lot of opportunity for Crowley to make any next moves. He babysits the bookshop, during which time he manages to wring some crucial information out of Jim; he follows his Crowley’s Angel around like a puppy, and downs a bottle of red like a good old fashioned lovesick boy once that’s been pointed out to him. If any plotting or scheming is underway, this occult being is keeping stumm for now.

This has been a long one, so I’ll wrap up with Crowley’s infiltration of Heaven with Muriel. The turtleneck disguise works (Archer fans, be vindicated!) long enough to gather some information that will be crucial not just to the denouement of S2, but also to Crowley’s journey in S3 (previous post on Crowley's Fall, Saraqael, and memory wiping). And Aziraphale gets to enjoy that view exactly zero times. The point isn’t oh, a turtleneck! How flirty! So cunty! So cute! Y’all. Everything matters. The costume change was a deliberate choice. In-universe, Crowley’s decision to wear his special spy turtleneck for spying in is a signal that he is out doing spy things, even as we watch.

In sum: Beginning in S2E2 and continuing through the end of the season, Aziraphale and Crowley are actively living out the scripts of two parallel, concurrent, and completely different Jane Austen stories. But you and I, dear fellow audience member, we came here for a comedy with a hefty jigger of romance, and that’s what Neil gave us to focus on. And right up until the Final 15, that was the only story we saw.

Meanwhile, Special Agent A. J. Crowley doesn’t have time to mope around at the end of S2E6. He’s kicked down, but he’s not out. He's got a Book of Life to steal, a very serious bone to pick with a certain memory-wiping angel, and his Angel and the world to save. 

“‘Heigh ho,’ said [romantic, optimist, former demon, hero, master spy] Anthony Crowley, and just drove anyway.”

[irafuwas]

some thoughts on how lilia views love

I’ve been watching through the Stitch event and there’s a bit of dialogue Lilia says that unfortunately made me Think, so I wanted to gather my babblings here.

This post contains spoilers for: Book 7, Tsumsted Wonderland 2, Lost in the Book with Stitch, Spectral Soiree/Endless Halloween, and Tamashina Mina

After spending the day fighting off Gantu’s robots, scavenging for food, and exploring the island, the boys rest for a bit in an old cottage they found. Lilia wants to take the opportunity to spruce up the cottage and make it more resort-like while they’re enjoying this “vacation”, and Riddle and Jack are both surprised and a bit peeved to hear him say this.

Riddle: Don’t you want to find a way off this island as soon as possible, Lilia Senpai? Malleus Senpai, Silver, and Sebek… Everyone at Diasomnia must be worried sick about you right now. I should think you’d want to assuage their concerns a tad bit faster!

Lilia: …Thing is, I trust them.

Riddle: You trust them?

Lilia: Mm-hmm. Knowing them, no doubt they understand I’m safe and sound and having a good time right now. Malleus and the others know I’m not the type of guy who’d get in a pickle over something as trivial as this. And that’s because they know me very, very well – just like family!

(snipped)

Lilia: It’s truly wonderful having people in your life who trust you and wish the best for you - and for whom you do the same in return - no matter how far apart you may be.

When you take this dialogue and look at in isolation of this event, then it’s a wonderful thing to hear Lilia say. He trusts his boys and they trust him - because they’re family, and that’s what families do. It’s always great to hear the characters themselves acknowledge their strong bonds with each other, and I thought it was really cute how Stitch got so happy to hear Lilia talking about his Ohana.

But when you take what he said and consider the broader story of Twisted Wonderland (vignettes and events, included), and you consider other things he’s said and done in the past… This dialogue just hurts.

There’s been small moments here and there that made me think Lilia has kind of an unhealthy(?) or warped(?) view of love. I’m not sure what the best word for it is, but I’ve noticed that he doesn’t like people worrying over him, he doesn’t like emotional farewells/sappiness, and he really doesn’t like letting others see him when he’s weak.  Additionally, he seems to value himself very little – he doesn’t think people would be worried about him if he were in danger, or that people would be happy getting pictures of him, or that his departure in Book 7 would hurt those around him so much. I’ll go ahead and put examples for each point so you all can understand better what I’m trying to say.

He doesn’t like people worrying about him

We can see this partly from the quote this whole post is based on, as well as from Book 7.

Based on his conversation with Riddle, Lilia’s way of thinking appears to be:

If someone trusts me -> that means they wouldn’t worry about me

As well as:

If someone worries about me -> that means they don’t trust me

But we do worry about the people we love and care about, don’t we? We worry about our spouses getting home safely from a business trip, and our kids making friends at school, and our friends acing the interview they’ve been practicing for because we love them, don’t we? And because we want the best for them. But it doesn’t seem like Lilia thinks the same way.

And to add onto this point, it’s very clear the boys do worry about Lilia a lot, contrary to what Lilia claims. Due to Lilia’s departure, Malleus brought a snowstorm to the island in his sadness, Silver considered dropping out of school and leaving with his father, only to end up breaking down and crying in front of their crown prince of all people, and Sebek used his one wish to make Lilia be healthy and have him stay with Silver forever. They were all worried terribly about him in their own ways, but it doesn’t seem like Lilia ever noticed (or maybe he did, and just didn’t want to bring it up for some reason. Who knows.)

At any rate, he also gets mad (well, more like tsundere lol) at Silver when the boy was on the verge of tears after Lilia took a nasty hit for him. (I know this exchange occurred with General Vanrouge, and he was quite the asshole back then, but he’s still retained that dislike for people worrying over him.)

Lilia: Oh, would you quit it with the sniveling. I drank the potion, didn’t I? I just to rest for a little bit, and then I’ll be good as new.

He doesn’t like emotional farewells/sappiness

He exhibits his distaste of sappiness in Book 7 and the Welcome to Tsumsted Wonderland 2 event. In the latter, when everyone is saying goodbye to their tsums, he mentions he doesn’t like the gloomy atmosphere. He wants goodbyes to be happy (and most likely, free of any emotional weight). The same can be said in Book 7, when he wholeheartedly agrees to the going away party the students wanted to put on for him, as well as when Silver mentions his father had wanted them all to send him off with a smile. I’m not sure if Lilia just doesn’t enjoy people getting serious with their emotions towards him, or if he doesn’t like seeing it in general. It gives me Macho Man (tm) vibes, kind of? Like, “don’t let people see you cry and feel sad because then you look weak” kind of thing but idk.

Lilia: Farewells are certainly sorrowful, but I hate leaving things on such a gloomy note. Let’s keep our chins up until the end. Tsum, your ability to surprise others was exceptional, and you made today so much fun. So long!

He really doesn’t like letting others see him when he’s weak

There’s still a lot of loose ends to be resolved in Book 7, one of them being the full extent of Lilia’s motives for wanting to leave so suddenly. It does seem to be he’s telling the truth that his magic ran out early, since he couldn’t muster up enough strength to fight back against Malleus when he was about to Overblot, but we don’t know if the real reason for that is just because he “went a little to wild” in his youth, like he claimed, or if something else caused his magic to deplete so prematurely. But we did hear him reveal a little bit of his motives when he was talking to Floyd at the party.

Floyd was dismayed he never got a chance to fight Lilia, and he wished he could’ve seen Lilia go all out at least once. When he asks Lilia why he’s dropping out, Lilia says under his breathe that he didn’t want “them” to see him so weak.

Lilia (whispering to himself): …It’s because I didn’t want them to see me so feeble.

Regardless of why his magic ran out and why he wants to go the Land of Red Dragons of all places, we know part of the reason for his departure is because he doesn’t want Malleus and the others to see how far he’d fallen from his former military glory. (sidebar: I have a feeling he thought he’d be a burden on Silver and co. with him losing his magic, and he was trying to leave so quickly to escape his shame towards his rapid loss of strength and independence (I imagine since he’s a magical being who comes from a country that runs on magic, him losing his powers must feel very isolating and limiting, like he’s lost a lot of the control he used to have over his own life).)

He doesn’t think people would be worried about him if he were in danger

In Endless Halloween/Spectral Soiree, Lilia was surprised by how much Silver and the others had been worrying about him and Malleus when they disappeared. Interestingly, even though Lilia is the one that Silver was the most relieved to see (it’s hard to tell with the live 2d models, but it looked like he went up to hug? Lilia and Lilia slapped his hand away), Lilia later says “I didn’t think you’d be so worried about us.” (referring to himself and the others involved with the party shenanigans).

(I am aware they changed this line to “I didn’t think you’d be so worried about me” In TWST EN, but I’m just focusing on the JP version).

I just found it weird that even though Silver was very clearly worried about Lilia the most, Lilia kind of redirected Silver’s concern over from “Lilia” to “Lilia and everyone else”. Did it make him uncomfortable to hear Silver was that worried about him? I’m not sure, but it just stood out to me as being a little strange how he responded, and how surprised he was that his own son would get worried about him suddenly disappearing.

He didn’t think people would be happy getting pictures of him

At the end of Lilia’s Tamashina Mina vignette, Yuu stops by Diasomnia to give him some photos he’d taken of Lilia on their trip, and Sebek, Silver, and Malleus are delighted to see them, since it’s not often they get to see photos of Lilia. Lilia is surprised at how happy they are to receive those pictures of himself. But why wouldn’t they be happy? They love him and treasure him dearly, of course they’d be overjoyed to have pictures of him to remember him by. It’s like he thought they wouldn’t care about him that much, which is really bizarre, considering the whole “even if we’re not related by blood we’re still family” thing he told Malleus before.

Lilia: To think, you’d all be so delighted just to see some pictures of me. I never would’ve imagined you’d all react like this.

He didn’t think his departure in Book 7 would hurt those around him so much

This relates back to what I mentioned in the first point, but there’s one scene that demonstrates this perfectly.

After Silver breaks down in front of Malleus, Malleus teleports both of them to Lilia’s going away party. All eyes should have been on Malleus with how strangely he was acting, but the first thing Lilia honed in on was that Silver had been crying. And not only that, but Lilia looked surprised that Silver had been crying. And why wouldn’t he cry? The one person who formed Silver’s entire world and sun and stars was about to leave him and go die all by himself on the other side of the planet. There is no reason Lilia should’ve been surprised at Silver’s tears, yet he was. And I gather that’s because he never thought the boy could ever possibly want to choose to stay by his side, to choose him over all the hopes and dreams he’d burdened on the poor child from the moment he could walk, to choose him over his real friends and his real family members.

I hope when Lilia “wakes up” from his dream, the first he does is ask Silver what he’d been crying about back at the party. And I pray to god they will actually talk things out and Lilia will finally apologize for how much of a complete idiot he’s been acting.

My headache’s coming back so to wrap this up quickly, my current understanding of Lilia Vanrouge is that he either doesn’t realize just how loved and cherished he is by his family members, or that he does realize it and just pretends not to. If it’s the latter, which is what I personally lean towards, I think he does this as a means to protect himself.

He’s already lost so many of his loved ones, and he very well may be putting up these walls around his heart and pushing away the people who love him just so he doesn’t have to get hurt again. We don’t know how he became an orphan, but his birth family either gave him up or passed away and left him behind. Even when Queen Maleficia took him in, he was always made the scapegoat for the princess’s schemes, and it sounded like he was brought up more as Levan and Mallenoa’s inferior than their equal. And then war struck their nation. And then his one best friend went missing and the other one probably gave up her life trying to protect the very child who'd go on to shatter the ice surrounding his wounded heart.

Perhaps with Malleus and Silver and Sebek now, he thought his best option would be to exit their lives before they had a chance to do the same to him, because he knew they would do the same to him. Everyone does.

As a final note, I still keep going to back to what he said in Cater’s Halloween vignette. I think this one line sums up his views of love better than I ever could:

“But the more precious a bond is, the more pain it can inflict.”

(source)

[husband-steve-cortez]

Also since I apparently cannot bring myself to actually focus on and play through a new Shepard I might just rewrite Miles to where Elysium was a really bad day for him but he's used to playing it off

[moonstruckme]

no cause I was thinking…. reckless driving by lizzy is so james coded!!! so I wanted to ask if you could write something inspired by it with reader being a bit insecure about loving him loudly and he’s just like a walking „I love my gf“ sign

ily I hope you are having a great day/night🫶🫶

Thanks for requesting, love you!

modern au

James Potter x fem!reader ♡ 1k words

It’s beginning to frighten you how often you think of James. One of your friends will make a joke and you’ll catch yourself trying to remember it for him, or you’ll see a cute dog and want to send him a picture, or you’ll overhear a conversation in public and wish he were with you to press in close to your ear and ask Did you hear that? 

It’s sort of pathetic, really, considering you’ve only been dating a few weeks. The last time you’d met up you talked about how much you both loved the thin oreos, and when you saw a pack in the store yesterday you’d almost bought it for him. Only the realization of how much your life has started to revolve around him stopped you. 

You can’t be acting like James’ girlfriend. You’re only dating. It’s not like you love him—though you could, definitely, in time. But if you start doing girlfriend things, he’s going to think you are his girlfriend, and things will spiral out too fast for you to stop them. You have to dole out your affection in measured doses. Careful, controlled. 

You feel James enter before you see him. He holds the door to the coffee shop open wide, letting another woman exit before he steps inside, and the cool air that comes in with him has you turning your head. 

James is smiling as soon as he sees you. It’s a seemingly perpetual thing for him, this expression. You’re tempted to look out the window to the sidewalk and see if he’s left a trail of sunshine in his wake. 

“Hey,” he says, sitting down across from you. “You look really lovely.” 

You look exceedingly normal, but you thank him for the compliment anyway. “So do you.” 

“Thanks,” James says easily, like he gets this all the time (he probably does) but appreciates it nonetheless. He starts to dig in the tote he’s hung on the back of his chair. “I’ve brought you something.” 

You start to protest, but he anticipates you. 

“It’s tiny, don’t worry. Here.” 

He slides something crinkly across the table. It’s a pack of thin oreos. 

“Oh, no way! I almost…” You look up, meeting James’ eyes as your brain catches up to your mouth. Too late, you’ve blurted. You can hardly roll it back now. “I almost got a pack for you the other day, too.” 

He doesn’t seem to take your insensitivity to heart. In fact, his eyes light up. “Really! That’s so funny.” His hand remains still on the table but his fingers stretch towards yours, the barest of touches. “It was nice of you to think of me.” 

Your heart slumps. “I’m sorry I didn’t get them for you, though,” you say. “We should share these ones.” 

“Nope.” James leans back in his chair, crossing his arms. “Those are all you, love. Say, have you had a look at the menu?” 

You wince. “I’ve already ordered, actually.” 

“That’s alright,” he says breezily. “Back in a sec.” 

He stands and gets in line, leaving you to contend with the semi-awkward silence of being in the same place yet not speaking. Right as he finishes ordering, the barista calls your name. James looks like he might grab your drink for you, but you meet him at the counter, thanking the barista as you take it. 

“No problem,” she says with a smile. “Love your outfit, by the way.” 

You fluster a bit at the compliment, a break from the typical coffee shop dialogue you were prepared for, but James wraps a friendly arm around your waist and beams right back at her. 

“She’s got great taste, doesn’t she?” he asks, and you manage to cast a quick thanks over your shoulder as he steers you back to the table. “See, it’s not just me that thinks you look especially pretty today.” 

“Oh, hush,” you say, taking your seat and looking down to stir your drink bashfully. “What’d you order?” 

“Irish cream latte. Limited edition, apparently.” 

“So, the sweetest thing on the menu.” 

The smile spreads on James’ face. It ebbs and flows like the tide, you think, never really leaving. “You know me so well.” 

The warmth in his voice makes your chest feel hollow and achy. James goes to such lengths to do nice things for you, to show you that he pays attention and thinks about you and cares, and yet when it comes to you he’s left settling for whatever scraps of affection he can get. 

“James…” Your tone reveals your shift in mood instantly, and James’ head straightens the way a dog’s ears perk when it hears something alarming. “You know I want to take things slow, right?” 

He nods, and when he speaks his voice is considerately softer. “Yeah, you’ve said. Do you think we’re—I’m moving things too fast right now?” 

“No, just,” you wet your lips, having some trouble looking at his face, “I don’t know, I feel like I’m not being as good as you deserve. You’re such a sweet person, and I think…sometimes I feel like maybe you’d be happier dating someone who could be more all-in. You know?” 

For a second, the silence is torture. Then: “Someone you’re trying to set me up with, sweetheart?” 

You look up in surprise, but James is smiling again. Softer, now. Almost tentative. You find yourself mirroring him reflexively. 

His knee bumps yours under the table. “I don’t mind moving slowly with you,” he says. 

“Are you sure?” you ask. “Because you seem like you’re ready for more.” And I don’t know if I can manage that yet. 

“Yeah, I’m sure.” He takes your hand in his, and his eyes are soft, sweet caramel. He looks almost like he could love you. “If I’m coming on too strong, you can tell me, but I care about you. It’s hard for me not to be all-in, but that doesn’t mean I’m expecting the same thing from you. You seem like a sane, well-adjusted person.” James nods seriously. “Something I could use, I’ve been told.” He tries to keep the poker face when you grin, but fails in half a second. 

“Okay.” You give his hand a little squeeze. “Let me know if you change your mind, okay?”

“I won’t,” he says certainly. “I always go for the sweetest thing on the menu, remember?” 

You take your hand back to cover your face, and James’ laughter echoes off the walls. 

[perpetual-stories]

Starting Strong Scenes in Your Writing

Scenes are the fundamental building blocks of novels and short stories, and each one should propel a story toward the climax.

Generally speaking, your scene structure should mirror the story structure. In other words, take a novel-writing approach to a scene, crafting a beginning, middle, and end. Like a story, the beginning of a scene should have a strong entry hook that pulls the reader in.

Start with the setting. Often a new scene signifies a change in time and location. Establishing the setting at the top of a scene helps your readers get oriented. It also sets the tone and mood of what will unfold in the coming pages. A setting can serve as much more than a backdrop in literature. Have your scene take place somewhere that builds tension and hinders your protagonist. If you’re writing a thriller, describe a dark and foreboding place where the worst might happen. Be descriptive and use sensory details to make your setting come alive before you jump into the action.

Use visual imagery. In screenwriting, writers have to think in pictures. What images will excite an audience at the top of a scene? Your approach should be the same when writing any kind of fiction. As you write the opening of a scene, use descriptive language to engage a reader through detailed imagery. Think like a screenwriter as you’re writing scenes.

Drop the reader into the middle of the action. Hit the ground running by starting a great scene in media res. It doesn’t have to be a fight scene or a car chase, but physical movement creates momentum and builds tension in a story. It’s also a way to instantly engage a reader. Be sure you begin the scene before the high points of the action so you build up to the scene’s climax.

Write a character-driven scene opener. A good scene starts by giving characters a goal. Start by putting your protagonist in a situation that creates an obstacle or opportunity for both the scene and the overarching storyline. Try starting with dialogue, like an intense conversation between your POV character and a mystery character whose identity is revealed later in the scene. If you’re writing from an omniscient third-person point of view, consider starting a scene with a secondary character, even the antagonist, and use it as a chance for deeper character development.

Summarize past events. You might choose to use the beginning of the scene to do a quick recap of what’s brought your main character to this place and moment in time. A summary is especially helpful if you’re writing in third-person and a new scene switches to a different character. Take the opportunity to remind the reader where we left off. Instead of a straight-forward update, get creative. Go into deep POV and let a character’s thoughts provide the summary instead of the narrator. Be sure to keep this summary brief—just a line or two—so you can get back into the action.

Introduce a plot twist. The start of a new scene is a chance to pivot and take your story in a new direction. Start a new scene at a turning point in your story. Dive into a flashback or character’s backstory, revealing critical information that changes the course of the story going forward.

Keep the purpose of the scene in mind. Effective scenes are clear about what they set out to accomplish and how they contribute to the overall plot. They might include plot points or reveal important information needed to move a story forward. Establish your scene’s intention from the very first word and keep the rest of the scene on point.

Rewrite until you’ve found the perfect scene opening. When you’ve finished the first draft of a scene, go back and read it through. If your scene needs something, but you can’t figure out what, it might be how the scene starts. The best way to know if your opening works is by reading how it plays with the rest of the scene. Review the last paragraph and see if it ties back to your beginning. If the intro feels weak, rewrite it. Maybe your real opener is hidden in plain sight somewhere else in the body of the scene.

Make sure your opening scene is your strongest. While your entire book should be filled with compelling scenes that start strong, the very first scene of your book needs to lead the pack. This is the reader’s introduction to your story and where you’re revealing the characters, the setting, and kicking off the plotline with the inciting incident. This first scene has to hook the reader from the first line so they keep turning the pages.

Read a lot of books. If this is your first novel and you need some inspiration and ideas to help you start off your scenes, start by reading other books. Choose a book by a bestselling writer like Dan Brown or Margaret Atwood. Study the different ways they approach every scene. Reading other authors is a great way to hone your scene-writing skills.

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