#like a mother gothel type

[bladesmitten]

maybe im projecting but instead of mizora being weirdly psychosexual with wyll or just being a right bastard for no reason, mizora could've been like a "doting" mother figure to wyll. he never knew his mother, he doesn't know what it should actually be like. bc of this, it's easier to lure him in. she's the opposite of ulder: overly present, but suffocating. wyll still gets isolated, he still does monster hunting work for her (and for the "good" of the coast). it's not an outright mother-son relationship, neither of them truly call it that, but it's there.

[purpletyrant]

you wont disappoint me, will you my blackbird?

a young isotta with her mother, vatatsa

[snekdood]

its wild to me how western european beauty standards even effected me as a child. my blonde, blue-eyed ass. i'd tan and come inside to look at my skin and it was "darker" in a way thats not conventionally understood as beautiful, I thought I was "supposed" to have more red and orange pigment when I tanned

like this

but instead it was more like

this and it always made me feel insecure on a subconscious level, like i wasnt the "right type of tan" or something :/

anyways, everyone with olive skin is beautiful and fuck them other color undertones sdjkhbvsfgdvghsdfhgvdfshvgfdgshv

[musical-attorney]

She's been on my mind for a while👀💙

[shaykai]

I love love love listening to songs that are (obviously) about my blorbos, but the lyrics don’t line up so now it’s an AU

[tartarus-pice]

lamictal is godly btw! i love it a lot

i still feel like i have periods of euphoria/impulsivity and depression/low energy but like. very very mild

i peek at my med and go "ty for allowing me to feel things normally!"

the only negative is now im not dissociating anymore (not due to med but due to less stress) and now i can feel all of my rage and anxiety full-force which ig is what coping is meant for!

[lineli225]

Tomura Shigaraki 's abuse and neglect under All for One

I've decided to make this post due to the fact AFO's abuse towards Tomura is often ignored and even denied, so I'll be bringing a collection of scenes that prove he was being severally neglected during the 15 years he lived with AFO

1- Malnourishment and Underweight

At the beginning of the story Tomura used to be very skinny, his spine visible, very accentuated collar bones.

We can't see if his ribcages are exposed too since he's always dressed, but we can tell he is abnormally skinny and thin.

Some theorize AFO's purposefully keeps him in this state so he's more weak and frail similar to Yoichi. Or so it adds to his tiredness and numbness.

He's also been shown randomly struggling before (it could've been the aftershock of Stain attack, i don't know)

2- Lack of hygiene

He literally lives in pure filth, trash bags, old soda cans, paper, boxes, packages of food that seems ordered other than homemade, it lingers all over his floor, he is clearly a hoarder

It's completely different of the kept and clean bar, and now before you say "That's Tomura's responsibility, he's an adult he should clean it himself!" just think for a minute, if you had a son, that you see as your heir, and bets on their future so much,If you truly cared about them and saw they felt into a hoarder mindset, wouldn't you at least help?

Why not even Kurogiri cleans if Tomura was being cared by him? This clearly is intentional neglect, specially to keep his mood constantly down.

3 - His teeth

Tomura canonically has crooked teeth (compare his teeth to the other's in the jump festa art), cavities or at least what looks like plaques or dirt all over his teeth.

For someone raised by someone as filthy rich as AFO, he should've had access to dental care

4- Shaggy hair

His hair looks un-brushed, shaggy and dirty, which had no reason for before MVA when he became homeless, so why even at the start? How long has he taken a bath or a shower?

Look at the blatant difference in this scene after he showered at the PLF mansion

5- Unkept, ragged and broken nails

despite his hands also being very skinny, his nails are also all rough and broken Now, I know Tomura isn't a kid to have someone cut his nails for him, but this implies he was never teached how to take care for himself.

Besides of course his clear symptoms of depression and suicidal idealism, which, are very obvious, All for One IS neglecting Tomura by keeping him in that state /knowing/ he isn't being capable of taking care of himself.

6- His bedroom

First of all: No windows

Second, notice how empty it used to be, he had nothing but a bed and a desk, but right as he committed his first murder he started to receive toys, AFO is lovebombing and manipulating him to kill more

7- The obvious neglect to his pain

Notice how every time Tomura panics or is even wounded, he is just ignored and left on the floor bleeding out, puking or writhing.

Which uh- it isn't normal to watch your kid writhe in the floor while smiling and monologuing

8- 24/7 Surveillance and lack of privacy

There are cameras everywhere, AFO spends most of the time watching Tomura, even in his own bedroom, and even talks to him, Tomura probably hasn't had any privacy ever since he was 5

Which is a sign of abuse and control

His entire childhood from 5 to 20 is often relatable for people who grew in cult like environments, and homeschooled children who grew under controlling parents, despite the abuse not being as "obvious" since AFO never directly physically hurt him, the neglect and psychological torture is still there, that and more all the manipulation, gaslighting and grooming (think of Mother Gothel from Tangled as an example of this type of abuser)

By the way, talking about it

9- Gaslighting

"but wasn't /you/ who desired my power?"

The entire body possession plot is a clear evidence AFO never saw Tomura as anything other than a toy to play with, the same way he saw Yoichi, but so many people say the possession was a retcon because "early afo cleared saw him as his heir, he even said it's all for him!"

Well, argue with the literal "he's the next me", while he is.... weirdly caressing the screen while he watches his kid with no privacy- 100% creep behavior

10- AFO's bizzare behavior towards Tomura

The way All for One's hands are often shown caressing him or encasing him somehow, which yeah, it's part of the symbology of Tomura's character (hands that can both hurt and save)

But knowing AFO represents /hurt/ and, you know, i'ts kinda weird to caress the kid you kidnaped off the streets like that-

Cuz yes! Picking kids from the street even if they are orphan is illegal!! You should take them to a police station instead :D

Tomura was KIDNAPED by AFO, not saved.

11- Proof Tomura doesn't /feel/ saved

During his fight against Bakugou, when he sees him being helped, besides being "broken" he starts to spiral on "why no one saved me even before i was broken?"

The visual including the granny that ignored him on the streets

AFO broke him.

He recurrently thinks back to when he was on the streets, even though he was already traumatized, and had already killed his family, he still had /hope/ he ADMITS he believes he could've been different if it wasn't for AFO

If AFO had truly saved him,he wouldn't think like this

12- AFO gifting Tomura the corpses of his family to intentionally keep him nauseated, uncomfortable and traumatized, so he never heals

Besides their weird placements- On a kid. the gangster's hands being in his chest...

13-AFO's intentional desire for Tomura's discomfort

If this entire thread didn't make it obvious already, All for One benefits of Tomura's tiredness, ill feelings, nausea, depression and suicidal mindset, and over all physical and psychological discomfort

This ensures he's submissive to his manipulations and orders, keep him feeling hatred and anger due to constant overwhelming feelings and makes it harder for him to think of why AFO does all of it at all.

I could go even deeper than this about it, but i've reached thread limit and am lazy, so I hope you enjoyed this thread!

Thank you for reading

[mikaleialt]

I just had a cute idea,what about Bada having a girlfriend with wavy/ curly long hair and taking care of her hair,reader saying she'll cut her hair short and Bada is like "don't you dare to kill our hair" while brushing it to style after

Hair | Bada Lee

Bada Lee x Reader

Cw: none. Fluff. Drabble

A/n: anon this is so cute and as someone with curly hair (used to be long but I recently got a haircut), I really love this idea

Eversince you and Bada started dating, it has been a tradition for Bada to be the one to take care of your hair.

You want to wash your hair? She'll do it for you. You ran out of that hair product you use to maintain your curls? She already has those is stock.

Bada is so inlove with your hair to the point that she does her own research on how to take care of it, what products are best for your hair type, all just to keep your hair long and healthy.

So you just couldn't imagine Bada's reaction when you blurted out all of the sudden the idea of cutting your hair short.

Bada who is helping you diffuse your hair suddenly stops, the hair dryer in her hand was immediately turned off.

"What did you say?" The shock on Bada's face is indescribable, she looks so offended as if you called her a slur.

"I just said that I think my hair is getting too long and I want to cut it" You touched the strands of your hair. You're not lying, it is getting too long. When wet, your hair can stretch down to your waist, but that's just how Bada loves it.

Bada, who has short hair started wearing hair extensions just to match the length of your hair, since she thinks its cute.

"Why?" Bada's face is filled with disappointment with a pout laying on her lips. She looks like a kid who didn't get the present they asked Santa for Christmas.

"Its just getting long, it consumes a lot of hair products already and it is getting expensive maintaining them—"

"Don't worry about it, I have the money to buy you all the products you need for your hair." Bada cuts you off, immediately disregarding your reason.

"Well, its also getting a bit hot—"

"We can always put it up in a different hairstyle, or I could just carry a fan with me all the time so you won't get hot" Bada retorted once again.

At this point you finally give up trying to convince Bada with your idea.

"You're not gonna let me cut my hair, won't you?" You look at her deadpanned as she turns on the hair dryer once again to finish her work.

"Yes, don't you dare kill our hair." Your girlfriend says in a strict manner as she blow dry your hair once again.

"You know you sound like Mother Gothel when you act like this." Bada just chuckles at your statement.

"Bada knows best" She just replied in a sing-song tone.

Finally another fic/drabble done. I hope you liked this anon. I'll finish more requests first before moving on to some of my drafts. Please feel free to send in your request, just follow my rules!

[septembercfawkes]

The True Purpose of Antagonists

Hear the word "antagonist," and it will likely conjure up images of "bad guys," like Darth Vader, the Joker, or Mother Gothel; and even a simple search online will reveal that "antagonist" is often defined as a person, group, or even specifically, a character.

None of these things are completely accurate, though. An antagonist is not always a "bad guy." In Death Note, the antagonist is actually the true hero. The antagonist also doesn't have to be a person or a group. In The Martian, the antagonist is the Martian landscape.

Truthfully, any well-written story will be loaded with antagonists. Sure, there may be what we think of as the "main" antagonist. But in order to be a good story, there will be lots and lots and lots of antagonists.

The problem is, so many of us have a narrow view of what an antagonist is.

Yeah, it can be a "bad guy," or another character, or a group.

But it can also be a storm, a computer, a rock, a substance, or even one's own sleepiness.

When we broaden our understanding of the antagonist and comprehend its true purpose, we can write better stories.

Because we can write better plots.

And if you've been with me for a while, you may know I consider "antagonist" to be the second element of plot, with "goal" being the first.

At the most basic level, there are just three types of goals (this will be a review for some of you, but it's better to have a review than leave newcomers in the dark).

Obtain something.

Avoid something.

Maintain something.

The last type often gets a bad rap, because when handled poorly, it can make the protagonist appear passive and the story feel plotless.

In reality, though, it's only a problem if it doesn't have an antagonist.

Just as the other two are problems if they don't have antagonists.

If I want to obtain a trophy, and all I have to do is show up somewhere (i.e. "a participation trophy"), the story doesn't have much of a plot.

If I want to avoid zombies, and nothing is making me go near zombies, the story doesn't have much of a plot.

And if I want to maintain my perfect lifestyle day after day after day, and I don't have thoughts of death, burned breakfast, and suddenly flat feet upsetting my paradise in Barbieland . . . the story doesn't have much of a plot either.

(*It should be quickly noted, though, that some goal types may overlap, depending on the story. For example, Barbie wants to avoid flat feet in order to maintain her lifestyle. So don't get too nitpicky with categorizations 😉.)

At the most basic level, the antagonist opposes the goal.

It is what is blocking, resisting, or pushing the protagonist away from the goal.

You want a trophy? Well, you have to beat the other football team (antagonist).

You want to avoid zombies? Well, your sadistic neighbor is planning to lower you into a pit of them (antagonist).

You want to maintain a perfect lifestyle? Well, let's give you some terrible cellulite (antagonist).

Essentially, the antagonist's role is to create (or be the) problems and obstacles in the protagonist's journey. It creates (or is) the resistance to the goal.

This means that something that is mildly annoying the protagonist probably isn't going to cut it.

Sure, you may argue that it is something the character wants to "avoid," but for the story to be great, the goal needs to be significant, which means the antagonist needs to be significant as well. (And by "significant," I mean it carries meaningful consequences.)

The antagonist may be a direct opponent. The sadistic neighbor wants to lower you into a pit of zombies. You don't want to be lowered into a pit of zombies. You and your neighbor's goals are contradictory.

Or it may be a step out from that. The protagonist and antagonist have the same goal, but they can't both succeed. Each football team wants the trophy, but there can only be one victorious team.

Or it may be more indirect. Gloria isn't trying to ruin Barbie's life. She just has her own goals, and her path--her journey--happens to be ruining Barbie's perfect life.

Sometimes the antagonist isn't intentionally targeting the protagonist.

Regardless, what remains the same is that the antagonist is opposing the protagonist's goal. And for it to be most effective, there isn't an easy, foreseeable way for them to each get what they want (because what one wants somehow opposes what the other one wants.)

This is necessary to create proper conflict within the plot.

Now, as I mentioned above, any solid story will have more than the "main" antagonist. And some stories don't seem to even have one "main" antagonist (such as Hamilton). But whatever the case, there should be regular antagonistic forces.

As I've talked about previously, most stories have big goals that can be broken up into little goals. These often make up scenes (or even acts) in a story. In order for it to be a strong scene (or act) though, it almost always still needs an antagonist. It needs a goal and antagonist to create conflict.

When we think of Star Wars, we often think of the Empire, or Darth Vader, as the antagonists, but if we look at the story by acts or scenes, we see that, while these may be the "main bad guys," they may not always be the current antagonistic force. And they certainly aren't the only antagonistic forces.

For example, initially, Luke's goal is to get off the farm and go to academy--but it's not the Empire that is preventing him from doing that. It's his uncle. In the beginning, Luke's uncle is his antagonist.

And when Luke is trying to get back to the Millennium Falcon, and he falls in a garbage compactor, the garbage compactor and the creature (the Dianoga) become his antagonists.

Likewise, almost none of us would point to Gloria as the main antagonistic force of Barbie, but she is certainly an antagonistic force within scenes (and arguably, for Act I, though we don't yet know her).

This is why it is so important to broaden our perception of antagonists while also refining our understanding of them.

If Luke just easily left the farm and encountered zero problems whatsoever, or Barbie just continued maintaining her perfect life, it would be boring.

Maybe not right away.

But it would hit all too soon.

We need an antagonist for almost every scene, even if it's temporary.

It's the protagonist encountering the antagonist that creates the rising action of conflict in the scene.

And the antagonist does not need to have ill intentions. The antagonist could be a friend or ally who has good intentions.

For example, say Character A needs to get information from Character B (goal), but Character B doesn't want to give it (antagonist), because it will deeply hurt Character A. Even if both characters want what (they think) is best, they still have opposing goals, so there is still conflict. At the end of the scene, either Character A succeeds, or Character B succeeds. They can't both get what they want.

Similarly, the protagonist and her ally may both want to go to London to defeat a villain, but within a scene, they may have opposing ideas of how to get there. The protagonist wants to take a plane, and the ally wants to take a boat. Within a scene, the ally may be the antagonist for the protagonist.

And worth mentioning is that the antagonist may not even be aware it is the antagonist. Character A may need information from Character B, but Character B may be so distracted with his toddler, that Character A is struggling to get it from him. Character B may be oblivious to Character A's distress. Character B is still the antagonist (well, and arguably so is the toddler, who may also be unaware).

Likewise, a flood will not be aware it is the antagonist. But if it's blocking or creating problems for the protagonist on the way to his goal, it's the antagonist.

Consider a character who needs to stay awake to keep watch over camp . . . but his sleepiness is getting to him. Guess what? His sleepiness is the antagonist. He is his own antagonist.

In short, antagonists can show up in a lot of different ways, and there should be lots and lots of them. Whenever an entity is blocking, opposing, or pushing the protagonist away from the goal, it is acting as an antagonist--even if it's not the big baddie.

Make sure your story is full with them.

[luhvey-duhvey]

Yall what if Leander is undead? And he remains alive on some Mother Gothel type shit. The dark eye circles aren’t just for show, it’s because he probably died and remains alive by having folks join the bloodhounds.. when they etch their name into the table they essentially sell their souls or agree to whatever Leander offered them in exchange for their lives.. and he feeds on their souls to stay alive. Maybe that’s why MC’s curse doesn’t affect him too not only bc of magic but because he’s dead ??? He can’t feel that Lmaoo hence why he visits crypts and has a connection to the living and the dead? Yes he’s just a human, but he’s undead human.

And, and, AND maybe his desire to connect with the dead is what the Senobium was so against him uncovering despite his incredible power, hence why he rejected joining… like bro you’re just being greedy now.

[boopshoops]

TWST OC INTRODUCTION - TCOAV

Ezra Goldspire - Who Knows Best

Name: Ezra Goldspire

Nicknames: Ezzie, Killifish

Gender: Male

Pronouns: He/him

Sexuality: Homosexual

Birthday: May 7 (Taurus)

Age: 362 (In canon and AU)

Height: 5'11 or 179cm

Voice Claim(s): Caleb Hyles

Twisted from: Mother Gothel/Esther Gothel of Tangled

Unique Magic: "What Once was Mine" Through the use of magical herbs and alchemy, Ezra is able to capture the likeness of himself and other individuals. He can share and change other's physical features with these concoctions, ranging anywhere from shoe size to facial structure to vocal coords. These changes last as long as he desires as well as under his own set conditions at the cost of requiring outside materials to complete. Typically the magic is contained in what appears to be a type of spice or powder, and the change leaves a mark/tattoo on the individual which the magic is cast to indicate what exactly was changed.

Grade: Primarily teaches Sophomores and Juniors

Class: Teaches art and music, along with being the homeroom teacher of class 3-D.

Hobbies: Alchemy, botany, herbology, singing, painting, playing the harp, improv.

Likes: Broadway, theater, pasta alla gricia, small spaces, spring, jewelry, floral arrangements, experimental learning, any music.

Dislikes: Crickets, wrinkles, scars, wasted talent, mumbling/whispering, tracking time.

Fears: Aging, other Changeling Fae, not being recognized by those he cares for, forgetting people.

Summary: As the most easygoing teacher on the entirety of campus, many of the students and fellow staff members view him as a scatter-brained daydreamer. However, his dreams filled with immense passion, as he desires for nothing more than to watch his student's talent blossom... and keep the bloom contained and protected in a glass case.

Now, don't get him wrong! He has the best intentions, of course. There are many, many scary people and places out there in this Twisted Wonderland. People who would take advantage of such bright minds. He is simply preventing that from happening. The man has been around for a long time and has been through his own share of ordeals, so he would most definitely know.

He has a big heart. While he goes about an odd, constrictive way of showing it, he does truly care. He has a hard time letting things go, and he simply wants the best for those he cares for. Ezra would spoil every single one of his students rotten if he were able. Even as a rather new professor at NRC, he wishes to guide every single one of them on the right path.

Outfit Inspiration

Author's Notes: ARGHHH MY BOY... Ezra is a very new character I made only a few months ago. He was created specifically for TCOAV, but alas I have grown attached. Given we already have quite a few gaslight gatekeep girlboss type characters over here, I decided to focus more on twisting different aspects of Mother Gothel. I particularly focused on her parental tendencies as well as her means of "caring" for Rapunzel. Whereas whether Gothel truly cares for Rapunzel or not is still up in the air, and they truly had a toxic relationship nonetheless, I wanted to make Ezra a more misguided but good individual.

[raven-at-the-writing-desk]

One of the issues with disney movies lately is some of the disney female protagonists is the adorkable personality. Which worked with Rapunzel and Anna but as time passed on, it seem to be the norm which the problem came once Wish revealed. Although despite that issues, all but Asha have reasons the way they are.

Rapunzel and Anna have been isolated from everyone with Rapunzel in the tower with only a chameleon as her friend and it didn't help that Mother Gothel is abusive to her while Anna stays in the castle with her sister being distant to her. I am not sure she is close with any of the servants since they are servants. Of course, they are socially awkward but they improve with Rapunzel having to experience social interaction in her TV series while Anna no longer has this in the sequel.

Moana is mostly serious and adventurous, which overshadows her quirkiness as only shown during her time in the ocean compared to the island as she fulfilled her duty as future chief. She has some laughable moments, but it doesn't stop her to continue her goal to saved the world and she is usually the serious of the two which the other is Maui.

Mirabel's quirkiness is the way she is because of how she isolated by her family and her village didn't pay much attention to her due to her being giftless which is why she tries her best to fit in. Her main personality is being empathetic as she helps her family with Antonio being brave enough with her favorite cousin by her side, Luisa talking about pressure that Mirabel listened, and Mirabel helping Isabel to let go of perfectionist. She can also be seen sassy like how she talks about Isabel.

Whereas Asha has no reason for the need to be quirky and awkward, she seems to be accepted by her friends, family, and the kingdom before the events of the story. She could have been an introverted, graceful woman who admired the king that she wanted to fulfilled his footsteps before realizing the truth.

Raya, Judy, Elsa, and Merida are the four disney female protagonist (not counting Pixar, I only included Merida since she is a princess) to not have that personality which is why are likable. The only issues they have is the movie itself especially Raya's movie theme being the trust message that is dangerous to followed, Zootopia's twist villain, the way Elsa is handle in the movies, and the bear curse parts.

Disney TV shows also have this issues with female protagonists, but not gonna say much since I am not sure if you know or not.

I haven’t seen like 3 of the movies listed here (Moana, Raya and the Last Dragon, and Brave) 😂 but I’ll trust that you know what you’re talking about, since I’ve seen Asha being compared to previous “adorkable” female leads like Rapunzel, Anna, Moana, and Mirabel in other Wish reviews.

The other 4 can have their quirkiness justified by being extremely sheltered and/or an outlier in their respective communities. However, this is not true of Asha, who is not only well known but also loved in Rosas—by her family, her friends, and heck, even the QUEEN.

It definitely feels like Disney got too comfortable with its formula, and in trying to please both modern audiences and older fans, they ended up pleasing no one. They’re so focused on making sequels and live action remakes now (which I guess is… easier??) 😅 I don’t know why Disney doesn’t make characters that are unique yet strong in their own ways. They’re capable of innovative characters (even if the execution of the overall stories aren’t great), as we see in Frozen and Zootopia (movies I have seen).

I did hear there was a lot of executive meddling in Wish’s production, so I wonder if this is why Asha had an unexplained quirkiness to her rather than a character that makes more sense for what she is and where she comes from. With her dad being a philosopher, I could see Asha working better as a quiet and introspective type who learns to be brave and to speak up for her own dreams and the dreams of those she loves rather than being a passive stander-by. This would actually give her a stronger character arc and growth rather than remaining static as she does in the actual movie we got 😔

[onepiecepetalfanfics089]

Well guys it seems you’ve made your choice!

I’m so happy that you want me to write this because I’m SO EXCITED!!

For a short introduction of her, I’ll be explaining her powers overall, personality and a bit of the plot for the story!

Y/N is a beautiful woman with (whatever body type you have because y’all are beautiful) with long curly hair that goes back to her lowe back. (Or whatever hair you prefer) she has your colored eyes and whatever outfit you choose but in my imagination she has a similar dress like mother Gothel from tangled.

( If you don’t know what it looks like it’s this! )

Now to go on about her personality, if you met her in real life you would probably think it say.. “..what a bewitching woman..”

Which is very very true.

To describe her she’s a very passionate, curious and confident woman, especially in her skills she is.

Like Circe she had the power to turn people into any animal she deems fit, a lion? Go ahead! A mouse?! Done! Any animal or even object she’ll turn you into just like that.

But that’s not even all as she has the power to control life, plants and roses of any poissons or thorns that’ll cut you and leave you lying down on the cold floor, your heart slowly stopping a beat in only just a few seconds.

Her fighting skills are very excellent as well, what? You didn’t think all she was good for was magic did you?

She’s very flexible and fast with her attacks, whether she’s hitting you in the chin with a giant vine/ beanstalk, or wrapping your body tight with thorns and knocking you unconscious with a kick she’s very powerful ether way.

She might even learn to use her magic to control more elements than earth..(hint hint)

But of course..she won’t be powerful enough..

This is a yandere story after all..with multiple pirates chasing after that are of course more powerful than her and could knock her off her feet.

But will she escape? Or be in clutches of obsession forever..? We’ll see..

The plot is that she’s living in a island filled with plants roses, vines of all sort. Poisonous and sone to just show off their beauty of course.

She’s currently living with an old woman who taught her the ways of witchcraft and always getting on her case about wanting to go adventure the seas.

Everything was a bit basic and normal..nothing out of place..

Until the strawhats came of course..

They were interested in her like no one else,

Hell even zoro melted like butter!

So peculiar you could say…

Whether she’s making up new moves and combos involving nature with ‘captain’ usopp, or lazing around with zoro on deck and taking a good nap. Maybe even cooking with sanji while he swoons over you and almost had to go to chopper for the bloodloss, even just sitting in Nami’s office while she works on a map and doodling on a piece of paper innocently.

They just can’t get enough of her…and of course would do anything for her to join the crew.

Even if it means ‘sadly’getting rid of a few people…

Of course the straw hat crew isn’t the only ones who’ll be charmed by her..

The others include

Enel, Boa Hancock, Sir Crocodile, Shanks, Mihawk, Law, Kidd and more…

I don’t want to spoil much more so I hope this short introduction helped you get just a bit excited for this story m’y lovelies <3~

And btw I’m still taking requests!!

A new story will be out soon btw!

Love you all 🌸❤️

[aihoshiino]

After reading the latest chapter, I found it intriguing that right after the panel where Ayumi says that "Back then, Ai was 8 or 9", the next panel has her state that "Ai had grown up to be a woman", despite her being still just a child. No one would call someone that age a grown woman. It's seems like she didn't view her daughter as a child at all (and neither did her creep of a boyfriend) and only saw her as some sort of love rival who's an adult like her even when she wasn't. Ai's mom clearly wasn't fit to be a mother at all since a good mother would've broke up with her boyfriend instead. And even in the way she speaks of herself in this chapter, it's as if she wants Aqua (and the readers) to feel sympathetic. Ayumi truly is an awfully selfish woman and unfortunately she had to be Ai's mother.

anon i literally woke up this morning cooking ayumi meta on exactly this topic in my head and then logged on to see this ask....... you and i shall have a spring wedding

That said, you're right on the money. What I loved so much about the writing of this scene is how intensely real Ayumi feels as a toxic mother. I feel like a lot of people were kind of expecting her to be this over the top cackling Mother Gothel type but like I said in my ch 131 initial writeup, the unfortunate reality is that this is how a lot of abusers look. Like normal ass, regular, pathetic people.

In particular, I really love how deep of an understanding we get of Ayumi's messed up, contradictory headspace just over the course of the four pages we spend with her. She recognizes that she did something terrible and hates herself, but she has surrendered to this sort of self-enforced helplessness with regard to her own issues and fucked up behaviours. She knows that she needs to improve but is self-defeating about her ability to do so and the whole thing turns into a self fulfilling prophecy where she refuses to put in the work because she believes she can't change to begin with but BECAUSE she doesn't put in the work, nothing changes, which reinforces her belief that she can't fix anything so she doesn't try and... you see how the snake starts eating its own tail?

At the same time, though, this surrendering to helplessness is a safety net for her as much as it is a mental trap. By framing her behaviour as something she is powerless to resist or to stop, she essentially frees herself of agency in Ai's abuse and neglect. Being violent towards her daughter is not something she frames as an active choice, but as something she would "wind up" doing, as if by accident or compelled by forces completely out of her control. Not only that, but it allows her to rewrite the narrative for herself with regards to her abandonment of Ai – since she is so helpless to stop her abuse of Ai, the daughter she loves so much, she just had no choice but to stay away. But she was totally going to go pick her up someday, definitely! Never fucking mind that Ai was left there for so long that she aged out of the system before Ayumi ever came back.

It's once Aqua challenges this assertion, though, that the cracks start to form. Though even before that, an attentive reader will obviously have some red flags up – after all, if Ayumi loves her daughter as much as she says she did, then why does Ai describe herself as a person who has never been loved by anyone? At age twelve, no less? That is not even REMOTELY close to a thought a well adjusted and cared for kid should be able to express, let alone sincerely think.

There's always been a theme in Oshi no Ko of Ai being pulled in all directions, in trying to be everything that everybody asked her to be, succeeding and being punished for it anyway. In my CH131 thoughts, I coined the phrase 'adultification' to describe the way adult agency and expectations are enforced on children who are too young as a method of abuse, a direct inverse of the way infantilization happens to adults. Part of the impossible expectations enforced on Ai were having these twin opposing forces of adultification and infantalization inflicted on her in a truly maddening way.

Specific to adultification, though, we over and over see other characters inflict adult agency and sexuality on Ai way before the point that any reasonable person would rationally think to do so. When describing her falling in love, Kaburagi says that her face, which had been that of a child, "turned into a woman's" at a time that we know she can only have been fifteen at the oldest.

45510 seconds this, with the narrator describing how this adultification is inflicted on many young girls in the industry;

"At the time, younger age groups were all the rage, but girls in their formative years could undergo rapid changes as they matured. Once they outgrew that youthful phase, they were evaluated the same way as "ordinary" women."

... only to turn around and do the same thing to Ai:

"Right from the beginning, she exuded a maturity beyond her years, and in the end, she retained a fresh-faced, youthful allure."

With all that in mind, it's not at all a shock that this echoes all the way back in time to the starting point of Ayumi's abuse of Ai. It's reprehensible, but it's also unfortunately deeply real – it is heartbreakingly common for victims of CSA to be blamed for their abuse, as if being victimized by adults is something they have any agency in.

In this instance too, Ayumi distances herself from her own agency and culpability in Ai's abuse. Look at how she frames things and the issues that she centers; it isn't her own insecurity, toxicity and violence that ruined things. It was Ai's beauty. Ai growing into a woman. That she can say such a thing without blinking betrays so clearly that for all she insists she loved her daughter, Ai was never really a child to her. And the moment she realized Ai was attracting the attention of a man, Ayumi didn't see her as a child being victimized but as a woman posing a threat, a romantic and sexual rival who needed to be beaten back into line and shown her place. Even her anger at Ai's stepfather is so, so telling – the framing makes it clear that her anger is not that of a woman raging against someone who posed a threat to their child, but as a woman resenting a man who was unfaithful to her.

For all that she cries and self flagellates, Ayumi basically lays it all out in her own words without even meaning to. She doesn't take responsibility for her own actions, nor does she even really frame them as being central to the chain of abuse that destroyed not just her family but robbed Ai of her life. Even through her tears, she pushes Ai to the forefront while framing her abuse as a thing that just "ended up" happening, that she was powerless to stop. When talking to Aqua about how she can't make amends, the word she uses in the Japanese text is actually 贖罪 – Atonement, the same character used as the chapter's title.

But the thing about atonement is that you can't atone for a sin you don't take responsibility for. And Ayumi makes it heartbreakingly clear that for all her regrets and her pain, she has not come close to taking responsibility for the harm she inflicted on her daughter. And even if she did? It's too late. Ai is gone.

It's just as Akane says. There's nothing here anymore.

[cotl-flower-crown]

Most of the doodles that I made recently are not suitable for this blog, but have a new OC.

His name is Draco, he's a vampire bat and a retired summoner/necromancer. After the last one of the sheep kind is sacrificed, Draco decides that he had seen enough and he deserts. Since then he's been living in various villages, due to his mischevious nature, his shady past and the fact that he's a vampire. Because of that people were scared of him and deemed him a danger to society, which in turn would end up with people coming to his doorstep with pitchforks and torches. But he didn't survive this long to let the common folk to kill him, so he fights back and he does that by bringing back the dead. That was the cycle of his life until he meets The Lamb.

They're all dead.... Oh Lord, how could I? Again? Do you see it in me? The darkness in my soul?

The Lamb takes him in and since then he's been living a peaceful life in the cult (minus stirring up drama once a while).

Draco is the smiley type. His default expressions are either warm smile or no smile, he usually doesn't show any extreme emotions. He's a manipulative drama seeker, but he knows when to stop. He likes to make people feel extreme emotions and act irrationally because he himself doesn't exactly understand that. He would probably be a bit of a yandere if he was in love himself tho.

A gimmic that Draco has is the vampirism. Because he's a vampire bat and a necromancer I say that this gives him the ability to extend his youth, as long as he's able to drink a little blood once a while (kinda like Mother Gothel with Rapunzel's golden hair). There are probably some urban legends circling around about him that are mostly fake.

He looks weaker than he actually is, but not as strong as one may think. He mostly relies on his magic to beat his opponent and he would most likely lose in a fight pit.

The marks on his body glow when he uses his magic.

[tybaltsjuliet]

Disney princess anon here, don't worry, I loved reading your complete ranking, especially your reasoning for placing Belle as number 1, it's very similar to my own thoughts! And I must admit that the idea of a Gothic Heroine Princess Snow White intrigues me, might expanding on it?

of course!

so, say belle is of a type with jane eyre, or with the second mrs. de winter: the gothic heroine who braves the old dark castle and all its horrors, and saves the man, or the monster, or both, trapped inside it. snow white, on the other hand, is the terrorized innocent of the genre. think antonia from the monk. think ellena di rosalba from the italian. she is the gothic heroine who *begins* trapped in the old dark castle, with horrors that dog her heels even as she flees for her life. and, as is often the case for gothic heroines, her innocence is as much a liability as a salvation. the dwarfs and the huntsman were moved enough by it to spare her and protect her, but it is also the reason why grimhilde ultimately succeeds in killing her at all (even if the death is only temporary).

and, speaking of grimhilde! for me, personally, the most important and interesting part of the genre has always been the way that the family is destroyed or twisted, and snow white has the most dangerous family out of any disney princess: not a parental figure who would trap her, or lie to her, or mistreat her, however cruel all those things are, like lady tremaine or mother gothel - but one who actively wishes her dead, and one who uses arcane dark magic about it, no less, in a way that would not be out of place among the faux-medieval horrors that the early gothic authors dreamed up.

hell, now that i think about it, if you changed up the names and dressed up the first act of the movie in a good helping of purple prose and called it something like “a romance of bavaria,” you could probaby pass it off as the beginning of a lost 18th century gothic.