#there was a whole plot left to go for all of them

[miridiums-writing]

Not a moaner?

Toji x reader

Smut with no plot.

MDNI

Warnings : Tit sucking, hair pulling, eating out, tying up, PinV

Toji had been patient, well, as patient as a man like him could be. You’d both been together for three months now and still nothing to sexual had occurred. You were both cuddled up in bed watching a film. His larger, muscular form radiated enough heat for the both of you, even with your cold hands and feet. A heavy sigh left Toji as he pulled you impossibly closer to himself, his roughly palm rubbing against your back, before his hand started to creep down lower, fingers gripping into to fat of your ass. Placing kisses down your next as he did. The movie all but forgotten to Toji. “Y’re fuckin’ stunnin’” Toji muttered between kisses, essentially manhandling you under him to get better access to your collarbone, pulling down your shirt enough to free one of your breasts. “fuckin’ gorgeous ass tits... fuck...” He muttered, immediately going down to  suck hickeys onto the exposed breast. “This ok baby?” He asked, noticing not much of a verbal or physical reaction from you. “Yeah” You answer, eyes staring down at him attached to your chest. You said it too casually, it seemed to only egg him on more to get a better reaction.

He grabs the bottom of your shirt roughly pulling it up and over your head to give him better access. One of his hands playing with your left breast, rubbing the nipple between his fingers immediately taking the other nipple in his mouth, sucking on it and lightly grazing his teeth around it, eye staring up at you for your reaction, and finding very little. You were just watching him, hands uselessly laying on the bed like you didn’t know what to do. He grunted slightly, using his free hand to grab your hands, putting them in his hair to hold onto, guiding you to lightly tug at his hair making him groan against your chest.

He moves his hand away from yours, leaving them tugging at his hair, moving it down to rub at your clit through your  clothes, using the seam of your sweatpants to his advantage. He could feel a light wetness to signal your arousal, but still saw no reaction in your face. His eyebrows furrowed as he only got more determined. Using both hands to roughly pull down your sweats and pants. he let go of your nipple with a pop. “Open your mouth, sweat-pea” He said, smirking lightly when you obeyed. “Good girl,” he crooned. Sticking two beefy fingers in your mouth. “Suck”  he ordered. You immediately sucked on the digits, circling your tongue around them. Once Toji had decided you’d sucked them enough he pulled his fingers out of your mouth, using the now lubricated fingers to separate your folds. “What a pretty pussy you have.” He mumbled, taking in a deep breath before latching himself onto your clit. Using his free hands to grope at your chest and ass.

His eyes stay on yours throughout. Trying one speed, before noticing little reaction before trying something else. After about ten minutes of stimulation he let go of your clit. “Are you... Into this?” He asked, worried he was doing something wrong. “No,” you said, a little embarrassed. “I just... don’t really moan.” Toji stared at you for a moment before a smirk split open on his face. “Not a moaner, huh? We’ll see about that.” Toji dipped back down to your pussy with more vigour than before, his tongue pumping in and out of your whole, lapping up the juices, while he used his thumb to roughly stimulate a your clit. Letting out a growl when he felt your legs switch slightly, trying to close your legs. “Wider baby... don’t you close your legs on me now” he said using his free hand to keep your legs apart, continuing what he was doing as he could see you were slowly coming undone, your legs twitching more and more, as the pressure built. He sped up the pace just as he heard absolute music to his ears, your back arched as the band in you belly snapped, moans falling from your lips as your orgasm ripped through you with him cooing at how pretty the noises you made were.

He finally stopped stimulating your clit when your back lay back fully on the bed, panting slightly from the sensation. “Not a moaner, huh?” he teased, feeling like he’d won a badge or something for managing to get those pretty noises to fall from your lips. “Not a moaner my arse. I wanna see you do that again, but this time on my cock.” Your face immediately reddened at how lewdly he spoke, he was so blunt with it, it would certainly take some getting used to. “Don’t be embarrassed, baby. Ill make you feel so good. Now, hands here” He pulled your arms up from where they were uselessly in the air just above your chest like you were hiding it. “If you don’t who how to use them, you don’t get to” He said gruffly. Using a tie that’d previously been abandoned on the floor to tie your hands together and press them into the mattress above your head. “Now. Ill go slow to let you adjust, and then..” He leaned down so his mouth was by your ear. “Ill pound into you until you cant remember any name but mine” He whispered, chuckling slightly to himself at your reaction before pulling his cock out from his boxers.

“Just breath baby” Toji mumbled, starting to slowly push his cock in, taking it bit by bit to let you adjust. The stretch was like nothing you’d ever experienced it almost felt like you were being split open, it burned a little, but also felt so good. Slowly but surely Toji bottomed out inside you. Letting you lay for a minute to get used to it before slowly started to pump himself in and out of you, your previous orgasm being lubricant enough, it felt off, the burning sensation started to lessen before disappearing, getting taken over my pure pleasure when he hit just the right spot, his only inclination that you enjoyed it being the twitch n your legs again. “There we go baby, you’re doing so good, you take my cock so well, good girl.” Toji ramped up the speed as his own orgasm neared, holding on just enough so make sure he finished at the same time as you, you could feel his cock twitching inside, plus the way his grunting turned more into growls as he got closer. You came undone first, back arching once again as the full force of the orgasm hit you, “Toji” you moaned out. Clenching around him, causing Toji to groan louder, pulling out at the last second to coat your pussy in a sticky white mess. “fuckin’ gorgeous, take it baby... fuck. You’re perfect”

You were spent, laying under him, covered in his and yours sticky mess, panting from exhausting, and well satisfied. “I made a mess of you” Toji boasts. Smirk present once more as he took in your spent form. “It’s ok baby, ill clean you up” He said, picking himself up from the bed to head for the bathroom, before bringing back a soft towel to wipe you down. Cleaning off the proof of sex, though the smell lingers in the air. “You did so well baby, I thought you’d need more prep to take me.” Once he was sure you were clean he tossed the towel to the side, pulling you onto his chest with your face in the crook of his neck. “Now... what were we watching again?”

[writingquestionsanswered]

hi! me and my co-writer ans in the planning phase. we dont how to end out story. its an abrupt ending, when tension an high and we dont know how to pick that moment or how to create that moment. thanks!

Stuck on Cliffhanger Ending

Even if your story has a cliffhanger ending, the story still needs to follow basic story structure:

Through the setup and rising action, you make numerous promises to your reader by laying out threads and posing questions. The climax and falling action should resolve the main conflict, and the resolution allows you to tie up most of those loose threads and answer most of those unanswered questions.

Cliffhanger endings happen during the denouement, at a crucial moment when a significant question or plot component is about to be resolved. Again, you want the main conflict to be resolved and most of the loose threads to be tied up, but this particular unresolved component will be something that won't ruin the story if it isn't answered right now (or ever). Usually, the answer is just about the be revealed when something surprising, shocking, or suspenseful happens to interrupt it. To figure out a good cliffhanger moment in your story, you first have to figure out your purpose in having a cliffhanger. Are you trying to draw the reader into reading the next book? Or are you simply trying to end with a gut punch?

If you’re just looking for a gut punch (with or without a coming sequel), look for an unanswered question that doesn’t need to be answered in order for the story to be resolved. For example, maybe one of the story’s many questions was the parentage of your orphaned protagonist. If the identity of the parents isn't crucial to understanding the story, and if you've already laid out options, you could have the character in the process of finding out when someone bursts through the doors and makes an important announcement. If you're going to have a sequel, it could be an announcement that sets up the conflict of the sequel... like that the antagonist they just vanquished has escaped the dungeon and taken refuge in the mountains. If you're not going to have a sequel, you would want it to be something that doesn't ignite a new story that will never be told. For example, maybe the protagonist is just about to open a book that reveals who their parents are, and then someone bursts in and says, "You've got visitors!" When the protagonist asks who it is, the character says, "Your parents..." Those are good gut punches. They'll leave your reader reeling, speculating, and wishing for more, but you're not leaving anything crucial unresolved.

Another example would be when your characters have spent the whole book fighting and triumphing over an alien invasion, and after all of the mourning, celebrating, and rebuilding, your character goes to bed one night, turns off the light, and hears the telltale hiss of one of the aliens. Again, GUT PUNCH! Is there really an alien left alive? Is it going to hurt or even kill the protagonist? Does this mean the fight’s not over? Does it mean the fight is really just beginning? There are lots of questions, but the answer could just as easily be, “It wasn’t really an alien, it was the wind. Or, it was the air conditioner turning on.” So, you’re not leaving the actual story unresolved. Your protagonist isn’t dangling off the edge of a building when the last sentence ends.

If you’re trying to draw the reader into reading the next book, you generally want to end with a new or re-stated question… and I don’t mean a question that you literally ask. I mean a question that the reader will ask themselves based on whatever you’ve laid out. For example, the reader might think, “The protagonist defeated the evil king in this battle, but the evil king is still out there. Will the protagonist be able to defeat them once and for all?” Or, it could be a new question that’s presented during the resolution. Like, maybe the protagonist defeated the antagonist in this big battle, but at the end, during the big celebration, a message is delivered to the protagonist letting them know the antagonist has struck again, in a new place this time. And your protagonist tells another character to gather the rest of the team. The reader is left with the question, “Where did the antagonist strike and what was the result? How will the protagonist respond? What will happen next?” Again, nothing of the main conflict is left unresolved. That’s a successful cliffhanger ending. :)

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[chemblrish]

The atomic radius, shielding, and the lanthanide contraction

As you hopefully already know, there are several trends of the elements' properties that you can squeeze out of the periodic table. The one I want to focus on in this post is the atomic radius.

The shorter and simpler explanation is as follows: if you move from the top to the bottom, the radius increases, which is simply the result of more electron shells (“layers”) being added to the atom. Moving left to right, the radius decreases and that is caused by the growing positive charge of the nucleus attracting the valence electrons more strongly like the swole doge and therefore shrinking the atom.

But chemistry is a science, and the sciences are beautifully complex, so let me tell you about this one intricacy affecting the radius. We’re going to need some knowledge of the electronic structure of an atom, but I'll try to fit all that you really need to know inside a single paragraph.

The compact version is this: inside the atom, there are little pockets of space where electrons can be, so to say. Those pockets are called orbitals and they have all sorts of funky shapes. The s orbitals, for example, are ball-shaped, while the p orbitals look roughly like balloons attached to the nucleus. (They're sometimes described as dumbbell-shaped. What sort of dumbbell looks like that. They're balloons.)

[source]

Back to the radii! I'm going to use the second period as an example here, but there's nothing special about it. It just happens to be quite a simple case. Lithium and beryllium only have s orbitals, so that's not very interesting, but the rest of the period has both s and p orbitals.

As we move from lithium, across the whole period, and to fluorine (there's no need to engage the noble freaks), three important things happen: the radius decreases, each next element has one more proton in the nucleus than the previous one, and also each next element has one extra valence electron. Duh. The number of electrons "inside" doesn't change, it's only the outermost shell that gains electrons.

But remember, an electron is not a marble sitting in one point at all times. When it comes to electrons in atoms, it's better to imagine them as lil clouds of negative charge in the shape of their respective orbitals. As a result, the core electrons obscure the nucleus from the valence electrons. Not entirely! But the attractive force felt by the valence electrons isn't just equal to whatever Coulomb's law would give us - it's a bit smaller. This is called the shielding effect and the charge that valence electrons actually "feel" from the protons in the nucleus is called effective nuclear charge. The atomic radius is therefore a tad bigger than we could assume without acknowledging shielding (but the trend of a decreasing atomic radius across the periodic table still stands, of course).

So, what about the lanthanides, those poor, misunderstood outcasts thrown under the periodic table?

God I love pubchem's periodic table it's so pretty!

There's no plot twist here, they don't break the trend. Cerium is the biggest one, lutetium the smallest. So what gives? See, lanthanides begin filling up their f orbitals, whose shapes are so absurd even I am afraid of them.

[source]

Because they're so ridiculous, they are supremely bad at shielding the positive charge of the nucleus, which in turn makes the lanthanides significantly smaller than they would be if this effect didn't take place - so much so that we call this phenomenon the lanthanide contraction. Actually, the f orbitals suck at shielding so bad that the radii of the (d-block) metals of the sixth period are very similar to the radii of the elements in the period above them - even though they should be much larger!

[source]

Really. Chemistry is like psychology for electrons. Everything that happens here is caused by these guys' weird behavior.

[vellichorom]

I really like your headcanons for Cori and totally agree with them!

And if you don’t mind my asking, what did you dislike about the recent episodes of Chikn Nuggit? Because personally I dislike a lot of it too…the whole shift to lore has been kind of jarring for me and I also think things were resolved too easily.

THANK YOU SOOOO MUCH, THAT MAKES ME VERY HAPPY!

& OMG THANK YOU FOR ASKING because god i've been pissed. with one episode they made me hate that stupid yellow dog

HERE'S THE THING, RIGHT. i don't even mind the shift from slapstick shenanigans in youtube short format to something that illustrates a bit more lore. in FACT, i thought the way they were going about it was very interesting! having chikn realize his ultimate power & being due to a moment of vulnerability & having been manipulated some by bezel therein,

however,

this is all cheezborger's fault. for some fucking stupid reason

LET'S BACK UP A MINUTE. cheezborger got the girl! she's all excited about it & prioritizing her girlfriend above all, as i think we all do when we're excited; we make whatever we're excited our entire worldview for a bit, it happens!

chikn, at least from my perspective, sees this - sees that all of his friends are busy doing stuff without him or have their " significant other " where he does not - with cheezborger, his best most important friend, caught up in the moment, & he feels left out. he feels like a " third wheel " &- with all of his friends occupied with something or someone else, he's all alone & feels bad. i've been there a few times, i get it. in that moment of vulnerability does bezel take advantage & PUSH chikn to realize his power & potential, to control his friends or control the world & make things how he wants them to be.

suddenly the plot goes from " chikn suffering from third wheel grief " to " chikn coming to terms with the fact that he's a god & his powers have unintendedly warped his friends. we're taking all the nonsense seriously suddenly " okay. interesting. so chikn ascends to god form & starts fucking up the whole world because he believes that's what he's MEANT to do. the conclusion of his spiraling is realizing that he was meant to cause chaos & rip apart the world? ok. i think we jumped a bit far, how & when did he decide that

now we're leaning really hard into the ' i have to do this because it's my DESTINY ' trope. okay. did you come to this conclusion after deciding you don't need your friends? or realizing that you're the god of everything & therefore such menial things don't matter? did bezel coach you more than we see through the shorts? i don't remember there being an episode dedicated to chikn's sudden snap of character, thus we just never find out where that leap in logic came from.

so the world's ending but fwench fwy & iscream manage to trap chikn for 5 seconds. chee intervenes & tries to get through to him, despite all his bullshit ramblings of " go away i'm a god this is my destiny, " this WORKS. chee pulls him from his divine spiral & all's fine now.

except chikn, IN FRONT OF EVERYONE MIND YOU - NOT IN PRIVATE, blames cheezborger for it. he's like " you ditched me & that wasn't very nice, you need to make time for all your friends "

LIKE OH OKAY. BUZZFEED YOU JUST KILLED THE VIBE.

cheezborger's excitement for her new girlfriend might have been the tipping point & the technical catalyst of this all, but not at any fault of her own. she did not do this maliciously or purposefully & i hate the way chikn says she " ditched " him. no she did not you horrible mutt she politely declined your offers to hang out because she was busy with her girlfriend, & YES IT CAN BE UPSETTING WHEN YOUR FRIEND CAN'T HANG WITH YOU BECAUSE THEY GET CAUGHT UP IN SOMETHING THEY LIKE, BUT SHE DID NOT DITCH OR ABANDON YOU SHE JUST GOT BUSYYYY

it's circumstances. chee didn't do anything " wrong ", things just happened & chikn couldn't take being apart from his friend or not having what all his other friends had & downspiralled + got manipulated by bezel.

chee gets called out in PUBLIC for " ditching " chikn when she really didn't & this is turned into a big lesson about " managing all your friends " ( kiss my ass buzzfeed your usual social lessons aren't going to fly with this one ), in essence blaming chee for the apocalypse despite the initial start of the arc having gone unaddressed since the beginning.

OH & GET THIS, we blame chee for being excited but bezel, THE ONE PUSHING FOR TOTAL DESTRUCTION OF THE WORLD & ACTIVELY MANIPULATING CHIKN TO DO IT, gets a literal slap on the wrist chikn nor anybody else calls him out for being a gigantic prick, he's just like " i fowgive u let's be fwiends " & we leave it at that apparently. are you fucking for real. that straight up smells misogynistic & straight up shitty regardless. this COMING from the stupid little youtube shorts series all about validating everyone & equality & being kind to people too just feels a PARTICULAR kind of rancid.

& yeah whatever it's a rinkydink silly buzzfeed show where every character is named some woobified or joke rendition of a food product ( chikn nuggit, cheezborger, fwench fwy - so on ), BUT I FEEL LIKE THEY WERE DOING A VALUABLE SERVICE & DOING PRETTY GOOD FOR BEING A RINKYDINK SILLY YOUTUBE SHORTS SERIES !!!!! they had such good intentions & good lessons in mind...

& then this happens. it just puts SUCH a bad taste in my mouth now, you know? & it's honest to god so disappointing! & INFURIATING

that ending was a total BUST & relaying it back now, THE PLOT OF THAT ARC IS ALL OVER THE PLACE. it can't at all decide what the point of itself was & ended SO poorly. i'll forgive the pacing because this is a youtube shorts series MEANT to be done relatively quickly & chikn nuggit isn't necessarily a show you're going to expect a masterpiece of, right. it's endearingly imperfect

but god that ending. this entire arc. fuck it all man fuck that dog

oh wow i wrote down a lot but YEAH. VERY UPSETTING. hopefully this was an entertaining read or i just look insane to my friends

THANK YOU FOR ASKING! been LOOKING for an excuse to be upset on main

[fascinating-yarn]

So You Want To Know About Chess The Musical

So you want to know about Chess. The first piece of advice I have to give you is:

Step 0: Are you sure?

Because trust me, it's a whole lot weirder than you think, even if you know that the story is, in fact, only very little about chess (the board game). But if you are sure, because you have a friend who, like me, can't stop talking about it, then, you're ready to begin with step one.

Step 1: Listen to the concept album

Yes, there are plenty of recordings of the full show that are easily accessible on YouTube. Do not be fooled. With very minor exceptions, they will not elucidate anything at all. Trust me, even if your favorite actor is in one of them, start here. You will have time to get back to them later, trust me. It helps to read the synopsis of the album while listening; this has been kindly transcribed here by @alovebizarre.

Already hooked? Yeah, probably. Now you understand why all of us got stuck down here in our circle of complaining about this show. We, too, all thought it was going to be good based on the concept album.

Step 1.5: Watch the 1989 concert

This is mostly the songs of the concept album and retains the two male leads, but has Judy Kuhn playing Florence, the female lead. It's a strong concert and only cuts one song, and adds another ("Someone Else's Story", the show's only breakout hit not on the album). There is plot narration in Swedish, but one of the versions on YouTube has been subtitled in English

Step 2: Acquaint yourself with The Big Four

Now you know the music but the plot may still not be totally clear. The next step is to get to know the major variations. These are, generally:

The 1986 London version (and derivatives)

The 1988 Broadway version (and derivatives)

The 1990 Sydney version (there aren't really derivatives for this one but the material shows up Everywhere)

The 2002 Swedish version aka Chess på svenska (and derivatives)

Now, you can watch the original productions of all of these, but the issue is that the first two are both... not great. So here are some alternatives.

Step 2a: London Alternatives

The London version is mostly an expansion of the plot of the concept album, with changes - most of the structural changes were initiated by director Michael Bennett, who left the production before rehearsals due to his illness, while most of the more distinct changes of themes are from later director Trevor Nunn.

There are videos of the original production, but they're generally poorly filmed and suffer from major generation loss. There was no cast album, but the score has been recorded twice: in 2002 with the cast of a Danish touring production (released as "Chess: Complete Cast Album," but recalled soon after and not on streaming) and in 2008 at the Royal Albert Hall (this is on streaming as "Chess in Concert" - one of two albums of that name).

Any one will give you an idea of the script, but the original London production is generally the most musically cohesive. The Royal Albert Hall version has some minor script changes, most of which make no real difference, but makes some bizarre choices in terms of transition music and is generally a poorly produced album. The Danish album is likewise not very strong.

The Royal Albert Hall concert was professionally filmed but the audio is poorly mixed and the show's cast varies from a few great performances to some that are... not so much. It's also got a track record of making people either latch on immediately or be totally turned away from the show, so watch at your own risk. For a possibly better experience, watch the original London production.

Step 2b: Broadway Alternatives

The original Broadway production still has a bit of a bad reputation in the fandom, but people have generally warmed up to it. The new book, by American playwright Richard Nelson, is generally strong (if a bit overlong) until about halfway through Act Two --- at which point it suddenly isn't anymore. The original production itself doesn't help, and though there are some good moments, it was not very well directed and some of Nelson's best scenes suffer.

Firstly, you should listen to the Broadway cast album. The cast is the best part of the show and does some incredible things. The new music isn't quite as good as the original material, but is still strong and worth knowing.

In terms of the actual book, your best chance at a good experience experience is probably the 1990 Long Beach production directed by David H. Bell and starring Jodi Benson, which has a watchable video online. There are some script changes, which serve to adjust the script to be less cynical, more palatable, and better paced. After this, do go back and watch the original cast, as it generally has a stronger overall cast and some scenes are genuinely great with them.

Step 2c: Sydney and Svenska

The Sydney production closed early due to the economic recession in Australia, and the script has never been revived, but parts of it appear all over the place, especially in the London derivatives of the early 1990s. It takes bits of the plots of both London and Broadway, and becomes its own thing. It is worth knowing, and there is a mostly bearable bootleg on YouTube.

If Sydney is its own thing for being a combination of London and Broadway, Svenska is its own thing because it resembles neither. The plot is streamlined to the essentials and takes place over a much shorter period of time, plus it has two new songs. There is a proshot that has been uploaded to YouTube with subtitles, and a very good cast album. There have been some productions since based on the script, but the original is still going to be your best starting point.

Step 3: Into The Abyss

There are so many other productions and they're all a little different from each other. Most are based on London or Broadway, but some are an odd combination resulting from people who wanted to produce the London version in the US being forced to retrofit the Broadway version (unavailable for US licensing until 2008). A non-exhaustive list is:

1992 Off-Broadway: Preserved only in an incomplete, poor-quality audio bootleg, plus a slightly more complete script from a lost recording, this script is Tim Rice's first (but not last) attempt at making something definitive post-Broadway. It is one of the most bizarre scripts out there and should really be experienced late to be fully appreciated.

1990 US Tour: An early attempt to jump off the Broadway script into something new, this production stars 42.9% of the original Broadway cast of Falsettos and has some wild stuff. Don't watch till you know Broadway, since it has been known to sour people's opinions on the show.

2003 Actors' Fund Benefit Concert: This one-night only concert is preserved on a leaked (but poor quality) archival video and a higher quality rehearsal performance. The script is an attempted hybrid of the London and Broadway scripts, but leans mostly on the London script with a few Broadway changes that serve really only to stay within the legal requirements of production still in place at the time (and doubly important due to Nelson's personal support of the concert).

2018 Kennedy Center Concert Series/2022 Entertainment Workers' Fund Benefit Concert: This script was eyeing Broadway for about five years but is no longer in the works as the rights were pulled. With a new book by Danny Strong, based on the London plot but with the details changed significantly, this production takes a more overtly political spin on the show and grounds it in actual political events. Start with the 2018 version, as it's generally agreed to be better than the later concert version.

2018 London Revival: To call this production a revival is generous, being staged by the English National Opera for a limited run and generally not being considered very important. It became well known mostly for being associated with the Kennedy Center production and the general knowledge that Rice was looking to bring the show back to Broadway. Despite that, this script is entirely unrelated to the Kennedy Center version and is mostly an onstage expansion of the concept album with the show being influenced heavily by Benny and Bjorn.

With all of these I have but one piece of final advice and that is:

Step 4: Be wary of The Discourse

This is not meant to scare you away from the fandom at all. I promise we're all very friendly and most of the discussions are quite civil. But every fan has very strong opinions about this show. I have tried to present this post as neutrally as possible but my bias has absolutely creeped in and you've already been influenced by my opinions on it. Some productions (notably the Kennedy Center script) are very divisive and I encourage you to consume them yourself and forming your own opinions.

And that is how to get into Chess. If you want to. It may not be the wisest decision, but hey, we all made the same mistake.

[yuseirra]

**onk spoilers** 161!!

Sorry!! I needed to get this out of my head~~

For me, the whole part about him..being the way Tsukuyomi talks about him has to be debunked for me for his claims for having loved Ai to be true + Ai's wishes of wanting to help him to actually work.

If that's not the case~ he has to go. Someone like him can't be with Ai and it's not the right way to love. Which I feel.. is not what the author intends to go for, though... why make them "love" each other that much? They didn't need to make Ai hold endearing feelings towards someone like him and have a bond. It would have been better if she NEVER met him at all. That's why I think this shouldn't be it.

Whatever that's been set forth feels TOO obvious and was the conclusion anyone could derive without the movie arc...so I don't think it's very good for it if this is everything that's there to it, but if the author wants the plot to go in that direction, who am I to say... I still think Mephisto hits too close to this guy's mentality, Fatal as well.. so I'll hang around a bit and see why those songs were made the way they were, but I feel a weird sort of relief.. I won't be as worried from now on, for I feel it's hit the lowest point it ever could. The only way left is up~ (but things may happen~I shouldn't jinx it!)

[swan2swan]

One of the most solid writing elements of Independence Day that has really helped the movie stand the test of time is just how methodical the aliens are in their destruction of Earth.

Despite all of their advanced tech, everything has its limits. They can't just bombard Earth from orbit because their weapons don't work that way--the blast from their mega-cannons spreads across the city because of the City Destroyers' massive size and shields. The dramatic charge time at the end is matched by the charge times in the beginnings (it's a few seconds longer in the climax, but the City Destroyer just spent a lot of energy moving full speed to Area 51 and probably hadn't charged the cannon as effectively as the ones resting above cities for hours had--which is logical!); everything works on a consistent standard.

The aliens also rely on the Earth's satellite connections to function, adding a level of realism to their communication and function--and yes, people make fun of the virus plot, but the writers show their work throughout and address every point step by step.

All of this combines so that, while you can't see the aliens acting at all in the movie, you can work out exactly what they're doing. There's a logical pattern to every action they take, and it doesn't matter if the commander in the final battle is smugly sitting back and swirling a glass of Space Wine as he prepares to exterminate the little humans for his Glorious Leader, or screaming furiously at every officer to get that weapon online before something damages his ship further--the goal is clear. The movie is a huge chess game, both sides are players, but we're only seeing one perspective.

That makes it an odd case where a Sci-Fi film is actually a War Movie, and I love it.

[bacchuschucklefuck]

the never stop blowing up vhs is where cute twinks go to get harmed

[rookflower]

ok yeah I finished the graphic novel and while I agree there's some pacing issues in here (starting around once they go to fight brokenstar) honestly they did such a fantastic job with what they had. I think basically all of my issues are with the original series or the inevitable pains of adaptation/presumed series mandates and limited page count

[3rdbogwitch2theleft]

*watching Resident Alien season 3 undermine and almost completely sideline one of the core friendships that made me fall in love with it*

[darkaac]

one thing leads to another which leads to another which leads to another which once again leads to me asking how do you fuck this up at every turn

[thestamp3d3]

i cant get over how absolutely insane satosugu is...gege was born to write yaoi forced to write shounen

[fingertipsmp3]

Ughhhhhhh I hate writing and I hate not writing and I hate myself

[gl1tchxr]

the dynamic between juxt and ny is unparalleled. they learn from each other without meaning to. they're both jealous of the other. they inspire each other to be better. they absorb each other's worst habits. they seem like they would get along least but they understand each other in a way no one else can

[mildmayfoxe]

i finished that monsterfucker book btw. i was so disappointed because 600 pages for what. for a pathetic ruler and a human being who was written as if wearing crop tops and saying "rad" was a personality? granted the human was from 80s america so that has more to do with the author's limited scope of what people in the 80s were like i'm sure but even given that nothing fucking HAPPENed !

[castrovulcant]

Goodbye, Masquerade, I will remember you fondly.

[Image description: a screenshot of AO3's Orphan Works page. /end image description]