#just so i can explain to you the objective way the scene worked

[pygmi-says-hi]

writing experiences - criticism

you're gonna get critiques. you might be asked to give critiques. sometimes it hurts when someone is insensitive about their delivery or says something that hurts your feelings. sometimes you might feel stressed with the pressure of critiquing someone else's work.

it's okay! it doesn't have to be scary! I'll explain some ways to be respectful and to deal with disrespect.

How to critique nicely:

stick to what you know. If you are searching for something to critique on, don't! If you don't see anything, say so. Don't try to find mistakes when you're not sure. that's misleading and it could end up being rude. If you know what you're seeing needs work, say so. if not, recommend a beta reader/critic who might. misinformation is often unkind.

Understand what they're asking of you. If the author only wants advice on a specific paragraph, don't give them advice on the whole page. If the author is only looking for spellcheck, don't comment on the plot. That's overstepping the boundary. Stick to what they gave you.

Ask questions! if you read a piece of dialogue that makes you go "wtf??" ask about it! clarify, 'hey, what did you want to convey here?' so that the advice you give is relevant to their story and not your opinion.

your personal opinion is not always the objective. If you're asked to critique a romance story, don't say something critical 'just because you hate romance'. That's not the point.

Understand the theme and reason they've written what they wrote. If it's satirical and supposed to be a dig at racial stereotypes, don't get hung up on 'yo you wrote that guy racist as hell.' yeah, that's the point. If they write a story from the point of a schizophrenic with no concept of time? There's a reason why the sequence is all jumbled.

Compliment sandwich is always a nice format, but try these too!

yes, and - 'i like this, maybe add this too?'

good, better, best - find something that needs work, a good example, and the best example in their work.

Engage about the work! Ask questions, add comments, let them gush about their story. The more you know, the more helpful your advice will be.

How to receive unwarranted criticism:

it sucks, guys, I know.

Does this person matter? Does the opinion of their comment have any relevance to the story?

Are they trying to be mean? Then the answer is no.

let them know respectfully. Don't respond with your own insult, that does nothing. Just say, "hey, I don't need input on this, thanks." and move on. Or, don't react and block them.

How to receive criticism that is warranted but might be upsetting:

What are they really saying? It might be hard to hear your favorite scene isn't very good. Really look into it, don't take it at face value. Reread the scene with their comments in mind. Does what they say make sense? Can you see where they're coming from? If not, disregard it.

you don't have to listen to everything. pick and choose. If someone suggests something that you think, 'hey, yeah, I get that, I'll fix it.' Do it! if somebody suggests something that you think 'nah, maybe not that direction," don't! You are not obligated to do anything.

Don't give up. It's okay to get critical feedback! Nothing is ever perfect. You are still a good writer and your story deserves to be told.

Talk with the critic! Ask why they felt that way, maybe if they have any ideas beyond what you asked for. get familiar with each other; it'll feel more like a friend than a mean teacher.

xox love you!

[the-cat-and-the-birdie]

Hey uh, We need to talk about

What this scene means for Gwen - Another reason she can't go home: Going home will kill her father.

[A SHORT essay about one of the effects of Miguel's propaganda]

We all know the scene where Miguel explains canon events - and he specifically focuses in on ASM-90.

In the hologram he's shown, Miles hears Spider-Man mention Gwen's last name and immediately looks to her.

Only to find that Gwen is not at all surprised.

Gwen already knows this information.

Gwen is already aware that she's destined to be an orphan.

Gwen is aware that the only thing keeping her from having canon events - is the fact she can't go home.

If she were to go home - according to Miguel's explanations, there's only two things that can happen.

1) her father arrests her.

2) her father accepts her. she moves back in. he dies because she comes back

Gwen LITERALLY cannot go back home.

She can't or else she'll be putting herself or her father's life at risk.

Objectively speaking, working for Miguel is the only way she can prevent her dad's death. Miguel has told her that canon events are inevitable - since she can't stop them the only choice she has is to hit pause on her life.

I mean look at her face when Miles confronts her.

When Miles presses her and says 'So you're just going to do nothing about it?', the words visibly hurt Gwen.

She genuinely feels like there's nothing she can do. Even if her father accepts her - he's only bound to die, right?

It isn't until Miles challenges Miguel - and Gwen is literally forced home - that she considers different.

THAT'S WHY GWEN CAME HOME AND TRIED TO LEAVE IMMEDIATELY

Gwen gets back to her house, and seeing her dad asleep, tries to leave out the window again. She knows either way, she can't speak to him and she can't stay.

It's only when her father wakes up and catches her - and tells her he's quitting - that Gwen realizes that Miles is right, and canon events can be avoided.

Had Miles never done what he did, she would've never been forced home.

She would've gone on believing that if she goes home, the canon events that have literally been ruining her life would start again.

Gwen knew she's destined to be an orphan. She believed that going home would be either dangerous for her or literally deadly for her father.

She already feels like Peter died because of her - and now if she even goes back to her universe her father will die because of her as well.

That's another HUGE reason Gwen literally cannot leave The Spider Society.

She's avoiding canon events just as much as Miles is. Except her panic response is flight and his is fight.

Do you know how emotionally damaging this is for her DAMN

[thecutepoison]

This is very speculative, but I'm suspecting Kipperlily is using the Ethereal Plane to spy on the Bad Kids and if I'm right I might have figured how she got found out by the rogue teacher!

First, let me explain my paranoid thoughts about the spying. Since ep 3, we are aware that Kipperlily is hearing their conversations, even if we don't know for sure the extent of it. She, just like Riz, must have a crazy stealth modifier + reliable talent, however I don't think she's relying only on that.

So, there's a scene in ep 4 when the Bad Kids roll for perception to spot Kipperlily. Kristen casts See Invisibility and Fabian rolls a nat 20. Brennan describes, only to Fabian, that although he doesn't see Kipperlily, he feels the "twinge of some kind of sense". Very creepy. That implies that she's there but cannot be seen. She could be invisible, however I don't think that's the case because an invisible person could still be perceived through hearing or touch. Also, Kristen would have been able to see her because of the spell.

With that in mind, the paranoid goblin that lives inside my brain is convinced that she's using the Ethereal Plane to spy on the Bad Kids. The Border Ethereal is perfect for infiltration and spywork, since you pass through physical objects and watch everything in the material plane without ppl there perceiving you. There are a couple of ways to access the Ethereal Plane, with spells or items, but I have no ideia abt the specific method she might be using.

Her being in the ethereal plane explains why Fabian, with his nat 20, didn't notice any physical indicatives of Kipperlily but still felt a presence, like some sixth sense. Now, Adaine did use her Third Eye so she could see into the Ethereal Plane within 60 feet and still saw nothing. But that doesn't mean that Kipperlily isn't there since there's a very easy way to circumvent Adaine: Non detection. This is a third level spell that hides the target from divination magic - for 8 hours they "can’t be targeted by any divination magic or perceived through magical scrying sensors". The Rat Grinders, long time haters of the Bad Kids, are for sure aware that Adaine is a divination wizard, they would be fools to spy on the party without casting Non Detection first. She's the motherfucking elven oracle!

Okay, now about the rogue teacher. In ep 3, Siobhan theorizes the rogue professor is the ghost teacher. I think she's absolutely right! We know most teachers of Aguefort and even if the ghost one was among those we havent seen, the Bad Kids would probably have heard about them if they were teaching something like ranger class. It's plausible that the reason for the party having no ideia who they are and not even passing by them in the halls is that the ghost is the rogue professor. After all, no one knows who the hell they are, it's the whole point of their teaching method. And for a ghost it would be really easy to go undetected since they can travel through the Ethereal Plane, beside the insane stealth.

Indulge my conspiracy theories for a minute. Rogue professor = Ghost Teacher and Kipperlily can wander in the Ethereal Plane, the plane of ghosts. Even with the advantage of being on the same plane as the teacher, it would still be a nightmare to find them since they are a pro rogue. In fact, Kipperlily didn't achive that: the rogue teacher found her.

But how did she manage to have the professor find her? I'm sure it wasn't an accident, she's too calculating for that. So, I started thinking about what would I do in her place and came up with the stupidest ideia. It's utterly ridiculous. But it could totally work and the strategy seems kinda Kipperlily's style.

Remember the Ghost Steak? The one Fig tried to eat when she invaded the teacher's lounge in season one? It's the ghost teacher's lunch, and Brennan reestablished its existence in ep 3 when Adaine used Ethereal Sight, explaining that the school wards are porous enough to allow ethereal travel and other stuff.

So if I was Kipperlily, my dumbass plan would go as follows: invade the teacher's lounge through the ethereal plane and hide inside the fridge. It wouldn't be a problem for me since I'm intangible and can pass through stuff, plus the other professors wouldn't see me even if they opened the fridge. Inside, I wait as long as needed, until the Rogue/Ghost Teacher gets hungry. They finally open the fridge to grab their snack, only to find me looking at them from inside the fridge like a lunatic. Mission complete: got found by the rogue teacher and aced junior year!

It's so mundane and stupid and that makes me more convinced that's exactly what happened. It's too funny to not be true.

[chemblrish]

Chemistry video recs!!

Okay so here's a new ~project~ of mine (we'll see how long I can stick to it whoops): every once in a while I want to make a compilation of cool chemistry videos. I also want to keep it strictly chemistry-related (as much as that's possible... and I don't promise to be totally objective lol*). I watch a lot of science videos in general, but the way I see it, chemistry just doesn't get enough hype. Physics and biology can fend for themselves, they're very popular. Chemistry is notoriously underappreciated and overlooked, and it makes me sad.

So! Here are some great chemistry videos I've watched recently.

Under 15 minutes:

How does evaporation REALLY work?

Making Singlet Oxygen

Technetium chemistry - synthesis of Lanthanide Pertechnetates - nuclear chemistry

Making table salt using sodium metal and chlorine gas

Making Chloroform

White Phosphorus - Explosions&Fire

Making fuming nitric acid

The End of Haber Bosch

NCl3: a terrifying yellow abomination

Making Prussian Blue

The experiment that revealed the atomic world: Brownian Motion

Chirality is Just Turtles All the Way Down

Over 15 minutes:

Chemist Breaks Down 22 Chemistry Scenes From Movies & TV

Hydrogen Peroxide: going all the way

Does cyanide actually smell like almonds?

Cosmic Chemistry with Kate the Chemist & Neil deGrasse Tyson

The Hidden Chemistry of Everything with Neil deGrasse Tyson and Kate the Chemist

How DO Molecules Store Energy?

applied quantum mechanics

A Chemist Explains the ENTIRE History of Atomic Theory (in 48 Minutes)

*for example, I consider some of thermodynamics to be chemistry-related, as well as some aspects of quantum mechanics. When I say I don't promise to objective, I mean I'll make rather liberal decisions on the intersection of sciences. And you can't stop me.

[makeste]

BnHA Chapter 424: Detroit Tears

Previously on BnHA: You know what, fandom is way too heated about this still so we’re just going to leave that be that for now and not get involved. I have some conflicted feelings about it, but this is not the place or time. This is a happy post.

Today on BnHA: Oh right, Horikoshi still owns the rights to my soul. And I’ve just been reminded of why I willingly signed them over to him so freely.

Quick heads up that this isn’t going to be my usual style of chapter reaction post, in that it’s really just going to be a ton of rambling about That One Scene. Partly because I’m only halfway caught up with stuff, but mostly because tbh, this is the only thing that matters to me right at this moment.

Also this is your friendly neighborhood spoiler warning that I’m posting about a chapter which hasn’t officially been released yet! So proceed at your own discretion. This reaction is based on @pikahlua’s excellent spoiler translation writeup here. I’ve officially lost all of my fucks about spoilers and it’s extremely liberating.

I’m glad that Kacchan’s arm isn’t just magically better and that he’s never going to be 100% again. and also that the doctor mentions him needing to rest his heart as well. because I did feel like there needed to be at least a few lasting consequences from him LITERALLY DYING AND UNDERGOING OPEN-HEART SURGERY IN THE MIDDLE OF THE BATTLEFIELD. but I’m also glad they established that it wasn’t career-ending or anything. he’ll probably have some chronic pain and occasionally aggravate his old injuries while fighting, all of which is great for angst purposes. but it was good to see him being calmly accepting of that while also being determined to put the work in to rehab it as much as possible.

also enjoyed the doctor summing up Kacchan’s highly improbable main character resurrection and subsequent antics as basically being some wild bullshit that nobody can explain. lampshaded the shit out of it. “I don’t really understand” lol. nobody understands. in truth it’s that his secondary quirk is bending reality to his will in order to kick ass.

moving on to the main event now! so Kacchan and Izuku’s reunion was obviously the highlight of this chapter and of my life, probably. I’m not gonna sit here and pretend like it wasn’t. y’all know how it is.

what really made this scene for me was Kacchan being more upset at Izuku’s loss than Izuku himself. all those callbacks and all that guilt. that careful selection of flashback panels. the fact that Kacchan’s past bullying of the quirkless Izuku wasn’t glossed over or forgotten, and in fact is the emotional core that fuels Kacchan’s reaction here. Horikoshi didn't have to cut that deep, but he knows what he's about.

and then the crying. I need to write a lot of words about this right the fuck now. first off, having Kacchan just flat out sob while Izuku for once is the calm one (at least until All Might goes in for the emotional kill later on), is such a beautiful reversal and really shows how far they’ve come. even better is that none of it was even remotely out of character. I’m always appreciative when an author can produce top tier emotional hurt/comfort like this and have it feel earned and authentic rather than forced. well done.

also, “Na--cchan!!” fuck yeah Izuku. we’ll never let him live this down. (but also, him later trying to reconcile his forever-tough image of Kacchan with the crying, hiccupping version standing in front of him, by blaming it on Kacchan’s weakened physical state... oh, Izuku.)

also the fact that Kacchan so easily reverts to this smol crying boy even after defeating the world’s greatest evil pretty much activated every protective instinct that I have. he’s seventeen. he’s practically a man now. he’s objectively one of the strongest and toughest people in the entire world. and yet his eyes still go so wide and his face is still so young and Horikoshi still draws him so tiny and vulnerable whenever he’s like this. goddamn gets me EVERY single time. let’s be real, it’s been this way ever since the “you looked like you needed saving” scene back in the literal first chapter. just, omg. he’s still just a kid and he’s too small to contain all these feelings SOMEONE HELP HIM.

anyway so NEEDLESS TO SAY, Kacchan full on mourning in between sobs because he wanted to keep being rivals with Izuku cut me to my core. I cried too, goddammit. because in Katsuki’s mind it’s like. he wasted a dozen years of potential friendship by being a giant asshole. and they were only able to start getting things back on track less than a year ago. and that was probably the best year of both of their lives. and that rivalry meant so much to both of them. pursuing their dreams together as equals. and he wanted it to continue!! he missed out on so much, and it was his own damn fault, and now it’s all being taken away again maybe!!

and I think it’s especially devastating to Katsuki because he was trying so hard to make up for how he treated Izuku, and then this comes along and now he’s worried it was all for nothing. he’s scared that Izuku will maybe have to quit being a hero. (we know that won’t happen, obviously, but Katsuki is living this and not just reading it. he’s never met narrator!Deku and doesn’t have the benefit of all that foreshadowing and stuff.) but even more than that, I think he’s scared that it will undo all of their progress toward mending their relationship. not because Katsuki thinks any less of Izuku now, quirk or no quirk; but because of how Izuku might feel about being quirkless again, and because of the memories it might bring flooding back to the surface. I don’t think Katsuki fully believes that Izuku has forgiven him. so that’s a major fear potentially rearing its ugly head once more now.

and of course, he’s also just sad and upset on Izuku’s behalf, because he knows Izuku is sad about it too, even if he’ll never show it and will just downplay it because of his selfless nature. it’s a major loss, and one deserving of tears being shed, even if Izuku won’t shed any of his.

so yeah. it’s a lot. in Katsuki’s mind it’s the potential loss of a partner (if Izuku quits heroics), and a friend (if Izuku does cool toward Katsuki as a result of being quirkless again), and a dream (of them reaching the highest heights together), and his friend’s dream. so it makes perfect sense that all of that would overwhelm him. all of this is stuff that’s broken him down on past occasions as well.

so anyway it’s going be very cathartic when all those fears prove to be unfounded (because they better be unfounded lol). but in the meantime it’s a very moving reminder of how much he really does care and how far the both of them have come.

also Horikoshi really couldn’t resist giving Nobu one last chance to destroy everyone when this scene rolls up in the anime. that’s so reckless of him. there will be no survivors.

All Might telling both of them they’d become the greatest heroes was also the perfect chef’s kiss moment on top of everything else. we already knew it, of course. but it was good to hear him say it. and they needed him to say it. they needed and deserved to hear it.

and I really love that the qualities he specifically praised them for were the same things that each of them had struggled with the most in their respective journeys. he tells Izuku, who had such a difficult time learning how to tell the world “I am here!!”, that he inspires everyone and has become everyone’s hero. and he reminds Katsuki, who struggled with learning how to save people, and has especially struggled with his guilt over what happened to All Might at Kamino, that he saved All Might’s life and is the reason he’s able to still be there with them. both of them just really needed to hear that acknowledgement and encouragement, and it was such a powerful passing of the torch moment. All Might gets so much shit from the fandom, but he really is a phenomenal mentor when he’s in the zone, and I’ll die on that hill.

also a nice touch keeping the focus of those panels on the two boys and their reactions. even though I would have liked to see All Might’s face when he thanked them at the end, it definitely felt deliberate. this is their moment. their soft little tearful smiles afterwards punted my heart off a cliff and then picked it up and held it gently.

lastly, let it be known that I’m still convinced Katsuki has OFA (All Might vestige explanation when??), and it’s not lost on me that that would be a mighty convenient way for Izuku to potentially still go on a-quirkin’ in the end, if that’s how Horikoshi wants to play it. I'm just saying.

also before I forget, just a quick shoutout to Horikoshi for FINALLY showing all three members of the Bakufam in a scene together in which they finally managed to not be completely dysfunctional lol. my deepest darkest BnHA secret is that Mitsuki is secretly super high up on my list of favorite characters. and she was great in this chapter, and I love how she was just “WHAT THE FUCK” aghast at Katsuki using his main character powers to continuously ignore his injuries. and then she and Masaru kind of silently agreeing to step outside the room and let the boys and All Might have their moment. while still secretly listening in. because you know they were. good for them.

lastly for reals, I just want you all to remember that as great as this chapter was, the one thing that it was STILL missing which we have STILL not gotten is a HUG. we demand HUGS. I’m not leaving this manga till I get a bkdk hug goddammit. I will stay here all night if I have to.

[purple-obsidian]

miscommunication (18+, dick grayson x titan reader) wc 2.7-3.1k

⭓ this post contains suggestive themes and is not suitable for minors. reader uses she/her pronouns.

"Shit." You curse under your breath when you see your last two messages failed to send. There's just no signal down here. You sigh, and pocket your phone, mind wandering and trying to predict what mission Dick is taking you on tomorrow night. He usually tells you when its time for full stealth, so you decide you'll show up in civilian clothes. He wants to meet earlier in the evening anyways, so you guess it may be something undercover or staking someone out. You let your mind wander for a bit, before returning your focus to work, watching two men in overalls argue in front of the buildings water heater.

The next day, Dick shows up to your apartment right on time. He pulls up in his electric blue sportscar, sticking out like a sore thumb in this neighborhood. You can't help but grin when you see his car through your living room window. Checking yourself out in your bathroom mirror one last time, you make sure your concealed weapons and headpiece aren't visible, before grabbing your phone, keys, and wallet from your backpack. A sudden knock on the door to your apartment causes your eyebrow raises in suspicion, and you slip your shoes on before answering.

"Dick?" You greet the blue-eyed man standing in your doorway, surprised to see a bouquet of gorgeous white roses in his hands. His hair is styled neatly, and he's clean-shaven, too.

"Hey." He flashes you an excited smile taking in your outfit. "You look great." He comments, his brow furrowing ever so slightly as he looks you up and down, taking in your casual attire.

"Thanks… You didn't have to come up here and get me, though. I was on my way down. Am I under-dressed?" You ask him, noting the button-up shirt and freshly pressed pants he's wearing.

"No, not at all." He extends his arm, presenting you with the roses. "These are for you."

"Oh." Your eyes narrow in confusion, glancing between the roses and his expectant grin. "Thanks… I'm assuming I'll need these later?"

Dick clears his throat and tugs at the collar of his shirt. "Well… I mean… need is a strong word," he replies, chuckling awkwardly, "But you can leave them here, if you like. To enjoy when we get back."

Him saying 'when we get back' makes you think there must be some follow up or additional work to do after you complete your objective.

You grin, and take the flowers from him. "So, does that mean we're pulling an all-nighter?" You turn your back to him and walk towards your kitchen to get a vase for the roses. You just miss the bright pink flush that creeps into Dicks cheeks.

"Uhm… I mean, I didn't want to assume anything, here, but if that's where the evening takes us…” He scratches the back of his neck, and follows to join you in your small but tidy kitchen.

He finds you at your sink, filling a tall jar with water. "Yeah, I got nothing going on tomorrow. We can go all night if we need. I've been in the mood for some action, anyways." You explain casually.

His face grows even more red, suddenly feeling very warm in the shirt he chose to wear. "L-let's just get through dinner first."

---------------//---------------

Your eyes scan the fancy restaurant, taking in the scene, noting all the exits, eyeing the people occupying the tables around you. There's a quiet hum of conversation, laughter, and clinking glasses that fills your ears. You don't notice anything out of the ordinary, but you stay diligent, slightly annoyed that Dick hasn't told you why you're here yet.

A couple to the left of us. Man and woman. Mid-thirties, wedding bands, the woman is on her phone, barely paying attention to her date. We have another couple on our right, two men, could be 50's or 60's, hard to tell. Nice watches. Ordered the salmon…

Dick pokes at his pasta with his fork, a small frown on his lips. He's been acting weird since you got here. But he didn't give you any briefing, which makes you think he must be waiting for someone. He said you would enjoy what he had planned, maybe taking down an old enemy of yours? You wrack your brain, trying to remember the last villain who wronged you.

Dick says your name, snapping you out of your thoughts. "Hm? Yeah?" You ask, looking up at him blankly.

"Are you okay? You don't seem to be enjoying yourself."

The waiter passes by your table, refilling your wine glasses with a polite nod.

"Thanks." You tell him with a brief smile. Your attention returns to Dick, who's blue eyes are trained on your own. "I'm fine, Dick. Honestly? I'm just a little confused about what we're trying to accomplish here. What's our objective?"

"The objective," he sighs, and takes a sip of his wine. "The objective is to enjoy ourselves. Spend quality time together."

You barely hear the words he's saying, thinking instead of how he's already on his second glass of wine. He isn't even fake sipping, like you are. This isn't like him. Dick never drinks while he works, unless he's undercover. But even then he will limit himself, never wanting a mission to go bad because he was inebriated.

"Uh, Dick? Shouldn't we cap if off at one?" You ask, nodding to the glass in his hand. "We need you sharp, don't we?"

His eye's widen a little as he sets his glass down. You find it hard to place the emotions playing across his face. He almost looks offended.

"Sharp… right." He sighs, grabbing his napkin and wiping his mouth, shaking his head a little in disbelief. "You know what? You're something else. I really wanted this to be a chance for us to get better acquainted outside of work. I wanted to get to know you better." He waves down the waiter again, signaling that he's ready for the check. "But it's clear to me now why you even agreed to this."

Now it's your turn to go wide-eyed. "Outside of work? Dick, what are you-"

"I honestly thought you were different. I thought we had chemistry. Real chemistry. Maybe I was wrong. Seems like you're only interested in making sure I can perform later, is that it? An all nighter? You can't even humor me, and enjoy a nice meal together first? You've barely said a word, and you haven't even touched your food."

Realization hits you like a ton of bricks.

Dumb. You are so fucking dumb. This isn't work, this is a date. A real date. No wonder he's dressed so nice. He brought you flowers. Fuck, how could I be so dense?!

"I… Dick, when you texted me yesterday, I thought-"

"Save it." He grumbles, rubbing his temples and avoiding eye contact. "Let’s just get this food to go and forget this ever happened."

You sit up straighter in your seat, and reach across the small table for his hand. "Please, let me explain?"

He looks down at your hand, then narrows his eyes at you. "You're going to tell me I'm wrong?" He challenges.

You aren't used to this. His glare sends chills down your spine. You don't often find yourself at the receiving end of Dick Grayson's anger, but its unsettling every time.

"Y-yes. You're wrong." You curse yourself for stuttering, but your heart is racing now, nervous about how badly this miscommunication could affect your relationship. Your eyes plead with his while your hand rummages around for your phone in your jacket pocket. "I think I misunderstood your texts. Just let me pull them up real quick."

The waiter returns too soon, check in hand. Dick waste's no time laying down a few crisp bills before angrily standing up. "No need. You thought this was just a hookup. I get it. Never mind about getting it to-go. Why don't you stay here, enjoy the rest of your meal alone." He throws down another large bill, slamming it down with his fist right in front of you. "You can take a cab home."

"No! Dick, please!" You stand from your chair, cloth napkin falling to the floor, watching him stalk past you towards the exit of the restaurant, anxiety filling your stomach with dread.

► let him leave.

► follow him.

don’t steal my work. don’t repost it somewhere, upload it to another site, use it to train ai, or claim it as your own.

[absolutebl]

This Week in BL - The Industry is Having Issues But the Spice Spicy Must Flow

Organized, in each category, with ones I'm enjoying most at the top.

March 2024 Wk 4

Ongoing Series - Thai

Two Worlds (Thurs IQIYI) eps 1-2 of 10 - One of those "he's dead Jim so time travel" thingames starring MaxNat. I'm over this concept but I do enjoy MaxNat. Phupha (Gun) and Khram (Nat) love each other but Phupha is murdered. Then Khram is pulled to a parallel world where, years ago, Khram and Tai (Max) were in love. However, Khram was killed by Tai’s dad. Now Tai finds alter-Khram. But then there is ALSO an alter-Phupha to deal with. (Phupha is played by Gun Thanawat who was Khom, the repressed butler bodyguard from Unforgotten Night. We like this, but we scared of the love triangle aspect.) Did that make sense? Yeah, okay, see what I mean?

Initial thoughts?

The subs are troubling but I’m enjoying this show a lot. It’s nice to see MaxNat get something meaty to sink their teeth into - that’s not just each other. Also it’s so smart of them to give us a fully fleshed out entire episode developing the alter romance rather than just a separation + death. It makes Khram’s grief and motivation that much more believable. Also it’s really nice to see Nat have good chemistry with other actors. 

Deep Night (Thurs iQiyi) ep 3 of 8 (10?) - I'm still enjoying it. But Two Worlds is objectively better. So this one has lost ranking. Also, unexpectedly chili (the name of my heavy metal Thai cover band).

Lovey switchy and verse main couple too.

This is all quite pleasing.

The bit where the hosts pretend to be a BL couple actor ship was epic on so many levels.

Also unsettling.

All sex work is performative, and in a way there is something more honest about this depiction, in this setting, than what BL actors are made to do on the promo circuit. Which then begs the question, how different is BL from sex work? That's the unsettling bit, for me anyway. Not to slam on sex work AT ALL, we pro-the-true-pros on this damn blog, but actors have been shaded by association with True Professionals for a very long time and BL has already had one epic shut down in this regard. (See the PerthSaint scandal around Love By Chance, no I will not explain.) Where was I? Oh yes, so anyway, see the Gossip section for the part where they better be paid either way!

Also, since I'm a warped fucker, I found this scene funny.

And then hilarious when all of those BL tropes were just trotted out. Like a greatest hits reel.

Truly beyond meta. (How Absolute BL of them.)

Note he’s even standing in yaoi's patented "hands in pocket with the shoulders back"? 

Meanwhile, the gayest bridge in Thailand made its quarterly appearance:

And lip serviced was paid to the most touristy romantic things you can do in Bangkok.

And I mean lip service literally. 

To Be Continued (Thai C3 Thailand grey) ep 5 of 8 - I’m still enjoying it but getting more and more nervous. We getting too close to Promise territory for comfort. EXPLAIN Ji’s reticence well and do it now or risk audience mistrust. We have to be given a GOOD reason for Ji's behavior, or he'll be irredeemable.

City of Stars (Fri iQIYI) ep 8 of 12 - NO SINGING. Yes smiley kisses and good communication and a nice healthy relationship. But no singing!

1000 Years Old ep 6 of 12 - Dropping in the ranks. I’m sorry it’s just gotten boring. It has, however, inspired me to invest in my own ridiculous cream fuzzy sweater. Which I plan to wear with leather trousers and huge stumpy boots, like the Kpop queer I truly am. Or do I mean vampire? 

Kiseki Chapter 2 (Sun iQIYI) ep 1 of 6 - Seems to be an excuse for a small posse of Thai actors to wander around Tokyo playing tourist and sing in public . Someone stop them?

“Most people think this kind of thing is bad manners .”

Anyway, it’s v boring. I’ll give it one more ep but I suspect I’ll DNF.

Close Friend Season 3: Soju Bomb! (Weds iQIYI) eps 1-2 of 6 - Meh. This is also looking suspiciously DNF-a-licious.  

Ongoing Series - Not Thai

Unknown (Taiwan Tues Youku YouTube & Viki) ep 5 of 11 - It's brilliant. I love it. I'm ready to hurt. Let’s do this thing. 

Distribution note: This one has been picked up and is also airing on Viki now, so it may lose YT distribution in soem territories. I like Youku's hard subs better than Viki's subs, but that's a matter of preference not information since I don't speak Mandarin.

Love is Better the Second Time Around AKA Koi wo Suru nara Nidome ga Joto (Japan Weds Gaga) ep 3 of 6 - It is good. Every week I like this show a little more. I'm enjoying a reunion romance explored in Japan's quintessentially contemplative yet slightly surreal way. The juxtaposition of the tenderness of the sex scene with this Japanese brand of authenticity was oddly elegant - for lack of a better way of putting it. All in all, this is a good show. Thought provoking. Stylish.

AntiReset (Taiwan Fri Viki/Gaga) ep 9 of 10 - It remains lovely but they sure are reusing a lot of footage. Also, this was a classic penultimate doom episode. I do wonder how they are going to resolve this show ethically.

My Strawberry Film (Japan Thurs Gaga) ep 6 of 8 - It is what it is, and it isn’t my style of show no matter what country of origin. Oddly that's one of the reasons I don't like it. Anyone could have made this, it's not as Japanese as I want it to be, it's just indie film club high school angst. Yawn.

I watched it, finally

The Servant and the Young Master (Vietnam YouTube) 7 eps - I dislike vertical filming, but I kind of enjoyed this show as a BL. I like class conflict romances. For me the rich kid is a bit too dictatorial (edges into bulling), but it’s kinda works. It’s sparse and underdeveloped and a bit plotless, but mildly entertaining. If you're missing Vietnamese BL you might give it a try. 6/10 

Began Beginning (Myanmar YouTube) 8eps - A Burmese BL that I had thoughts about but actually ended up recommending. Read the saga here:

It's done, ready to binge, but I suck

What Did You Eat Yesterday Season 2 AKA Kinou Nani Tabeta? Season 2 (Japan Gaga) 10 eps

It's airing but...

Graduation Countdown (Taiwan YouTube) ep 1 of ? - on one hand it's micro-installment vertical, on the other it's adorable and from Taiwan. I blame @heretherebedork entirely for my conundrum. As indeed, I did for My Type back in the day. (That was Nat Chen's first BL, yes of Kiseki: Dear To Me fame.) So I think I will also simply lean on Here to let me know when it's done and binge all at once. It's just too much to ask me to keep up with 2 minute pieces, I don't have that kind of endurance training, not even for BL.

Time the series (Tue Gaga/YT) 10 eps - it's finished now, I dropped it at ep 4. Should I bother?

A Secretly Love (Thai Sat WeTV grey) 10 eps - I watched the first ep but grey is too much work for this inferior of a show. I may pick up and binge if it gets distribution but for now, it gets a DNF from me. KimCop might have held this crap together but Kim without Cop? No thank you.

Lady Boy Friends (Thai WeTV grey) 16 eps - reminds me a bit too much of Diary of Tootsies only high school. Not my thing. DNF unless it turns a corner and is truly amazing for some reason.

Man Suang that MileApo vehicle from last year is coming to Netflix in the USA. I haven't heard much about it and since the KP stans would have lost their tiny minds if it was any good at all, I'm assuming it's not good at all.

Gossip

Thai BL actor Yoon breaks with his former company and talks about some very very VERY shady goings on in the Thai BL industry. Including not being paid.

And whacha know, same thing happening in Korean BL.

Have I mentioned recently how much I hate the film industry?

Next Week Looks Like This:

Starting Soon

3/31 Only Boo! (Thai GMMTV YouTube) 12 eps - New main couple for GMMTV in an idol romance about a boy who dances good and a food stand vendor. Other side of the tracks grumpy/sunshine pair who fall deeply in love but, of course, baby boy idol can't date. Boyband but from GMMTV? Control your singing and I'm game.

4/1 Love is like a Cat (Korea ????) 12 eps - This completed filming Aug 2022(!) which means there have been serious problems with post-production. This is another of Silkwood's Korean+Thai colab projects. Mew Suppasit plays a rookie film star, called the Cat Prince (for his cold arrogance) who goes up against a charismatic puppyish animal daycare director (JM of JUST B). There is also a side romance (love triangle?) with a veterinarian. Geonu of JUST B is also in the cast.

I wonder if this was part of the hold up, with Geonu on Build Up right now, they might have tried to muffle this one. Or maybe it's just that bad...

4/3 We Are (Thai GMMTV YouTube) 12 eps - University ensemble BL featuring PondPhuwin, WinnySatang, AouBoom, MarcPawinPoon - basically the good kind of messy gay friendship group (so more My Engineer and less Only Friends). Looks a bit like the Kiss series but everyone is queer. I'm IN!

Knock-Knock Boys (Thai WeTV?) - 4 college friends conspire to help their friend lose his virginity. Familiar faces like Seng (yes, Billy's previous partner), Best and frest face, news here.

Upcoming BLs for 2024 are listed here. This list is not kept updated, so please leave a comment if you know something new or RP with additions.

NOTE: It looks like one of my personal favorites of last year Unintentional Love Story is getting a spin off!

THIS WEEK’S BEST MOMENTS

Without ghost girl.

With ghost girl.

I think she may be my favorite part of 1000 Years.

CLASSIC tsundere seme description of a sunshine uke. Like classic'est of classic. (Two Worlds)

Is there such a thing as a tired trope in a BL? Since it is a genre that is made up entirely of tropes quilted together? Your philosophical question for today brought to you by Deep Night's kabedon (Japanese trope) + punishment threat (Thai trope).

Love me a lap sit moment. (City of Stars)

(Last week)

Streaming services are listed by how I (usually) watch, which is with a USA based IP, and often offset by a day because time zones are too much work.

The tag BLigade: @doorajar @solitaryandwandering @my-rose-tinted-glasses @babymbbatinygirl @babymbbatinygirl @isisanna-blog @mmastertheone

If ya wanna be tagged each week leave a comment and I will add you to the template. Easy peesy.

[sailorholly]

Strictly Business Pt 3

Summary: Spencer wants to gain sexual experience before asking out his dream date. You just want a way to release stress. What could go wrong?

Pairings: Spencer Reid x F. BAU Reader

Warnings: Smut. Oral (m.receiving). 18+ only. Minors DNI. Typical Criminal Minds violence and case descriptions.

W/C: 1.1K

A/N: I’m on vacation this week, so Part 4 might be a little off schedule.

Strictly Business Masterlist

You settle between Spencer’s thighs grabbing his boxers and pulling them down his legs. “You don’t have to do that if you don’t want to.” He tells you as you bring your mouth toward his throbbing cock.

“Are you kidding? You just gave me the best orgasm of my life. I want to do this.” He stops his objections when your mouth closes around his tip. “Did you know the word fellatio comes from the Latin word for suck?”

Of course he’s rambling off facts right now. It’s probably because he’s nervous. “Spencer, just relax. I want to make you feel good. Just focus on me.” He nods his head in agreement.

You wrap your mouth around him. You trace the veins along his length with the tip of your tongue. He jerks his hips in response. You slowly take him to the back of your throat. He whimpers, placing his hands on your head to hold you in that spot.

You look up at him, his eyes are squeezed tightly shut. You moan around him. You love seeing him come undone like this. You bring him back out, slurping the tip. Your hand does most of the work.

“Please?” He begs. You slide him back in your warm mouth. He thrusts forward. You hollow your cheeks, beginning to to suck. Spencer rests his hand on your cheek. His thumb rubs gently against it.

You take him all the way in, swallowing around him when he hits the back of your throat. His grip in your hair tightens as you repeat the action. “I’m… I’m gonna cum.” He warns. He tries to pull himself out of your mouth. But you place your hands on his thighs, taking him impossibly deeper. You hear him moaning something that slightly resembles your name as he spills down your throat.

“No one has ever done that for me. That was incredible. Thank you.” You smile at him, accepting his praise. He grabs your hands, helping you to your feet. “Do you want to stay for a while? We could cuddle.”

You instantly regret saying it. You know what this is, but you crave for him to hold you after the night you just had. “We probably shouldn’t cuddle or spend the night after we do this.” “You’re right. I wasn’t thinking.” You explain.

He pulls his clothes back on, watching as you do the same. You follow him to the door leaning against the frame as he walks a few doors down to his room. Both of your attention is drawn down the hallway when you hear footsteps.

Rossi reaches his room, brown paper bag in hand. He looks both of you over. There is no hiding the messy hair and flushed cheeks. There would be no denying what you had been doing. “Rossi, I can-“ Spencer starts. Rossi shakes his head, a smile spreading across his face. “Your secret’s safe with me.”

The night off was beneficial to the whole team. Everyone was at the top of their game. You helped Spencer with the geographical profile. You weren’t sure how the two of you got any work done.

You couldn’t stop looking at each other. Your smiles were so wide, they threatened to split your faces. Rossi walked in to tell you what JJ had found at the crime scene. “You know if you want to keep this quite, you’re going to have to stop looking at each other like that.”

Hotch came in wanting someone to go to the latest victim’s house with him. You decided Rossi had a point, so you quickly volunteered to go. When you were leaving you thought Spencer looked a little hurt. But you had to be imagining it.

You opened the victim’s laptop. You call Penelope so she could go through it. “Mistress of all things wonderful here. How can I be of assistance?” “Hey Pen, I need you to take a look at this computer for me.”

“I’m on it! Hey, have you talked to boy genius lately?” It felt like your heart stopped beating. There was no way she could know. “Um, I was with him a little while ago. But, I went with Hotch. Why, is everything okay?”

“Im not sure. He was acting stranger than normal when I talked to him earlier. I thought if anyone knew what was wrong, it would be you.” When you got back to the station, you learned Penelope was right. Spencer was acting strange.

It seemed like he was avoiding you. He gave you short answers on the rare occasion he did talk to you. When you walked in the room, he would leave. Hotch asked both of you to go get dinner for the team. Spencer made every excuse to get out of going. At the end of the night, everyone went back to the hotel.

Spencer rode over with Derek, JJ, and Emily so he wouldn’t be in the same car as you. You were fuming. You text him to see what was wrong since he wouldn’t talk to you in person. When you got out of the shower, you saw he had read your message but ignored it.

You had all you could take. You storm out of your room, sprinting to his. You knock loudly on his door, not caring who you woke up. He opens the door, his eyes still heavy with sleep. “What is your problem, Spencer? I haven’t done anything to you and you’ve been ignoring me all day.”

He stands aside letting you in the room. “I’ve not been ignoring you.” You shoot him a death glare. “You are lying right to my face. I don’t know what I did. I just want to make it right.” He takes a seat on his bed.

“It was what Rossi said. I thought we were going to tone it down, but then you offered to go with Hotch so quickly. It hurt because I thought you were leaving so no one would know. I thought you were ashamed of what we did, embarrassed of me.”

His voice cracked when he explained himself. You felt horrible. You didn’t think he would misinterpret your intentions. “Spencer, I’m so sorry. I was just going with Hotch so we wouldn’t be all over each other all day. I thought if we had some space, it would help us chill out. I never meant to hurt you. I’m not ashamed of you at all. I just didn’t think you wanted anyone to know. You remember the talk Hotch gave us the other day? I thought we could just keep it between us… and Rossi.” You giggle.

Spencer contemplates your answer for a moment. “I’m sorry I behaved badly. I just didn’t know what to do.” You put your arms around him pulling him in for a hug. “This might be a bad idea if you’re going to react this way without talking to me first. Maybe we should stop.”

He shakes his head no. “It won’t happen again. Please, I need your help.” “Just promise me you’ll talk to me if anything bothers you from now on.” He smiles. “Deal.” He says linking your pinkies together.

Part Four

Tags (if you wanna be added let me know)

@cindylynn @potter-puff007 @multifandom-worlds @mochie85 @modern-mermaid @analethicia @marimorena06 @ghostheartbeat @clownprincess09 @thebiggestscamislife @whistle1whistle @lockwoods-coat-and-reids-vests @twsssmlmaa @cynbx @padlockedhearts @wheredafandomat @salempoe @emarich7 @itzdarling @baku-hoes-blog @anonymously-ominous @vivian-555 @cashtons-wife @regulus-black-223048 @nomajdetective @dazedgye @jesuisbenny @flowersforcheol @simpingforharryandcevans @misacc08 @wowzabowza69 @spencvrr

[canmom]

How do you live?

I (finally!) saw Miyazaki's new film 君たちはどう生きるか (How Do You Live?/The Boy and the Heron)! It's been out in the States for a while, and in Japan considerably longer, but it took a while to make its way over here.

I remember at the time it came out, people were having fun riffing on the incredibly cryptic marketing campaign, which consisted only of this rather abstract poster...

In the spirit of this, I resolutely avoided watching any trailers or knowing anything at all about the plot of the film. I picked up a thing or two here and there - I knew to expect some amazing Shinya Ohira animation for example, and you couldn't really avoid seeing the bird with teeth! - but overall, I had no idea.

There's plenty of great writing about this film in English already, such as kvin's fantastic sakugablog piece which discusses the physicality of Ghibli's animation, its weight and springiness, as a throughline. The stuff that kvin talks about really stood out to me as I watched this film. You can likewise read detailed interviews with Toshiyuki Inoue (fantastic interview for sakubutas) and Akihiko Yamashita on fufuro.

First up, the credits of this film are pretty much a who's who of the greatest jp animators of the last 30 years, and they've had some 7 years to cook it, so naturally this film looks fucking amazing. This is absolutely the kind of film that only Miyazaki could direct - its design language feels so familiar and yet it's iterating in all kinds of visually imaginative directions that show that yeah, the old bastard's still got it.

And like, god, man. This film's animation is really something special. Its real-world scenes in particular are full of shots that require an unbelievably strong sense of space, of both subtle and broad acting, the classic Ghibli attention to detail on mechanical objects and everyday tasks. It's full of bouncing and squishing and squeezing and oozing things. It loves to draw crowds and swarms of people and animals. It's the kind of film where any given shot would be the absolute star-of-the-show sakuga moment in just about any other anime film. If you wanted a complete statement of the Ghibli school of animation, it would be hard to do better.

And yet, for all that Miyazaki's known for his tight control over animation and heavy corrections to animators, in this film he had to step back from that kind of role and hand over the sousakkan reins to Takeshi Honda, who steps up admirably - as kvin writes above, bringing in more realist elements to the bouncy Miyazaki style to create a really effective unity that grounds all the big fantastical elements of the film and fills the first act with tension.

Alongside all that excellent key animation, the film's colour and photography departments evidently understand that well-chosen colours and good highlight shapes beat all the digital gradients and overlays you can imagine - the drawings get plenty of form from the strength of the animation, and the flat shading really pops. The backgrounds are as delicious as ever, skyscapes and vegetation and opulent interiors with the just-slightly desaturated and harmonious colours that just kind of remind you that oh yeah, it is still possible to do it this way.

Basically it's a Ghibli film lol. You know how it is.

But what of the story...? What's all this technical magic in service of?

The film's story has something of the feel of a serial story, perhaps reflecting Miyazaki's (in)famous process of working out the film gradually as he draws the storyboards. Certain ideas, like the parakeet empire, arrive in the film rather suddenly and then become fairly central to the plot. There's a clear emotional throughline, but this is not a film that is in a hurry to explain itself more than it absolutely has to. It wants to keep its magical elements numinous and mysterious. I would say, though, it's generally more satisfying in this approach than some of Miyazaki's other later films like Howl's Moving Castle, and resolves a lot more clearly.

So what is it like, About? Well, Miyazaki has been pretty open about channeling a lot of his personal relationships into the film, and a lot of it seems to reflect more or less obliquely on him. It's what they call a 'personal film'. The protagonist's position as the son of an aeroplane factory owner during WWII is straight-up from life. What about the old sorcerer, haphazardly stacking blocks to keep a world alive, and looking for someone to succeed him? The reading's kinda obvious, even if Miya himself says this guy is based on his memory of Takahata. Well, he can be both...

To say more I'm gonna have to delve into the spoiler zone. See you below the cut.

OK so! Let's try and get some thoughts in order.

first, a plot summary type of thing

Our first act introduces us to Mahito at roughly the moment his mother Hisako dies in a hospital fire. This is midway through the war, which is present mostly in the background - now and then we see soldiers marching around, and of course Mahito's dad runs a factory producing warplane parts, not entirely unlike Miyazaki's own father although seemingly a bit higher up the ladder.

We jump forward a little and Mahito's father remarries - to his deceased wife's sister, no less, and she's already pregnant. This is Natsuko, who does her best to play the role of mother, but Mahito still has big traumas and he is understandably not entirely on board with the idea of welcoming a mum 2 who looks almost exactly like mum 1. He moves with Natsuko into a huge old house complex, a mix of older Japanese architecture with a more recent Western wing where the family currently sleeps - and staffed by a small army of colourful old ladies who are eager for any canned meat or cigarettes they can get their hands on.

Also there's this freaky heron that keeps bothering Mahito. It seems to have something to do with a mysterious tower which turns out to have been built by his great-uncle. Mahito visits the tower, but can't make his way inside. Natsuko tells him not to go into the tower.

Mahito goes to school, but naturally they don't much take to the new rich kid on the block, and so after being attacked by his classmates on his way home he injures himself with a rock. (His dumbass dad is like, who did this to you son, I'll fuck 'em up.) For the rest of the movie, he has half his head shaved to accomodate a bandage, which is the sort of attention to detail this movie loves.

The heron has started growing teeth and talking to Mahito, telling him to come to the tower. Mahito is convinced it's a trap, and after a maybe-dream sequence in which Natsuko shoots an arrow to drive off the heron, he steals cigarettes from Natsuko in order to get one of the servants to sharpen his knife, and then constructs a bow and arrow out of bamboo - using a couple of the heron's feathers. Constructing the bow and arrow is shown in immense, loving detail.

In the process, he witnesses Natsuko walk into the forest, and also stumbles on a book: How Do You Live? by Genzaburō Yoshino, which contains a handwritten message from his mother. He looks at this book briefly... and this is about the extent of the connection of the film to the book, beyond thematic parallels.

The maids notice that Natsuko is missing. Mahito tells one of the maids, Kiriko, that he saw her go into the forest, and they follow, finding an old road that gives another approach to the tower. They're greated by the heron man, who is increasingly emerging from the heron's beak to reveal a big warty nose. He's some kind of like... heron selkie or something, a gnome in a heron skin. There's some wonderfully grotesque animation around this guy.

Heron dude taunts Mahito with an illusion of his mother Hisako. Mahito threatens him with the bow - the heron guy is like, do your worst, not realising it's a maaagic arrow. The arrow chases him around the room and pierces his beak, fucking up his magic. At this point, the tower master shows up and orders the heron to guide Mahito. Heron guy sends everyone through the floor into a fantastical world...

Mahito arrives in front of a huge, sinister tomb. He approaches the gate, and a swarm of pelicans walk up behind, crawling all over him and pressing him through the gate. This causes a storm to start brewing, since opening the gate seems to piss off the stones or something...

A fisher woman resembling a much younger Kiriko runs up and chases the pelicans away. She takes Mahito under her wing, explaining that this world is inhabited mostly by dead people, but there are also these little round guys called the wareware, who gain the ability to fly when they eat a fish's guts.

Kiriko, uniquely in this world, has the ability to kill, so she catches fish to sell to the other inhabitants and feed to the wareware; she and Mahito butcher a huge fish. Mahito fairly quickly figures out that she is somehow the same Kiriko that entered with him. She has tiny charms representing the other maids, which serve an apotropaic function.

That night, staying on Kiriko's huge derelict ship of a home, they watch the wareware rise into the sky to be born as humans in Mahito's world. They're attacked by the pelicans, but a fire-wielding magic user called Hisa (hmmmmmmmmmm) drives the pelicans away. Mahito shouts at her not to harm the wareware, but Kiriko assures him that more of the wareware will survive thanks to Hisa's intervention.

Later, a singed and dying pelican explains the pelicans' predicament to Mahito in a scene that calls to mind the animals in Mononoke-hime. The pelicans are foreigners in this world, they don't have anything to eat, so they take it as their role to eat the wareware. The heron man arrives on the scene too, offering to help Mahito find Natsuko as Mahito - coming in to his own as a protagonist more - buries the pelican. Mahito distrusts him but eventually Kiriko persuades them to give working together a try.

Mahito and the heron set out. As they pass through a forest, the heron reveals that thanks to Mahito's arrow, he can't fly and do heron shit anymore - and by magic law, only Mahito can fix the hole. Mahito applies his new woodworking skills to fashion a bung for the hole. The heron tries to stage a top 10 anime betrayal, but then the bung needs more work, so Mahito fixes it, and from that point on, the heron joins the party and he and Mahito are fast friends.

(You might wonder why I just call him 'the heron' and not by a name. He never gets named! He's just the heron man.)

Mahito and the heron arrive at the house of a blacksmith who's supposed to help them find Natsuko, only to find it guarded by big buff parakeet men. The parakeets are splendidly goofy round guys - they remind me of the heedra in Nausicaa. The heron draws the parakeets away, and Mahito enters the house, only to find, uh oh! More parakeets. The parakeets prepare to eat Mahito, who is not carrying a child and therefore fair game unlike Natsuko, but Hisa shows up and burns them with fire magic. She looks just like a young version of Mahito's mum! Funny that. Hisa helps Mahito escape into her house through the fire, and then takes him to infiltrate the parakeets' empire.

In the human world, the maids explain the backstory of the tower to Mahito's dad. It's a weird meteorite that came from space, it turns out, and Mahito's great-uncle built the tower on top of it before eventually disappearing inside. Mahito's dad overprepares in an elaborate getup complete with katana, and goes to try to rescue everyone.

Hisa leads Mahito to a corridor full of doors which open into all the different worlds, including his own world. Mahito briefly glimpses his dad coming to try and rescue him - the two see each other briefly, but the parakeets catch wind of the whole thing and attack, and so Mahito and Hisa have to flee back into the magical world. We see that the parakeet guys turn into regular parakeets when they come into the human world. Mahito's dad becomes convinced he turned into a parakeet.

Mahito and Hisa make their way to the delivery room where Natsuko is resting, waiting to give birth. On their way, lightning starts emerging from the stone - Hisa explains that the stone is sentient and pissed with them. Mahito insists on approaching Natsuko despite this being a huge taboo. They have a heart to heart - Natsuko's mask breaks and she tells Mahito she hates him, while he finally starts calling her mother, as he's assaulted by paper charms that tear at him violently. They part, with Hisa burning the charms to free Mahito, but it's too much and they both pass out.

Mahito dreams of meeting the sorcerer, who stacks irregularly shaped wooden blocks, and explains that stacking the blocks is necessary to maintain the world, buying a few days at a time. The sorcerer reveals the huge flying rock that is the source of his power; he also shows Mahito some blocks, but Mahito somehow divines that these blocks are 'stone for building tombs' and stained with malice. The sorcerer approvingly says this is a good sign for Mahito's ability to succeed him.

While they were asleep, the parakeets have captured Hisa and Mahito. One of them is preparing to eat Mahito, but the heron arrives just in time to save him. They Metal Gear Solid their way through the kingdom while the Parakeet King - a big swaggering guy very like the colonel in Castle in the Sky - goes to press a claim on the wizard, using Hisa and Mahitos' taboo act of entering the delivery room as a bargaining chip. There's some very funny scenes where the parakeets cheer for their king.

Mahito pursues the parakeet king, but the king destroys the staircase behind him, and talks to the sorcerer. The sorcerer is inclined to wave away the transgression, because he wants to let Mahito succeed him, but the parakeet king seems to be bringing him around. I kind of forget how this part went, but the parakeet king goes away from the sorcerer for a bit while Hisa is freed from her prison thing.

Mahito climbs back up with the heron man's help, arriving in the sorcerer's little subplane. The parakeet king quietly follows him, after telling his aides to inform his subjects he was a good king. Mahito approaches the sorcerer, who reveals he has found a new set of blocks, unstained by malice, and again invites Mahito to succeed him. Mahito says that his self-injury is proof of his malice, making him unfit for the job.

At this point, the parakeet king intervenes. Angry at all this sorcerous malarky, he desperately attempts to stack the stones himself, but when they don't stack, he flies into a rage and slices them with his sword. This naturally causes the world to start collapsing, and everyone runs to the doors to escape into the human world.

Mahito has by this point figured out that Hisa is his mum, and he asks if she really wants to go back to their world, knowing that she will very definitely die in a fire not much later. But she is naturally on board with this. Young!Kiriko goes with her, suggesting that she and Hisako entered the magical world at the same time. Meanwhile, Mahito returns to his own time, with Natsuko and the heron. All the various parakeets and pelicans come out through this door too. Old!Kiriko is restored from her apatropaic charm.

As everyone celebrates their safe return (and the appearance of a fuckton of birds), the heron tells Mahito that he ought to forget what happened in the magic world. We skip forward again, with Mahito - now with a baby sibling - setting off to Tokyo. Roll credits!

now let's comment on it

This is not a film that necessarily prioritises an internal logic playing out - new elements enter unexpectedly even quite late in the film. The sorcerer's motivation is murky until late on; the parakeets become major antagonists despite entering only halfway through the film.

There is a certain temptation, knowing how autobiographical this film is, to take it is a roman à clef. Mahito is of course a young Miyazaki; the old sorcerer's concern about finding a successor might be about Miyazaki wondering who should take over Ghibli or if it should just be allowed to die. Under this schema, the parakeets might be Ghibli's legion of fans, or the merchandising empire that prints their designs on every possible product. kvin's article develops this kind of reading, finding some angles I wouldn't have even considered, such as how the idea of weight communicated by the animation factors in to such an allegaroy. It's also something suggested in Miyazaki's own comments about the film, where the sorcerer is Takahata, the heron man is producer Toshio Suzuki...

It definitely helps to know a bit about Miyazaki's background when approaching this film. However, I think it would be reductive to go too far with this kind of reading, and take everything as an allegory for something in Miyazaki's life. The film still has to stand on its own feet!

'Coming of age' is the spin put on it by some outlets, like the BBC. And this is accurate to an extent. The arc of this film is similar to Spirited Away: Mahito starts out sullen and traumatised, but like Chihiro he transitions over the course of his journey in the magical world into the kind of determined Miyazaki protagonist we're used to. On this coming of age angle... well, also like with Chihiro, I don't find the Mahito of the first part of the film especially unsympathetic, his alienation is extremely natural given his situation. Mahito's dad kinda sucks! Living in wartime Japan also really kinda sucks, even if you're the son of a rich dude. But definitely over the course of the film Mahito has a change of heart towards Natsuko, and forms friendships that motivate him to try to protect them. His character arc definitely sees him become 'more prosocial'.

However, there's another angle that's pretty important - the idea of the weight of 'malice', the cursed existences of the pelicans and the like, and the fantasy of building a utopian world that is free of these things. This returns to a theme of Nausicaa, the manga in particular, where Nausicaa discovers that the world she knows - the toxic forest in particular - is actually an elaborate artificial system for cleansing the world of pollutants, that the clean world on the other side will be uninhabitable to her and her people, and that the architects of this system wait in stasis to replace them in this utopian future world. Nausicaa destroys them, commiting instead to an uncertain future.

In Mononoke-hime likewise, we encounter the lepers and former sex workers of Irontown clinging on to the 'cursed' world. Their extractivist project proves incredibly destructive, but the film still regards them sympathetically, and the resolution sees them perhaps finding a new way to live - and San, the feral girl, reconciling herself to the idea of humans.

Here, although the parakeet king forces the decision, Mahito has already declared that he doesn't believe he's fit to oversee a utopia, but instead that his place is in the awful, violent human world.

The film, and the book it's vaguely based on, are titled How do you live? In Japanese, that's a plural 'you' (君たち). There's a lot of ways you could read it, depending on who you take as 'you' - a child asking an adult how to live, or equally a future question of how will you live. This is a lot more explicit in the novel - which I have not read, but here is a summary courtesy of wiki:

Junichi Honda is a fifteen-year-old junior high school student, known by his nickname Koperu, after the astronomer Nicholas Copernicus. He is athletic and academically gifted, and popular at school. Koperu's father, a bank executive, passed away when he was young and he lives with his mother. His uncle (on his mother's side) lives nearby and visits frequently. Koperu and his uncle are very close. Koperu shares about his life and his uncle gives him support and advice. His uncle also documents and comments on these interactions in a diary, with the intent to eventually give the diary to Koperu. The diary writing, which is interspersed with the narrative, provides insight into the ethical and emotional trials that Koperu shared with his uncle. The diary entries, which cover themes such as "view of things", "structure of society", "relation", etc. are in the style of a note written to Koperu.[8]

Thinking like Copernicus that our Earth is a celestial body moving within the vastness of space, or thinking that our Earth is fixed at the center of the universe, are two ways of thinking that, in reality, are not only related to astronomy. Even when we think about things like the world around us or our own lives, the truth is that we are still revolving around them after all.

In the end, Koperu writes a decision on his future way of living as a reply to his uncle, and the novel ends with the narrator asking the question "how do you live?" to the reader.

The author of the novel was a socialist, who had been imprisoned by the nationalist government, and wrote the book intending to impart lessons on ethics. The version of his book published after the war was heavily edited to strip the book of political content. But it's also, perhaps paradoxically, a book that centres on very wealthy characters, aimed narrowly at educated boys, though it became a widely read classic.

Studio Ghibli's films, from both Miyazaki and Takahata, have a habit of being framed as imparting something to the younger generation - something the pair seem to have seen as a mission all the way back in the days of Panda Kopanda. For example, while Grave of the Fireflies is seen as the classic tragic war movie, for Takahata it was also aimed at criticising what he saw as the careless, consumerist generation of the 80s; the stubborn arrogance of the protagonist supposed to reflect on this. It's an attitude that also emerges in their comments about Chihiro. And, indeed, one of the first things we heard about How Do You Live? was that it was aimed towards Miyazaki's grandson - and more broadly towards that generation.

So what does this film have to say to the younger generations? Let's have a look at it from Mahito's POV.

For Mahito, the adults in his life are all pretty complicated. His father is enthusiastic and well-meaning but incredibly oblivious to what his son is going through (we might recall some of what Miyazaki wrote about his father in Starting Point, describing him as basically a grifter). Natsuko is masking pretty hard, trying to play the role of Good New Mum and connect to her newly acquired son, but there's an intrinsic distance. It is understandable that Mahito would want to reject them.

Mahito is... not entirely a passive character, he goes to some efforts to for example fashion the bow and arrow and repair the heron man's beak, but mostly he is pulled around by the plot into a strange world he doesn't understand. At first, his instinct is to retreat, even to the point of self-injury. Once he arrives in the magical world, he has acquired something of a purpose (finding Natsuko), but he gets pushed into near-disaster situations (the pelicans piling up to push him through the gate at the tomb) or stumbles into circumstances where something is expected of him (hey kid, gut this fish!). Gradually though his exposure to this world pulls him out of his shell. He runs into conflicts and injustices that seem intractable - the wareware and the pelicans - and has little power to intervene except to bury the bodies.

Eventually, he gets to carry out his main objective - finding Natsuko - but despite finally deciding to accept Natsuko as his new mother, he finds himself rejected, not just by her but also by the earth. Perhaps feeling responsible for getting her into trouble, his new objective becomes rescuing freshly-damsel'd Hisa. But now new adults want things of him - his great-uncle has decided he'd make a fine successor. Mahito has to make a decision here about what relationships he wants to commit to, what sort of life he wants to build - and he chooses the world he found so alienating at the outset of the film, the one which hurt him by taking his mother, not to the secondary-world fantasy.

It could be a 'this world is all we have' sort of statement, perhaps. But also the last act of the film feels like it gets a bit caught up in Castle in the Sky-style adventure-story beats.

I do feel like some aspects of the film ended up a little underbaked - which is an odd thing to say because it's not a short film and there is so much in it already. But Hisa for example - she's got badass powers and all, but I feel we barely get a chance to get a sense of what motivates her. Why did she enter the fantasy world? She acts at first like she doesn't know Mahito is her future son, but rapidly becomes incredibly devoted to him (in a way that reads a little romancey lmao). So much of her screen time is dedicated to having her convey the secrets of the world that it's hard to get a bead on her as a person.

Likewise, Natsuko - why did she enter this world to have her baby in this special ritual delivery chamber? She clearly knows more than most of the characters, but she gets kind of sidelined after Mahito confronts her, with wizard shit becoming more central. The animation does such a fantastic job of selling her feelings in the first part of the film that it feels like a shame that she drifts away at the end.

The progression of the film feels rather like a dream, where everything is arranged by symbolic significance to Mahito. It makes sense... on a magical level, where the secondary world is shaped primarily by parallels in the real one. So the tiny apatropaic statues of the old ladies protect him because they represent the role the real old ladies have in his life. Hisa has fire magic because Hisako died in a fire. Once Mahito has come to his personal resolutions about returning to the world, the magical one is no longer needed, and it collapses.

This is not such an uncommon role for magic in a story. In Miyazaki's own works, we have Totoro and Spirited Away, where a magical world provides direction or relief to a child's real struggles. Or take for example Okiura's film A Letter To Momo, in which the three yōkai recognise taking care of the grieving Momo as their explicit purpose as spirits. This magical world comes to Mahito to help him come to terms with losing his mother, and reorient himself towards living in a painful world.

Meanwhile, the sorcerer, whether he be Miyazaki or Takahata, is quite a distant figure. He may maintain the magical world by stacking his blocks, may be the authority which factions within it must plead to, but he also rules from afar in a vast empty palace full of long halls and open air spaces. His main company seems to be a big fucking rock, with which he made a 'contract'. He's generally handling it a bit better than, say, Ushiromiya Kinzo - he receives the parakeet king with good humour - but he's a pretty flawed god of his little world. So much of this world seems to pre-exist him, it's not something he constructed. Still, when he shows up, you pretty much have to do what he says.

If this is about Miyazaki's relation to Takahata, it seems like quite a sad portrayal. But 'unapproachable patriarch' does sorta describe their role in the studio from what I understand (c.f. Oshii's infamous article comparing them to the Kremlin).

When it comes to the question of who should succeed Miyazaki, we should probably consider the matter of Yoshifumi Kondō, who was being set up as the next big Ghibli director until his untimely death - which allegedly Takahata was willing to accept the blame for. The mythology built up around Miyazaki and Takahata is double-edged.

Here are some rather startling comments from Toshiyuki Inoue's interview. Inoue is one of the most impressive animators who ever lived in my book, the other star of the realist line besides Okiura. Just have a look at his booru page: iconic scenes from GitS, Akira, Millenium Actress; even in more recent films, he pretty much carried Maquia, and steals the show with his scenes in Miss Hokusai.

And yet even he was intimidated to be working alongside Miyazaki when he first came on board for Kiki's Delivery Service, fresh off Akira:

I believe you’ve always been a fan of Miyazaki’s, why were you scared to work with him? Toshiyuki Inoue: I had heard quite a few scary stories. A lot of acquaintances had worked on Nausicaä, Laputa and Totoro before that, so I knew how scary he could be when he got angry – I had heard stories of people being fired mid-production, things like that. How was it actually? Toshiyuki Inoue: Not as scary as I had imagined. He’d only rarely scream in the studio. But he did get angry. I’d sometimes be called to some separate room and lectured alongside Kōji Morimoto and Masaaki Endō. It felt like being in school all over again.

'Only rarely'. Honestly. Inoue describes how difficult it was for him to adapt his logical, analytical style to Ghibli's stretchy, bouncy characters - and how Miyazaki would disparage him if he, for example, drew a ship inaccurately.

For Inoue, coming back to How Do You Live was something like a 'return match'. He talks about how an older Miyazaki was no longer able to strictly correct the animation, and in general age was limiting him, but he still feels that Miyazaki is fundamentally superior:

Toshiyuki Inoue: I’ve always wished for a return match or a way to redeem myself. But even if I say that, I know I can’t even pretend to rival Miyazaki. I just can’t win. He’s extremely smart and learned, and on top of that, as an animator he always transcends common sense: he’s so talented that I know very well there’s nothing I can do against it. The more I learn about him, the more I realize I’ll never be on that level.

Miyazaki's genius is undeniable, but man... it's not a good mindset to cultivate if you want to find a successor lmao. If even Inoue doesn't feel he can measure up, who the hell could?

Mind you, it does rather seem that Miyazaki had mellowed out by the point of How Do You Live?. Here's Yamashita:

Akihiko Yamashita: As I said, the core of an animator’s job is to follow what the director asks, so whenever I had trouble with that, I’d go see Miyazaki to show him my roughs. He’d advise me on the things that were missing and reassure me about those that were good. He really helped me to gain more confidence in myself.

Reading these interviews underlines pretty hard that we shouldn't get too caught up in the mythology of Miyazaki the mighty auteur. While the story may be all on Miyazaki, and most of the character designs (with the notable exception of Natsuko)... so much of the details of the animation, the stuff that really makes this film land, is primarily shaped by everyone else - Honda in particular, but also the individual key animators who interpreted his scenes. I really need to get my hands on a copy of that Industrial History of Studio Ghibli book to get a less Miyazaki-centric perspective on the studio's history.

I do not feel, having come out of this film, any closer to knowing the answer to that eternally pressing question of how do you live - I guess I'm still working out my answer to that one, and I will be until I die. And maybe that's rather the point. I think this film still carries some of the flaws of Miyazaki's later films - despite having so many iconic scenes, it doesn't quite seem to know where it's going. But I am so glad to have seen this in the theatre (I saw it at the Prince Charles theatre in Soho with friends, the theatre was completely packed!), and glad Miyazaki managed to get this one out before he goes. Whatever happens to Ghibli without its sorcerer, it's been a hell of a thing to witness.

[tanaor]

How to get the "show, don't tell" rule right in your writing!

(🙋Or how to master descriptions and body language🙋)

Hello everyone! Today I'm here to dive into the very famous "show don't tell" rule. But, first, please remember that these so called rules in art are subjective, and that ultimately you can do whatever you want. There is no wrong or right way to create. That said, let's start!

1. What is "show don't tell"?

It's a method of writing that involves describing sensations, sensory details and body language to convey your message in a way that is more relatable to the reader. For example, instead of saying "it was a hot day", you could say: "She was sweating, and her skin burned because of the sun. She faned herself with her hand, sighing". It makes the reader feel more immersed in a story, setting or emotion.

2. How to show, not tell

If you want to show things instead of telling them, you should try to reduce the number of "feeling words" in your work, such as "nervous","happy", "sad", "excited"... You get the point! Try to think what actions or details convey that emotion, and use them instead. "Sensation words" are also something to look for, like "hot", "cold", "hungry" and so on. There is always a better way to explain things! (If you struggle with this, don't worry! A lot of people make lists of actions that convey an exact mood or emotion. For example, @writers-potion has some really good ones, and also takes petitions).

Extra: I like to assign specific actions to characters so that it gives them variety, and as a little way to convey their personality in the way they express themselves. For example, one character may "cross their arms and frown" while another one might "look away and sight", and both can be interpreted as upset. Get creative!

3. When to use "show, don't tell"

Show don't tell is, of course, a great way to immerse your readers more in the story, but that doesn't mean that it's always necessary. A lot of writers see show don't tell just as a way to add words to your wordcount, and even if it is true that you usually use more words this way, that is not the objective of this technic. That is why, if you think that a specific part of your narration feels good without the show don't tell rule (or if your writing style is more genuine without it), I advise leaving it as it is. Other cases when you shouldn't use this method is in action scenes, as it can slow the pace of your story, or between dialogue, as too much description might come off as boring or unnecessary.

So that's all for today! My next post will probably be about backstorys and how to get them right, so if you'd like to read about that, keep tuned! Hope you find it helpful and happy writing everybody.

Other tips for writers: previous

[manicpixiedreamedwins]

I know we all joke about Charles Rowland having these over-exaggerated people pleasing tendencies, but I just want to say they make a lot of sense for someone who grew up in the hell hole of a home that he did.

(Now's the time to dip if you don't want to read something kind of heavy and also really messy, sorry. CW for mentions of Charles' home life)

The night nurse gave us some insight into what Charles' home life looked like (that, and we can piece together how he must have been feeling from his reactions to the Devlin house). We know he had a volatile, objectively abusive parent. We know he and his mother were terrified of this man, enough that he keeps checking in to try and make sure that his mom is still okay all these years later.

Alright. Still with me?

There's this thing that happens to kids who grow up in households like this (trust me).

Because one parent is so volatile, they learn to model after the other parent who is constantly keeping the peace. They're constantly walking on eggshells, they have to be hyper-vigilant of even slight differences in the atmosphere to prevent a catastrophe. If they have needs or wants, then those needs and wants are not being met. If there are problems (there are) then they are not being talked about (ever, and if they try then all hell breaks loose and there are consequences).

These kids form a facade of "everything is fine, there are no problems and we are happy here". You know, what we would call a people pleaser.

This is Charles. This is very much a survival instinct, it kept him reasonably safe in life (truly, he only died once he deviated from it and "rocked the boat" so to speak).

In all fairness, it has worked out fine for him in death too- Edwin responds well to it. Edwin actually does react very well to Charles' attempts at merry making, deep breathing, even his playful ideas like boardgames and boxing. What he knows works, actually. It works so well he's stuck around for thirty years, so in his mind he probably doesn’t think he should change anything.

The second time he deviated from people pleasing, in all fairness, even when he had to or else he would get separated from Edwin, also didn't work out well. He reacted on genuine, earnest feelings. He was fucking angry when the night nurse showed him his trauma. He was pretty raw when he pushed her over the bridge and into the fish. That was all earnest, uncensored emotion, not a measured act.

Edwin reacted poorly. Everyone reacted poorly. Back to people pleasing.

Charles is really only confused when people pleasing doesn't work. When he reaches out to try and befriend Monty and gets snubbed, I think he's genuinely confused. He can't figure what's wrong. This always works. It always works with Edwin at least. So what's wrong?

That continues on when he's doing everything he'd typically do to engage Edwin while he's reading and it's just... not working (because remember the hyper-vigilance- he knows something is different and so he's unsettled).

This continues onto the roof scene. He knows something is completely and utterly fucked (he just doesn't know it is between Monty and Edwin, or that Crystal’s powers are gone) and he's uncomfortable. In a previous life, he'd be waiting for the other shoe to drop and something to hurt.

He's relieved when Edwin finally starts opening back up a little and trying to talk to him. Yes, he misinterprets what's happening at first (he assumes Edwin is coming out in general, as opposed to trying to tell him he likes him), but things are going back to normal in his mind.

They're reconnecting. He does get a little uneasy because there's still one wall between them (the cat king) that he can't manage, joke, or talk his way out of yet because Edwin hasn't explained yet.

This gets interrupted anyway. (At least there's no more cat bracelet, lol. A win for Charles).

There's more pressing issues, though- he needs to rescue Edwin from hell. He literally cannot be separated from him. Their whole thing has been not being separated from each other since... well since the start. So he keeps his promise, sloughs through the depths of hell, and goes to get him. Easy enough! He disarms the babydoll spider with a bomb, a moltov cocktail, and Edwin's journal. This was probably the least of his problems.

Success. He's got Edwin back. His afterlife is good again. Now things can go on as normal.

Only FUCK! Now Edwin is asking him to express... his... feelings...

-Well. Look how well it went the last time Charles did anything on his own volition. First he died, then he pushed Edwin away. This seems kind of important. He can't fuck this up, but they are literally running out of hell, but he can't fuck this up because that would mean he pushes Edwin away-

He comes up with something that feels close to right, measured, things that Edwin has responded well to before (and under all of that he asks him to stay, please stay, be patient, but it comes out as a declaration because that seems more certain). He cannot lose Edwin here.

They run back up the stairwell together. Charles hopes maybe Edwin understood.

Charles wishes he had better words on the roof. He doesn't, other than to reassure Edwin they're okay-- he would have wanted that. The last time he said anything, it was too extreme. He says nothing and hopes maybe Edwin will give him some sort of clue on what to do again, eventually.

Idk, maybe I'll write more later but... this is so fascinating to me because it's like so obvious as someone who grew up in the absolute tar pit that Charles did. He's not dumb, or making arbitrary choices with what he's doing here. He is doing what he knows works to keep what's important to him close to him. He's just wildly out of his depth when that doesn't work.

[karvroom]

10 Things I Hate About Katsuki Bakugo

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⇦ 006. Several Assholes in One Day

007. Convincing the Brute

Sero and Kirishima peered into the classroom at first, scoping out the sight. They ventured into the dangerous territory once they spotted their target. The pair stuck close together, nearly holding hands in a way that would make you think they were scared shitless.

"Go." Kirishima whispered to Sero, pointing at the burly blonde with a torch in his possession.

They were in the welding and mechanics class. They knew Bakugo would be there because that's where their previous encounter with him was. Cautiously, they wandered deeper into the scene.

"No, you go." Sero whispered back, teensy bit louder than his friend.

"I went before." Kirishima groaned as Sero pushed him forward. He took note to get back at the ravenette later down the line. The red-head gulped as he walked into the vicinity of Bakugo. He exhaled before speaking to the frightening blonde, "We know what you're trying to do with (Y/N) Ashido."

"Is that right? What do you plan to do about it?" Bakugo shouted over the noise of the machine, making him sound almost ten times angrier than he normally sounded.

Kirishima watched Bakugo work. The veins in his arms popping through his skin as he moved the equipment in different directions to perfect his masterpiece. The flames spouting from the tip of the torch ignited a certain kind of fire in his eyes. It was a little intimidating to say the least.

"Help you out." Kirishima shyly admitted.

"Why's that?"

"The situation is," Sero stammered, stepping in before Kirishima said the wrong thing. He hooked his arm over his friend's shoulders. "my man Kirishima here has a major jones for Mina Ashido."

Bakugo stopped the flames by turning off the machine, spinning to look at the two meek boys in front of him. "What is it with this chick? She have beer-flavored nipples?"

"Hey!" Kirishima said, about to spoil the entire conversation they had rehearsed before walking in.

He was offended for Mina, wanting to protect and defend her at all costs—even if she couldn't remember his name. Sero held Kirishima back, pushing him behind his figure. Bakugo turned away, walking to a different area of the room. He was more focused on the project than the conversation and it showed.

"I, uh—I think I speak correctly when I say that Kirishima's love is pure, purer than, say, Denki Kaminari's."

Bakugo looked at the pair, shrugging at their words. "Look, I'm in this for the cash. Kaminari can plow whoever he wants." The blonde dropped the object onto a desk, observing the details under a light. He reached his hand to touch and readjust the parts of the weld.

"Okay, there will be no plowing." Kirishima said defensively, starting to push through Sero's back.

He knew he didn't stand a chance against someone as tough as Bakugo, but it was the manly thing to do—to stick up for someone even if they weren't around.

Sero put his hands on Kirishima's chest, pushing him out of Bakugo's direction. He held his hands up in a way to say he's handling it.

"Bakugo, uh," Bakugo moved from one desk to another, the two traveled with him. It was as if they were attached to his hip, and Bakugo was starting to get annoyed by it. "let me explain something to you. We set this whole thing up so Kirishima can get the girl. Kirishima. Kaminari's just a pawn."

Bakugo uncapped a marker, preparing to draw on a sheet of paper at the desk. His finger pointed to both Kirishima and Sero, "So, you two are gonna help me tame the wild beast."

"Absolutely." Sero nodded in agreement with his words. He watched as Bakugo began to move the tip of the marker against the paper. "We'll do some research, we'll find out what she likes. We're your guys."

Sero snaked his arm around Kirishima's shoulders, shaking him a little as he spoke. Kirishima shook off Sero's affection, gaining the attention of Bakugo once he started talking, "And he means that in a strictly non-prison movie type of way."

"Let's start here." Sero cleared his throat, taking a yellow paper from his pocket and handing it to Bakugo, "Now, Friday night, Tenya Iida is having a party. It's the perfect opportunity."

Iida wasn't actually throwing a banger like Sero implied. It was a study session Iida initially set up for the AV Club. Before Kirishima came to the school, Sero was the president, but Iida took over, meaning Sero wanted revenge. So, as petty as the boy was, he reprinted copies of the study session, but changed it to a party. It was a one-sided rivalry.

"Perfect opportunity for what?" Bakugo briefly looked away from the paper, only returning his gaze to read the address and time.

"For you to take out (Y/N)."

Bakugo picked up the blowtorch and handed the flyer back to Sero, "I'll think about it."

────୨ৎ────

"So, have you heard about Tenya Iida's party?" Kirishima asked Mina.

They decided to take a stroll after school to re-evaluate the plan. Kirishima would fill Mina in about their findings so far. They travelled to a small overpass that was cleared underneath, making a great spot for a hang out. Though, Mina wasn't the biggest fan of how outdoorsy it was.

"Yes, and I really, really, really want to go." Mina responded, finally reaching level ground with Kirishima. He held out a hand for her to jump off a dirt ledge, gracefully landing on the dirt. "But you know I can't. Not unless my sister does."

"Yeah, I know. I'm working on that, but so far, you know, she's not going for my guy. She's not a..."

"K.D. Lang fan? No." Mina confirmed, sitting on a bench. "I found a picture of Jared Leto in her drawer once, so I'm pretty sure she's not harboring same-sex tendencies."

"Okay, so that's the kind of guys she likes—like, pretty guys." Kirishima repeated, trying to get some more confirmation out of Mina.

Mina shook her head, "I don't know. All I've ever heard her say is that she'd die before dating a guy that smokes."

"Okay, all right, no smoking. What else?"

"You're asking me to investigate the inner workings of my sister's twisted mind? I don't think so." Mina crossed her arms over her chest. She looked away from Kirishima to observe her surroundings. Dirt coated the area, as well as bushes and fallen leaves.

"Well, nothing else has worked. We need to go behind enemy lines here."

Mina was quick to take action, suggesting they head back to your house and search your room for any further clues. She seemed to have no remorse as she searched the drawers of your desk. Her fingers fumbled through various loose sheets of paper for school, guitar tabs, etc. Nothing that held any significance to the situation.

Mina stumbled across a pile on top of your desk, reading off each item before handing it to Kirishima to sort through.

"Okay, here we go. Class schedule, reading list, date book, concert tickets, concert tickets." Mina continued her search while Kirishima awkwardly stood, occupying the entrance of your room. Mina opened a drawer where you kept your clothes, a smirk appearing as she lifted an article of clothing. "Aha! Black panties!"

"What does that tell us?" Kirishima bluntly stated, kind of uncomfortable in your room.

The walls were lined with posters from different bands and music artists. An easel for your paintings was sat at the end of your bed, the current canvas being covered by a towel to hide its face. Your room reminded him of a funhouse but for feminists.

"She wants to have sex someday, that's what." Mina explained, stretching the underwear to its full view before balling it up and throwing it back in the drawer.

Kirishima was speechless at the level of comfortability your sister had to have to touch your panties. He figured it was maybe a girl thing, but it still weirded him out. He stuttered, "You—she could just like the color."

"You don't buy black lingerie unless you want someone to see it."

"So, uh," Kirishima started, stepping closer to Mina as he lifted his brows. "can I see your room?"

"No." Mina looked at him almost in shock—as if he had asked her to cut off her arm. She brushed a piece of her hair from her face, nervously speaking "A girl's room is very personal."

Oh, the irony.

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⇨ 008. Bikini Kill, the Raincoats and Letters to Cleo

taglist🫐 @katsukota @wheezdostuff @honeydwitch @chuugarettes @suckstobrlaurie @the-hangry-otter @napbatata

[milliebobbyflay]

Okay so I've spent a while thinking about how to word my actual problem with homestuck 2, and the works that make up post-canon homestuck more broadly. I think a lot of people resort to nitpicking bits of awkward writing or art in some attempt to pinpoint a source to an underlying sort of hollow uncanniness, which is funny because homestuck's supposed golden age of acts 1-5 are themselves FAR more of a tonally inconsistent mess of odd character beats, jokes that don't always land, and janky looking art.

Homestuck 2 has been written and drawn by very talented and passionate artists from the beginning, I think the actual issue comes down to a mix between the general pitfalls of hiring fans and the particulars of hussie's outsider background and unorthodox writing style.

First is the issue of hiring fans in general; while it can seem like an easy shortcut to finding talented writers already familiar with the voice and story of the original work, you have to be very aware of how fan culture operates. Beyond the obvious pitfalls that fans are unlikely to approach the story from a detached perspective, there is the larger issue that past a certain point fandom becomes essentially self sustaining. Once a fandom has existed for a long enough period, its most avid members have likely spent FAR more time engaging with other fan works than they have with the original art object. Fandom and the art it produces are, in this way, a sort of a folk tradition; artists are imitating and responding to other artists, characters become archetypes through which to explore certain ideas and dynamics, and the values and tastes of the most prolific and influential fan artists become as inseparable from a participants mental image of the character as the original work itself.

For an example, the affected theatrical mannerisms and cruelty Vriska adopts while in her Mindfang persona have become inseparable from the popular view of the character. Despite the fact that it's heavily signposted as a sort of role playing performance from the jump and she's more or less dropped it by the back half of the comic, it was nevertheless how she had acted in the bulk of her scenes around the time the ur-texts of homestuck fandom were being written, and as so an understandable misread of a character became inscribed into the fandom canon, and by extension her characterization in Homestuck 2.

All of this is extrapolated by the sort of unorthdox, building-the-plane-while-flying-it manner in which Hussie's writing style developed.

Based on his commentary, I get the sense that Andrew is an incredibly clever and thoughtful writer who lacks the theory and vocabulary to precisely describe his process. He tends to communicate in sort of abstract metaphors which aim to bridge the gap in explaining the actual conscious process he uses to plot his stories, but the way he talks about technical nuts and bolts writing craft stuff gives me the impression that his approach is largely intuitive, bordering on unconscious. He's a lot better at describing how he writes than what he writes or why.

You can of course piece a lot this together—his approach to art draws from the tradition of videogame spritework, where the visuals exist as a utilitarian vehicle for conveying information first and a work of illustration only inasmuch is needed to serve the greater story. His character writing draws more from a synthesis of literary fiction, sitcom writing, and "making up a guy" style posting humor, where characters are defined more by their life experiences and underlying psychology than by their goals and values, but also seem to have largely been constructed backwards from a starting point of a funny or interesting manner of speaking. Importantly though, I don't get the sense that these were conscious decisions, just that to Hussie they seemed like the logical way to approach these tasks, and I don't really think he could outline them in a way that would actually help a new team of creators grok how to draw and write in a way that feels like homestuck. I also don't think Hussie could actually explain the psychology that undergirds his character writing, I think he was mostly just drawing on his own life experience and imagining how this sort of character might logically speak and act.

As a novelist, and Hussie is one, both your thought processes and the sum total of your worldview and life experience are just as important to your work as the actual conscious decisions you're making, and I think that where there are gaps in understanding, the new writers are filling in the gaps with both a more conventional approach to the creative process and over a decade of accumulated fanon, and I think that's why homestuck 2 never really rises above feeling like a very well-made fanfic to me?

[igotanidea]

Christmas party: Aaron Hotchner x reader

christmas bingo day 2 : christmas party

***

Third annual BAU Christmas party was supposed to be the most important thus far.

Partially because Y/N could not attend previous two, due to her shot injury in year one and some family matters in year two.

But the other reason why it was so crucial, was that she was going to go with Hotch. And not just as BAU colleagues and team mates.  

No.

They were going as couple, though Hotch with his reserved persona and everything that happened in his love life before, was fairly reluctant to use this tag to describe them.

And Y/N understood this perfectly.

But Hotch’s harshness and skin deep coldness was not going to take away her excitement and holiday spirit.

Especially not after the little shopping spree with Emily, JJ and Penelope.

Y/N found just the right dress, fitting her body like a glove and was trying it one once again in the peacefulness of the house spinning around in front of the mirror, admiring how good it lied down, when a single sound of throat clearing threw her back to reality.

„Haley is sick.” Hotch said as if that was explaining everything. He had his signature unreadable expression and slight frown on the face, but for a second even the chief of the BAU couldn’t cover the tiniest glint in his eyes as he noticed Y/N’s new purchase.

„Hm. Okay....” she muttered in response. She really didn’t like it when Aaron mentioned his ex-wife. „Thanks for the information, but I think you missed steps 1-5 of why does this concern me.”

Maybe it was a bit heartless and cruel of her to say it, but truly no one could blame her for getting a bit possessive and jealous. After all, Haley was the woman he had a son with - oh wait, a son. All of a sudden she realised what this was about and looked at Hotch with poorly hidden disappointment in her eyes.

„I have to take care of Jack.” he just said and she filled in the rest.

They were not going to go.

She opened her mouth and closed them almost instantly. There were so many ideas in her head of how to remedy this sudden emergency. Jack’s grandparents, who would most definitely love to have the little boy over for a few hours. A babysitter. A night kindergarten. Or maybe they could left Jack sleeping through the night hoping he would not wake? Besides, was Hayley really so sick that she couldn’t have her son around her? Maybe she was just doing this on purpose cause she wanted Hotch back in her life, despite being the one to divorce him? There must have been a way for Aaron to still attend the banquet...

 And that’s when it hit her.

She was being a terrible person having thoughts like that.

Jack was just a little boy, not a bargaining chip. And trying to come up with a plan to get rid of him (in some way,even if just temporarily) was straightforward cruel and completely heartless. Honestly, at this point Y/N was ashamed of herself and of putting her own needs and wishes to show off as couple before standing by Hotch’s side.

„Y/N.” he said again with that deep, calm voice letting her know that he already analised her behaviour and face expression enough to know what was going on in her head.

„I’m sorry...” she muttered

„I can’t go the Christmas party.” he stated

„Oh, cause you wanted to attend it so much, right?” she rolled her eyes and chuckled causing him to lift the right corner of his mouth.

„But you wanted to.”

„Doesn’t matter.” she shook her head „three time’s the charm, maybe next year I’ll have more luck to actually get drunk and make a scene legitimately.”

„Y/N. You can still go by -”

„Nope.  Not a word Hotch. Not going without you. We’re a team remember. Not just as work. Not leaving you. Besides, I got a feeling it’s time for me to properly meet your son, don’t you think?”

***

Hotch didn’t say a word of objection and even though he never showed it, he was melting (inside) watching Y/N playing with Jack next to the Christmas tree. They were both splayed on the warm blanket on the floor, their happy faced illuminated by the Christmas light making them look like home. And when they both fell asleep on the couch, Jack holding onto Y/N with his little fingers wrapped around her midsection Hotch was pretty convinced that no fancy party could be better than this view in front of his eyes,

@somest1

[sgiandubh]

Lights, camera, shit show

I was just cleaning my OL folders (all those Chinese paintings and scrolls do take a horrendous amount of space, heh) and I just stumbled upon something I completely forgot to share and discuss with you. I found this particular article during my solitaire lurking months and I remember being befuddled by it for a long time, then thought I've lost it for good.

I don't remember ever seeing it shared or discussed in here, either and if, by any slim chance, I am wrong, kindly forgive me. That professional website is now closed, but its content is still available to browse:

Anyway, there goes: https://www.studiodaily.com/2018/06/outlander-dp-stephen-mcnutt-asc-csc-saucy-scottish-show/

We discussed Terry Dresbach and her inebriated rants, Vanessa Woman's devastating impact on set as Intimacy Coordinator, RDM's jealousy and many other aspects of life on the OL set. Rumors likely to have originated there peppered our shipping trail like flickering lights in a sea of darkness. So yes, we dissected these things to death. But not Stephen McNutt's interview to Studio Daily, on June 22, 2018 - please keep in mind the date, it is essential!

Stephen McNutt is a well-established professional and a member of the American Society of Cinematographers (ASC) and the Canadian Society of Cinematographers (CSC), as he hails from British Columbia. He also has a consistent track record of previous work with RDM, both on Battlestar Galactica and Caprica (its prequel). Therefore, one has to immediately suppose he was handpicked and brought on set by the same RDM, of course: set a very low bar on your expectations, I am warning you.

By the grace of RDM, he was one of the main Directors of Photography for OL during Seasons Two and Three. IMDb is not the best source for corroborating things, because they credit him with 13 episodes in Season Two (including La Dame Blanche- he is the Blue Room guy!), but only one for Season Three (First Wife), which is completely wrong. I even had to check some opening credits on Netflix (at reduced speed, ugh), because he speaks at length of A. Malcolm, something that would have made little sense otherwise. He was there, of course: and his is a first-hand account, heavily loaded with both innuendo and TPTB bullshit, up to the point of complete incoherence.

We focus on the three final questions:

This is a study in bullshitology, right here. The question asked is very clear and very technical: how did you approach those famous love scenes?

The answer is a mumble jumble of retcon, deflections, slips and overall impossible scramble for a logical explanation. I am doing a line by line, because this is almost too good to be true:

'(...) But as far as Cat and Sammy making love (...)' : um, hello and excuse me, I thought the question was about Jamie and Claire?!? And then we are delusional and can't fucking separate, when your own henchman, the Director of Photography no less, seems to be totally unable to do so, too? Hello? Also: 'Sammy'? 'Sammy'? What. The. Total. Fuck, and I LOLed then and I am still LOLing now. Terms of endearment overheard on set - but no, here comes the 'friendship' shite, hitting the narrative fan with Mach 5 speed. Objective? Explaining in a plausible way the hugging and 'keeping warm'. And I am sorry, but this begs the question: what the hell did this man see on that set? And how many people did see the same, hence the need to release such a gratuitous lie, for pure retconning purposes?

'They are not an item at all - I think she just got married'. Oh, fuck my life, man: you are such a terrible, terrible liar! Remember, that interview was taken in June 2018: after the OZ EFH and just about when C. was gleefully answering 'oh, God forbid!' every time she was prompted by press about her marriage plans. How can somebody with a pretty high trophic level and personal rapport to both S and C be totally unaware about C's marital status at the time? How can a long time acquaintance and coworker of RDM say no both to a friend and to a current boss (same person, the worst case scenario) asking for a favor, in that particular context? It also goes to prove that the shit show plot mainlines never originated with S and C and that the Remarkable Week-end was already planned for quite some time. By TPTB. With the full knowledge of RDM.

Let's suppose Mr. McNutt was so deeply engrossed in his work as not to notice all the people who must have congratulated C on set. I mean, I know who our (spinster) colleague from Accounting is currently banging and that guy is (mercifully) not among our staff (I totally wish them well, btw). Maybe because nobody congratulated C on that fakegagement? Also, you know them well enough to confidently say 'they are not an item', but don't know she was not married at the time and state an enormity with the same confidence? What in the name of the hoo-ha did I just read, here?

'I was always in such amazement of that.' In amazement of exactly what, Mr. McNutt? Surely not a woman holding hands or keeping warm with her gay co-star on set, huh? I mean, I need the best American English dictionary, here:

Again: what the heck did this man see? What comments did he hear? Surely, 'amazement' is a very precise choice of wording, with particularly enlightening synonyms:

Hence the need to end the demonstration with a deflection: 'They would just have fun.' You know, there is no such thing as a virgin whore, Mr. McNutt: you either are in such astonishment or you think your pals, good old S and C, such a funny girl, were having, well... 'fun', what else? You can't logically have both in the same paragraph!

And there we go: 'a very collegial atmosphere on set'. The answer is pure fool's gold, if you ask me: 'Nobody goes to sit in a trailer or says they aren’t showing up that day. '

And I laughed. And I laughed. And I laughed. I really don't know what this man is talking about. I never heard McTavish telling S to get out of that trailer ('nephew'). I never read the 'two very loved-up birdies' in a trailer a-rockin' Anons. I never watched that 2015 Anglophile SDCC interview, when S mentioned listening in their shared trailer to Erasure's Oh, l'Amour and C immediately reacted ('oh, did you just admit to that?'). But unlike me, McNutt must have been legally bound by a big cojones Non-Disclosure Agreement and morally bound by loyalty towards RDM, his friend, boss and benefactor.

This. All of the above. This is the real reason for all the bullshit you've just read: explaining a real, shocking love story by socially progressive regulations, allowing the cast to be 'much more happy'. I would laugh some more, if this was not sinister and cruel, in fact.

It is Love. A deep, strong one. But the seeds of the adverse narrative were planted early and deep, forcing even decent people like this guy to lie and smear himself a bit in the process. What we see and hear now are but better worded and more refined consequences of that fateful January 2016 morning in LA. And since I am allowed the dubious luxury only a healthy distance in time allows, let me remind you a simple, fun fact about this interview who stated they were never an item:

About ten months after McNutt uttered these words, the fandom was hit by the Covfefe Pics.

I rest my case.

[i-heart-hxh]

Hello! I hope AX is fun!

I have a question along the lines of some that you probably have already gotten before. If so, sorry. Mine is basically: do you think people who say there's queer/gay subtext in Gon and Killua's relationship are reading too much into it, or are otherwise biased to an extent that it's effecting objectivity?

The reason I ask is: usually people who say these sorts of things are the borderline homophobic sort that insist kids their age can't be gay or make fun of people who like to engage with anime fandoms, but I have come across someone (in private, friend of a friend, lol) with a couple of arguments which I think leave out all that, and I thought it would be valuable to ask, both just to have a discussion and because I don't quite trust my own skills.

One point was that the famous shinjuu line isn't as romantically charged as the English speaking fandom makes it out to be, and that the word contemporarily refers to multi-death tragedy or dedication resulting in death generally, especially in the context with which Killua said it (being that he was about to follow Gon into a fight with Pitou which he knew they'd lose without any prior mutual agreement). The argument was that a romantic reading of the line comes from bias and unfamiliarity, and as a result isn't as paid attention to in Japanese HxH communities as it is in English ones.

The other was that a lot of the moments showcasing the intensity of Gon and Killua's feelings (such as the dodgeball or "you are light" scenes) are very typical/standard of shounen anime, which often have central themes of friendship that are frequently "overestimated" by fandom to be intentional romantic undertones, and that these two characters are not unique in that respect. They said determining romance-establishing purposes to scenes like the ones Killua shares with Palm is projection that interferes with analysis for all the reasons mentioned above. Part of the argument was that a romantic interpretation ignores a subversion of 'the power of friendship' shounen trope, as Gon and Killua have a comparatively tragic "end" (in quotations because obviously the story isn't done), where Gon pushed Killua away, Killua could not stand up for himself, and Gon ended up defeating a powerful enemy without him; adding romance to it obscures and misses the point of this subversion. They also said it was very unlikely for Togashi, should he want to explore queer themes like this, to be so subtle about it, and to not ascribe intent to the author.

The way I see it is that reading romance between Killua and Gon is just one of many interpretations someone may get from a culmination of moments from the text, and that a lot of meta analysis will inevitably be biased by someone's own experiences. For example, a lot of people can relate to the experience of having a baby gay crush, and so see themselves in Killua and read the character with that background in mind. I think the arguments I see here (on tumblr, but also your blog) are well-substantiated and well-explained, which I think are all that's needed for a "valid" interpretation.

Anyway. I apologize for the long ask. Thank you for reading all that!

Hi! AX was fun, thank you!! I caught a cold so I've been slow to recover this week, but I'm starting to feel better.

So, I've answered similar questions with a lot of different reasons why I think the subtext is intentional, and I think it's worth reading that first because it helps when thinking about Togashi's mindset and interests in his works. While of course I can't put words in Togashi's mouth, there is validity in examining things he has actually said and included in prior works and deducing some of his tendencies and patterns based off of that. I do not think it's a stretch or leap at all to read queer themes into the work of someone who has stated an interest in creating queer works, expressed that he enjoys and is influenced by queer works, is married to someone who created a work known for its queer themes, and has previously included queer themes in his works as well. And I mean, KilluGon isn't even the only queer inclusion in HxH by far either.

The thing is, I can understand where this person is coming from...up to a point. If you take any one or even a small handful of these points in isolation, sure, it's not difficult to say that perhaps the romantic reading of those moments is incidental and not intended to be taken that seriously.

I think the real problem with this attitude is that when you start adding up the number of times something with a romantic implication is included between Gon and Killua and look at the picture as a whole, it does reach a point where it gets increasingly ridiculous to claim it isn't intentional or has no real weight. Why would someone like Togashi, who has such an eye for detail in his stories, bother including these implications over and over and over again if he didn't want it to be read this way? Especially when he is someone who has expressed interest in writing queer stories? I struggle to look at the full picture and accept that there isn't a strong degree of intention to the decisions he makes.

I've seen tons of other anime, including lots of shounen, and while I understand that person's perspective with the fever-pitch friendships that the fandom then takes and interprets as more (something I believe Jump intentionally fosters as a marketing tool), personally I do see HxH as being several notches above other shounen series with regards to both how much subtext exists and also how seriously the bond between the characters is portrayed. To me, it does feel distinct from even many other series where male characters are commonly shipped for these reasons, and I'm actually rather skeptical with regards to the majority of these ships being considered canon or even close to it even when there is some basis the fandom is going off of. But I do think HxH leans into this aspect even more than most other shounen do, both in the series itself and in related offshots like the musicals and marketing and even how both versions of the anime were approached.

Also, I will say that I follow the Japanese side of the fandom pretty closely and read tweets frequently, and I do see people bring up the shinjuu line with regards to Killua's feelings and especially what it says about the gravity of how he feels towards Gon. I would actually agree there is less emphasis on it in the Japanese side of the fandom because the word (including the subtext) is already familiar to Japanese audiences and so they just see it upfront and then either take it that way or not, while it has to be explained to a non-Japanese audience due to the lack of cultural familiarity and also the inadequacy of the English translations to capture the meaning.

Regardless of the fact that it technically can be taken either way, I do strongly feel like the word was used by Togashi with intention and knowledge of how it's normally used in a literary sense. I believe Togashi made a choice to use that word on purpose and let his audience take it as they will. It's also worth noting that Gon and Killua directly parallel another lovers' suicide--that of Meruem and Komugi, who do use romantic language towards one another. Komugi says "I may not be much, but please, let me accompany you," which is an old fashioned way for Japanese women to accept a marriage proposal. This echos Killua's "Gon, you are light. Sometimes you shine so brightly, I must look away. But even so, is it still okay if I stay at your side?”

I also think Gon and Killua's friendship can be and is still a subversion of shounen friendship tropes while at the same time being romantically coded. In fact, that it is so close to romantic is a bit of a subversion itself. I don't think the coding gets in the way of the shounen friendship subversion or takes away from it--both can exist at the same time. I still say that the way the Palm subplot is constructed doesn't fully make sense if you remove the intention of the exact nature of Killua's feelings being explored. Otherwise why bother to have so much emphasis on romance as a theme? Why not construct things differently? Why not have Gon make a platonic friend for Killua to get jealous over instead? Why essentially give Killua a romantic "rival"? Why have Killua "stalk" them on their date and point out that's what he's doing? Why have him freaking out at the thought of Gon going on dates and then saying he wants to be with Gon forever literally the next panel? Why make his jealousy come off as romantic in nature because of the way the whole situation is set up? These decisions matter! Togashi could have approached this entire subplot from any angle, and yet he chose to keep repeatedly referencing romantic love when the focus is on Killua's feelings for Gon.

Obviously as someone who ships Gon and Killua, I do have a certain degree of bias, though I like to think I am able to step away from that and look at the series more objectively as well. I do have moments where I go, "I am I being a little delusional here? Do I need to re-assess?" and think over all of what we've been provided again and...honestly I just come to the same conclusion every time no matter what angle I try to look at it from. I do believe that Togashi writes the KilluGon dynamic in such a way that people who would rather ignore the romantic subtext can do so. It's a perfectly beautiful and complex friendship regardless of whether you acknowledge the romantic subtext or not. I think Togashi enjoys playing with the ambiguity of it. But just because it's ambiguous doesn't mean the romantic subtext doesn't exist or have meaning/intent behind it, and to me, adding up all the different choices made in the series, it does reach a tipping point wherein I seriously believe Togashi includes it with full intention and knowledge of what he's doing. And for what it's worth, I don't think it's actually that subtle. A lot of people notice it and wonder about it and connect with it, even including some people who don't actually want to see it (think about all the dudebros who post online going, "Is it just me or does Killua seem kinda gay???").

I hope this response is helpful to you! I wish I could provide more concrete examples in this post, but I feel like it's getting awfully long as it is. I do sincerely believe that the romantic interpretation is a valid and meaningful one that has legitimate merit when looking at the series. If others would rather ignore that aspect, they're allowed to feel that way, and of course no one is obligated to ship Gon and Killua in a romantic way no matter how much subtext exists. But I don't think that perspective erases the existence of the romantic implications, which are fairly heavy in my opinion when you add them all together.