#these characters are positioned as people who want to make the world a better place and do literally nothing to advance their 'dreams'

[gwandas]

We don't talk enough about how funny the dreamer shit in ACOTAR is. The IC are all sitting around acting like they're these underdogs when they are literally the government. Wdym you're dreaming of a better world... that's your fuckin job. Get to it, chop chop!

[3hks]

Writing Character CHANGE

Character development is absolutely CRUCIAL to a story, but having spent more time thinking about this topic, I came to the realization that I misunderstood a lot of points other people have made when teaching how to write character development.

There are a lot of factors that play into character development, but in this post, I'll cover some overall, but the main thing concerns any change to your character! (Which is also a huge part in development, really.)

So with this post, I'll be teaching you MY personal tips regarding this subject!

*The Basics*

Before we really get into the developmental stage, there are some things you want to establish, in which I'll explain later!

A couple of flaws.

How your character views themselves at first.

Your character's morals/ideals and how they think.

These things may vary, but you want your readers to be able to at least roughly predict how your character will act during specific events!

*Change*

Character development is just about how your character changes throughout the story. I like to say that there are several different ways one may change, (we'll get into that later on) but your character should NOT stay the same as the same person during the exposition and during the resolution!

"During character development, your character should grow."

This is a common piece of advice; your character needs to grow. And while I've assumed for the longest time that I understood what it meant, it never truly clicked.

While they will use words such as grow, what they really mean is that your character should mature. By the end of your story, your character may not always end up as a better person. When I say mature, I mean that they have reflected back on their life and have understood the consequences that came with their actions (if any) or how they could've done things differently.

Your character will not always end up as a better, fixed person, but they should understand their world and themselves better.

*Negative/Passive Change*

Alright then, so how does a character develop if they don't necessarily change for the better? Well, I'll get into that!

No matter what, your character should have learned a lesson through their experience. Even if they haven't exactly improved as a person, there should be a moral they can learn from what they have gone through.

If not, then did they really grow?

Additionally, how did their qualities negatively impact themselves? If they are bad traits, then it needs to be clear. And the best way to achieve this is by demonstrating how it hurts your character! However, it is rather uncommon for a character to undergo little to no change after a story!

*Positive Change*

Let's circle back to the basics, real quick. Remember how I said that before any development takes place, your character should be anything but perfect? That same thing applies to after the change.

Do NOT create a flawless character by the end of your story. Instead, focus on one or two flaws that get fixed as the story continues. These don't have to be huge, life-changing imperfections, but they can be minor ones that still shape their life in one way or another.

"Fixing" too many shortcomings can make your character seem, well, out of character, producing a character development that's more forced. The same thing applies if you're attempting to FULLY alter a fault that's just too big. The change will be too noticeable.

What am I talking about? Here's an example!

Imagine a character who's incredibly closed off to other people, wanting to ensure that he never gets too close to others.

That's a pretty sizable flaw, no? By the end of your story, you do not want to completely change because you need to preserve character, but you can change it a bit. Does he have a few friends now? Does he understand that there are some people worth trusting?

He may still be closed off to majority of people, but at least it's not everyone, and that's a realistic change.

*Different Changes*

As I continue to read more stories and watch more shows, I have realized that character development is not always about fixing flaws or personality, but it can extend far past that line.

So listen up, because I feel like no one really talks about this.

Your character can change their IDEALS, MORALS, and how they VIEW THEMSELVES.

Hear that? If your character has strong morals, they will hardly stay the same as they reach the end. Remember the requirements I mentioned at the beginning?

See how it connects now? There is SO much more to character development than changing a few imperfections. Like I said in the start, your character needs to grow and mature. Things like new morals or ideals assist with that!

*SUMMARY*

In order to start character development, you need a couple of flaws, an idea of how your character looks at themselves, and their morals. This is because those are the main parts of you character that may change through time.

Growth = Maturing (gaining a better sense of who they are and the world they live in.)

NOT ALL CHARACTER DEVELOPMENT IS POSITIVE!

For negative or passive change, make sure to clarify how their imperfections affected or hurt them and have some sort of moral that follows.

YOUR CHARACTER SHOULD NOT BE PERFECT!

They should not be perfect in the beginning, and not perfect in the end! Do not 'fix' too many traits because you want to preserve character.

I think that's all! It's quite the post for something so simple, eh? But hey, character development is absolutely PIVOTAL to a story so I hope I at least explained the 'change' part of that well!

Happy writing~

3hks <3

[utilitycaster]

I really like Taliesin elaborating on the inspiration from the 90s LA punk scene, in which he said a lot of the people he knew were just people looking for hope in a world that has been incredibly unfair to them. It's a very empathetic view towards people who, as he said, often are dealing with injustice and disadvantages.

He also mentions that many of these punks were dealing with drug and alcohol problems (and while he did not want that to be central to Ashton's character and wanted to focus instead on chronic pain for a number of reasons, including personal, Ashton definitely relies on alcohol for palliative reasons). More generally, we see Ashton look for hope and answers in a lot of places that end up being extremely incorrect. The most obvious one is with the shard of Rau'shan, which, after multiple people advised them against taking it with very clear warnings, they decided to still attempt to absorb, with nearly-fatal results; but there were flashes of this with their earlier cynicism towards Eshteross vs. a much more begrudging acceptance of the transactional worldview of Ratanish or Jiana Hexum.

Ashton often places his own pain in a position of honor, and in doing so can discount that of other people. He's been remarkably unlucky, to be clear; I think that's part of it. We as the audience know that their statement that no one in that room has felt helpless in their lives is demonstrably false about pretty much all of Vox Machina and their allies, as well as the Bright Queen. He says Keyleth maybe does know, not realizing that of Keyleth and Vex, one has been a homeless runaway rather like himself, and it's not the one he's saying knows helplessness. In a way, to hold on to that hope, they find themselves telling themselves a lot of lies because otherwise they have to face the truth that their suffering did not make them more qualified or better; it was just unfair and it might still keep happening. He blames the gods because then at least there's a reason and not just absolutely random chance that he was born to a self-important cultist, happened to survive a long-shot ill-advised ritual and wake up in the desert of another continent, happened to be the one thrown out the window of Hexum Manor, and happened to be saved with a Potion of Possibility. To be clear, they've since made a name for themself on their own merits, but a lot of who they are, both in terms of the traumatic and difficult elements and in terms of what now makes them special was dumb luck, good or bad.

For Ashton, for those LA punks Taliesin knew, for the Vanguard and for Ludinus and for countless people in Exandria and in our actual world, a lot of grasping for hope becomes grasping for a meaning for pain and suffering. I'd argue that this is a pretty major theme Taliesin explores with all his characters. However, just because the pain is real doesn't mean the conclusions one comes to as a result of it are inviolate and above reproach. It is possible to have extremely valid pain and trauma and to be incredibly wrong about its source or what it means, or to deal with it in ways that will either make it worse or that will inflict pain, even inadvertently, on others. And I think the theme of the campaign is very much that; what happens when someone either chooses to or must let the decisions they made to deal with a moment - or a life - of pain be writ large on both themselves and the world?

[psychotrenny]

I don't think "Fascist" is a very useful or accurate thing to call Caesar and his Legion (from Fallout: New Vegas) in the context of the game world itself. Like there are a lot of aesthetic similarities and basically all of their unironic real world fans are some sort of Nazi Nerd, but when talking about their place within the context of fictional post-nuclear Nevada it just doesn't work. Like Caesar's whole deal is that he's a Social Scientist who, living in a world that's been "blasted back to the Stone Age", figures that society must evolve through the same stages if it wants to properly return to modernity. The Legion is basically comprised of "Primitive Communists"* who've been forced into a Slave Society. His criticisms of the NCR boil down to them being a moribund remnant of/reversion to Old World Capitalism rather than something organically adapted to the post-Nuclear world. He repeatedly talks about how the Legion isn't meant to represent an ideal society but simply a stepping stone onto something better (the thesis that will clash with it's antithesis and evolve into a superior synthesis). His interactions with the Courier heavily imply that the Legion's Misogyny, Homophobia, Tech aversion etc. are much more tools of social organisation and control than values that Caesar personally holds. The Legion isn't just some band of mindlessly violent reactionaries but the product of very deliberate Social Engineering; a peculiarly post-nuclear sort of scientifically planned society

Now I'm not defending the Legion as a "good" choice or anything; Caesar's plan has a lot of problems, it's not hard to poke holes into and in terms of unadulterated cruelty The Legion is easily the most morally repugnant of the main factions. But the thing I really love about The Legion is how, within the specific context of Fallout's setting, it makes sense. Like once you really think about it you can understand why someone in Edward Sallow's position would arrive at these conclusions, and there are good reasons why (if you take your roleplaying seriously and don't treat the Player Character as an extension of yourself) someone living in this world might chose to side with him. The Legion may be terrible but it's not evil for the sake of evil; there's genuinely a compelling ideology behind it.

It's why I get sad when I see so many people dismiss them as the "dum dum fascist slavers" because there's so much more to them than that. Like I think the best part about The Legion is how ridiculous they first appear ("These raiders dress like Ben-Hur extras?????) but once you find out more about them then it all starts to click ("Oh I see their leader is trying to assimilate them into a distinct and alien culture in order to maintain their loyalty; severing their previous connections and giving them a whole new identity"). So it sucks to see so many people get caught up in the first part and never make enough connections to reach the second. Like in general, Fallout: New Vegas is very messy and flawed and yet it's full of all these interesting little nuances and I think that's worth appreciating it. It's why, time and time again, I keep walking down that dusty road

*in the very broad sense that Fallouts "Tribals" are meant to represent people who have reverted back to some sort of pre-state society; of course there are countless problems with how Fallout treats this matter (including but not limited to incredible amounts of racism) but in order to understand Caesar we're forced to meet the game on it's terms

[cripplecharacters]

Media Representation and Writing Characters with Facial Differences

[Large Text: Media Representation and Writing Characters with Facial Differences]

A writing (?) guide (?) consisting of an explanation of what facial differences are, some basics about the community of people with facial differences, a terminology guide that is extremely subjective, a very long explanation of the real-life effects of misrepresentation of facial differences, a subjective guide on why most tropes surrounding facial differences are awful and unoriginal, and the part that people actually want to see (I hope at least) AKA "types of characters I do actually want to see". As always, this post is meant for people who have no experience with the subject, and not in any way an attempt to tell writers with facial differences on what to do in their own writing.

What Does "Facial Difference" Mean?

[Large Text: What Does "Facial Difference" Mean?]

"Facial Difference" (FD for short) is an umbrella term for any kind of scar, mark, or condition that makes your face visibly different. This encompasses anything from not having parts of the face or having less of them (e.g. anophthalmia, anotia, hemifacial microsomia), having "more" to the face (e.g. tumors, neurofibromatosis), conditions affecting how the face moves (e.g. facial paralysis, ptosis, cranial nerve diseases), ocular differences (e.g. hypertelorism, nystagmus, strabismus), conditions affecting the colors of the face (e.g. rosacea, vitiligo, pigmentation conditions in general), a "look" that signals a specific disability (e.g. Down Syndrome) and approximately a million more things - scars, burn marks, craniofacial conditions, ichthyosis, cancers, and a lot more.

Despite popular opinion (popular ignorance would be more accurate because no one knows about it in the first place but opinion sounds better-) people with Facial Differences have both a movement (Face Equality) and a specific word for the oppression we experience (Disfiguremisia). There is even the Face Equality Week that happens every year in May! This is a real thing that has been happening, and we are generally going unnoticed, even in the "representation matters" circles, the body positivity movement, disability spaces, and so on. There is an alliance of organizations dedicated to this called Face Equality International, who can help you learn about the real-world community and movement! They even have sections specifically about media representation, which is foreshadowing for how important this topic is to the community and for how long the "explaining the issues of representation" part of this post is.

And of course, if you have a facial difference/disfigurement, you can do whatever the hell you want when writing! Call your characters how you call yourself, subvert the tropes you want. I don't want to preach to people who already know all of this firsthand. This post is meant to explain some things to people who don't have experience with having FD.

Terminology

[Large Text: Terminology]

There is a lot of words to describe people with FD. Some of them are alright, most of them are awful.

Please keep in mind that all of these terms (maybe except for the... last one...) are used by real life people. This isn't me saying "you can't say that about yourself" (more power to you!) but rather to educate able-bodied people that some words they refer to use with aren't as neutral as they think (at least not to everyone).

"[person] with a facial difference" - generally the most polite and widely accepted way to refer to us. That's what is generally used in the Face Equality movement, sometimes alongside the next term which is...

"[person] who has a disfigurement" - an alright term that is sometimes used interchangeably with the one above. However, most things that involves the term "disfigurement" to me sound kinda medicalized and/or like lawyer speech. It's not offensive, but just generally used in more official ways etc. Has the potential to make you sound like a medical report or a legislature sometimes. lol.

"A disfigured [person]" - starting to steer into the "uhh" territory. Describing a whole person as disfigured is, to me, just plain weird. I get that some communities push for the identity first language, but this just isn't it most of the time. Could be way worse, could be slightly better.

"[person] who has a deformity" - "deformity" is such a negatively charged word that I don't understand how people (without FD) still use it thinking it's neutral. This sounds awkwardly medicalized in a "case study from the 80s" way which is definitely not a good thing.

"A deformed [person]" - pretty much the jackpot of bad terminology, the term deformed, the calling of an entire person by it, it has everything I hate about writers describing people like me. The only one that I think is even more awful is...

"Horribly/gnarly/nasty/monstrous deformity/scar/[name of the specific condition]" - again, I'm impressed by what some people think is neutral wording. If you're searching a thesaurus for synonyms of "scary" to describe your character, I think it's time to just stop writing them. This is about using ableist terminology, sure, but I just can't imagine that someone calling their character that actually will represent FD well. It shows the negative bias and attitude of the writer.

However, there is also one pretty awesome and simple way to describe them!

Say what they have specifically. Really. Assuming you know what condition your character has (which... you should) it should be very easy. "She has Treacher-Collins Syndrome." "Xyr forehead has a port wine stain on it." "They can't fully open one of their eyes." It's clear and lets your readers know what you mean. You don't always have to throw around euphemisms to describe someone not having a nose.

Tropes and Current State of Representation

[Large Text: Tropes and Current State of Representation]

If you have read basically any of my previous posts about FD then you probably know what I'm about to say in this section. Still worth a read though? I hope. Warning that this is long, but you probably expected that already.

One thing I will note at the start is that I'm aware that a lot of writers were already turned off from this post just because of the terminology section. I know that artists love describing people like me as ugly deformed monsters! It's literally a tale as old as antiquity, and that's how overdone and stale it is. Visibly disabled = ugly. I get it, I heard it a thousand times before, I hear it majority of the time someone is excited to tell me about how horrible and gross their OC's scar is. But now some guy (me) from that group is telling you to like, maybe stop calling your disgustingly deformed character that!

I want to make it very clear that FD representation in media is not treated like a real thing that's worth anyone's time, even by the most "representation is so important!" writers. I guess it's too inconvenient to unpack the amount of baggage and uncomfortable implications this would cause. It's too good of a device in writing; everyone knows that if a guy with a scar shows up that it means he's evil, the easiest way to make a villain visually interesting is to make them a burn survivor, and if you need a tragic backstory for a serial killer just give them a congenital disability that caused literally everyone in the world to treat them horribly, so of course they started killing people. It's such a good moral signifier that literally every book and tale has done - pretty is good, ugly is bad. Dichotomy is so helpful. What is less helpful in the real world is that what is considered "ugly" is generally very tightly bound to what visibly disabled people look like. Ugly Laws weren't just like, coincidentally including disabled people and disability activists aren't still forced to speak out against being put in those "Ugliest People" lists by accident. This is all to say that facial differences are considered to be "ugly" completely uncontested, and you probably have this bias too, as the vast majority of people do. The whole "the character is ugly, then they become evil, if they're evil, they become ugly"... you need to be conscious to not do that. Don't make them evil if they're visibly disabled because it will always end up being the same old trope, no matter how many weird excuses and in-universe explanations you give. I want to put it in people's heads that you are writing about a community of people who are technically visible in real life, but have no large voices that the general public would listen to when it comes to how we are seen. The general public relies on media to tell them that.

Putting people with FD in your books or your art seems to suddenly be intimidating for a lot of artists when they realize that not only is facial difference a real thing, but people who have it can see what you write or draw (and your other readers will take some things out of what you write, subconsciously). When an author is faced with the fact that maybe they are doing harm with their writing, they either: suddenly don't want to do that anymore at all, or say: "I don't care! I'm going to be very innovative and make my very evil OC be deformed!" which is kinda funny to me that people actually seem to think it's edgy and cool to repeat the most tired Hollywood tropes but that's the best we can get I guess lol...

The attitudes that people have around the topic of facial difference and the whole "media impacts reality" are very interesting to me in general. On one hand, when I tell someone that I was bullied or ostracized because of my disabilities, no one is ever surprised. On the other hand, everyone is for some reason uncomfortable when I say that this doesn't just... appear out of thin air. People are taught from childhood that facial differences and the people who have them are scary, untrustworthy, or literal monsters. Media is a major factor in that. Like, looking back at it, it makes sense that my parents told me not to stare at other kids because they would get scared. After all, I looked like a kindergarten version of the bad guy from some kid's book. Other kids were able-bodied and looked like the good guy, I was visibly disabled and looked like the bad guy. That's the lesson kids get from media on how people with visible disabilities are: evil, scary, not to be interacted with. So they avoided me because of that while I had adults telling me to not even look in their direction. Dichotomy is so helpful, right?

And this doesn't magically stop at children. When I post a self-portrait or a selfie, I usually deal with multiple grown people comparing me to sometimes an animal, usually a specific character from a movie, sometimes even making my face into a meme right away. But if people don't generally see people with facial differences on the daily, then how are there so many specific reactions and so many similar problems that we go through? If it's so rare, then how are people so quick to tell me the character I remind them the most of- Yeah, media. It's always media. It's almost funny how everything circles back to one thing.

I want you, the author, to understand the impact of misrepresentation of facial difference. If you feel uncomfortable because you have done these tropes before, good! That's a sign of growth. If you want to help instead of harm, you need to get over your (subconscious) biases for a minute and think about how a person with the same condition as your character would feel like reading about them. Maybe you are even currently realizing that that one OC with scars is just five harmful tropes glued together. Maybe you are going to reblog this and tell me in the tags that somehow your character decided to be like that, as if they have free will instead of being written by a biased human being. Or, as I said earlier, a lot of people will be annoyed by this post and keep doing their thing. Which is like... whatever, I guess ?? There are a dozen huge movies and TV shows every year that do this. It's so basic and normalized that whatever reach this post will have will change very little. I have been signaled "we don't care what you think about how we portray people like you" my entire life, I'm frankly more surprised when people do actually claim to care. You can, practically speaking, do whatever because the FD community is fully ignored by uh, everyone, and even if I'm disappointed or annoyed I'm just one man and I know (from experience) that most people won't have my back on this topic. It's too ingrained in our culture at this point to challenge it, I suppose. I mean, there have been multiple media campaigns telling writers to treat us as people, and they had practically zero impact on the writing community. But even with my absurdly pessimistic view on this subject, I still decided to write all this. Sure, there are no signs of the industry changing and the writing community doesn't seem to care much, but I still naively hope that maybe the right person will read this and at some point in the future I will be watching or reading about a character that looks like me and actually have a good time, and even more naively that maybe people will gain some amount of awareness of the damage that has been and still is happening to people with FD through media, so that the next time they see that the villain has facial scars for no reason they will think "damn, this sucks" the same way I do. And very, very naively, I hope that people who read this will start seeing us as people. Not villains, not plot devices, not monsters.

Sad part over(?), now the fun(?) part. AKA the tropes! Yay.

"Dramatic Reveal of The Deformity".

Use of the word "deformity" very much on purpose here. This is arguably the most common trope when it comes to FD, and it's always awful. At the very best it links FD with trauma and talks in a Very Sad Voice about how having a FD is the worst thing imaginable, I guess (think a "X did this to me... now I'm Deformed For Life..." type of scene) and at worst it does the classic revealing that the main villain actually was a burn survivor under his mask, because of course he was. In media, people with FD are evil. If they're not, then it's because someone very evil did it to them (the most evil thing of all - causing someone to have a facial difference. the horror!). It can't be a thing unrelated to someone's morality, there's gotta be evil somewhere around it. There is literally nothing good about this trope. Showing FD as something to hide? Check. Dramatizing FD? Check. Placing the way someone's face looks as the worst thing possible? Check. General treating FD as some kind of circus attraction to stare at with your mouth open? Check!

"Wearing a Mask*."

I made a whole post about this one actually, that's how much it annoys me. Putting your character with FD in a mask is so overdone, lazy, and boring I'm not even offended as much as I thought I would. It's like... really? Again? For the millionth time, the character with FD is forced to hide their disability? Is the author scared..? What is the point of giving your character a visible difference if all you're doing is hiding it? And yes, I know that your character chose to do that for reasons that you as a writer somehow can't control. It's always so strange how it's the character that's in control and the writer is in the passenger seat when it comes to annoying tropes.

Found yourself already waist-deep into this trope? Take a look at this post I made.

*"mask" here refers to anything that covers the character's facial difference (e.g. eye covering, surgical mask, whatever. It's about hiding it and not a technical definition of "what is a mask").

"Good Guy has the Tiniest Scar You Can Imagine, but Don't Worry! The Villain is Deformed As Hell."

A genre on its own. In the rare instance that a positive character has a facial difference, they have a curiously limited choice - you can have:

the thinnest, definitely-very-realistic straight line going through the eye (the eye is always either perfectly okay or milky for reasons the author couldn't tell you),

the same exact line but going horizontally across the nose,

and if you're feeling spicy you can put it around the mouth,

regardless of location, just make sure it doesn't look like an actual scar (certainly not a keloid or hypertrophic one) and is instead a straight line done with a red or white crayon. Interestingly, villains have unlocked more options which stem from scars, craniofacial conditions, burn marks, cleft lips, ptosis, colobomas, anisocoria, tumors, facial paralysis, to pretty much everything that's not infantilized, like Down Syndrome. These are always either realistic or extremely bloody. I sound like a broken record by now, but no, your morality has nothing to do with your physical appearance and being evil doesn't make a visible disability get more visible. Shocker. And don't get me started on...

"The Villain turned Evil Because They Have Scars."

Ah, how nice. Disabled people are evil because they're disabled, truly a timeless classic for able-bodied writers whose worst fear in life is being disabled. In case that needs to be said, having a facial difference doesn't turn you evil, doesn't make you become a serial killer, doesn't make you violent, doesn't turn you into an assassin with a tragic backstory seeking revenge for ruining their life. If anything, having a FD makes it more likely for other people to be violent towards you. Speaking from experience.

"The Villain Just Has Scars."

An impressive attempt at cutting out the middleman of "clumsily and definitely not ableist-icly explaining why getting a scar made them evil" and not even bothering with a tragic backstory or anything. They are evil, so of course they have a facial difference. What were you thinking?

"Facial Difference is a Plot Point."

As anyone who's read like A Book will tell you, the only way to get a facial difference is to be in a very dramatic fight or an extremely tragic accident who will become a plot point and thus the facial difference is now Heavily Emotionally Charged and a symbol of The Event/The Tragedy. If you look at media, congenital FD isn't a thing, illness-related FD doesn't exist and boring domestic accident or a fall causing FD has never been seen. It has to be dramatic and tragic or else there's no point in them having it. A true "why are they [minority]" moment, if you will.

"Character gets a FD but then Gets Magically Cured Because They're Good."

Truly one of the tropes that make me want to rip my hair out. Curing your character with FD sucks just as much as curing a disabled or neurodivergent character. Who is this even for? That's not how real life works. This is some actual Bible shit, that's how old this trope is. The only thing you're doing here is making people think that those who do have FD just aren't "good enough". Every time I see it, I wonder what the author would think of the congenital disorder I have. According to this kind of in-universe rules, was I born evil and just never got good? or ??

"Character with FD has Self-Esteem Issues and Hates Their Face."

I admittedly mocked all the previous tropes because they're absurd, ridiculous, offensive, boring, all of the above, and have zero basis in reality. This one however... ouch, right in my own tragic backstory. This is unfortunately a very real experience that a lot of people with FD go through. I even have a hunch there wouldn't be as many if the general public didn't think of us as monsters, but I digress. Yes, a lot of us have or had self-esteem problems, and a lot of us wished that we wouldn't have to go through all the BS we were put through because of it. Thankfully for you, you don't have to write about it! Seriously. You don't need to. As one million people have said before me, "maybe don't write about things you haven't experienced" and I agree here. I have yet to see an able-bodied author get anything about this right. Instead of the deeply personal, complex experience that involves both you, everything around you and the very perception of what others think of you that this is, somehow writers keep giving the tired "character crying and sobbing because they're "ugly" now", because the author thinks we're ugly. Or maybe they're sad because all the other characters with facial differences are evil, and they didn't have the time to prepare their evil monologue for when they inevitably become evil in the sequel? Who knows.

"The Author Doesn't Know."

I'm not sure if a trope can be the lack of something like this, but the author not knowing what their character actually has going on medically is common to a ridiculous extent - this applies to all kinds of disabled characters as well. You don't need to name-drop the Latin term for whatever your character has, but you need know what it is behind the scenes. You need to know the symptoms. You need to know the onset and the treatment or lack of it. Please do your medical research.

Things I Want to See More of in Characters with Facial Differences

[Large Text: Things I Want to See More of in Characters with Facial Differences]

The thing you might have noticed is that I want Facial Differences and People with Facial Differences to be presented as normal. Not killers, not SCP anomaly whatever, not monsters. I'm aware that the term is tired, but I absolutely want Facial Differences normalized as much as possible.

I want to see more characters with facial differences...

who have friends that don't bully or make fun of them because of their appearance.

who have support from their family.

who know other people with facial differences - even if they're just background characters, or mentioned in passing. Marginalized people tend to gravitate towards each other, people with FD aren't an exception to this.

who are queer.

who aren't only skinny white cis dudes in general.

who are disabled in other ways! A lot of us are Blind, Deaf, both, unable to speak, intellectually disabled, having issues with mobility, and a million other comorbidities.

who are fantastical in some way - preferably not the "secretly a monster" way. But a mermaid with CdLS or an elf with neurofibromatosis? That's cool as hell.

who are allowed to be cute or fashionable.

who have jobs that aren't "stereotypical bad evil guy jobs". Give me a retail worker with a cleft lip or a chef with Down Syndrome!

who are reoccurring characters that just happen to have a FD.

who are those stock/generic characters that aren't typically associated with FD. Hero's mom has septicemia scars? Cool! The popular cheerleader at school has alopecia? Awesome! The bartender of the place the heroes secretly meet up at has Möbius Syndrome? Goes hard! The kid that the MC used to hang out with before they moved somewhere else has Crouzon Syndrome? Great!

who have their FD be visible.

who aren't ashamed of their FD.

who are feeling very neutral about their face.

who are proud of how they look.

who got their FD in a very boring way or were just born with it (and maybe make up very silly, obviously not real ways of how it happened when annoying people ask them. Think "oh, I was fighting a shark").

who have facial differences other than small scars.

who's angst is fully unrelated to their FD. I love me an angsty teen character! Even more if they are angsty about their crush, or basically anything that's not their disability.

who have a significant other who doesn't do the whole "I love you despite your looks" thing. It just kinda sucks. Sorry. I would hate if someone said this to me.

who are children and aren't implied to be "cursed" or "demonic".

in genres that aren't just horror or thriller. RomCom or slice of life, anyone?

who aren't evil.

I want to see stories with multiple characters with facial differences. I have nerve damage and facial asymmetry, and I am friends or mutuals with people with Williams Syndrome, Bell's palsy, Down Syndrome, neurofibromatosis, facial atrophy, ptosis... and a lot of other things. Your character would have (or, would probably want) some connection to their community. We aren't rare!

And, I want stories with the whole spectrum of facial differences shown. Of course you can't represent the whole spectrum, but you can still aim for at least a few. Don't give every single character with FD the same scar-through-eye + eyepatch combo. It's not unrealistic to have a range in your writing. Here is a list of facial differences you might want to check out for inspiration. Don't be scared to give them something rare - no matter how uncommon, people still have it. My specific condition is allegedly extremely rare - I still want representation!

Closing Remarks

[Large Text: Closing Remarks]

Facial difference and the media is a topic that plagued me for the past almost two decades and won't stop ever, I think. It's a very unique relationship of a group of people who just aren't allowed to get into the industry and an industry that clearly hates them, loves to use their image, and defines how people see them all at once. There's this almost overrepresentation that is consistently awful and damaging to an absurd degree. Most people know more villains with FD than actual people. Certainly doesn't feel great to be one of the aforementioned actual peoples. But I hope that this will change - the negative portrayals that are plaguing the FD community will slowly fade out and a newer wave of portrayals will come in, hopefully this time realizing that we are real people and care about us a bit more.

The thing with facial difference is that it's pretty much impossible to make a specific guide of what it's like and what to do in context of writing because it's an incredible vast category that includes conditions that are very different from each other. That's why this post was more focused on "why you should care in the first place" (sorry for the clickbait) rather than being a straightforward guide that would still be very lacking even if 20 different people were collaborating on it. I really, really encourage everyone who got through this rather long post to do their research on what they plan to write about, be conscious of their own biases, don't pull inspiration from movies because they're all hellholes full of tropes and just sit down for a minute, think of the real-world people with facial differences, and read what we have to say. I know that drawing a guy with a line across his eye is more fun than realizing you're low-key scared of or uncomfortable around the real-world equivalent, but sometimes you have to get over yourself and try to be a better person. Caring about the people you write about is, dare I say, essential. That will certainly make your writing of us better :-) (smiley face with a nose)

If you have any specific questions, feel free to send an ask

Mod Sasza

[dalishious]

A BioWare Guide on How to Murder a Fanbase

I have been a Dragon Age super-fan for almost fourteen years, now. I have played every game, with every DLC. I have read every novel, lore book, and every comic — yes, even the terrible ones that are better off forgotten. I have seen the anime film, the animated series, and the web mini-series. I have enjoyed all of these pieces of the franchise over and over, more times than I can count. So, make no mistake: the negativity you’re about to hear comes from a place of love for this fantasy world, developed by many creative people over the years. I would love nothing more than to see the resurrection of passion in the Dragon Age fandom again. But the unfortunate truth is, that resurrection is only needed because BioWare took the fandom out back and shot it in the first place.

In December 2018, three years after the release of Dragon Age: Inquisition’s Trespasser epilogue DLC, BioWare first announced the then-untitled next Dragon Age game with a teaser trailer. At this point, most fans were anticipating this would mean within the next couple years, we would see the game. This assumption was based on the fact that Dragon Age: Inquisition was first announced in 2012, and released in 2014, with an extra year of development added last minute.

There have been dribbles of extra content since then, adding to the franchise. This was enough to keep some fans still breathing and interested. 2020’s Dragon Age: Tevinter Nights was a lovely anthology. 2020’s Dragon Age: Blue Wraith and 2021’s Dark Fortress were wonderful comics tying up the story started in Knight Errant. And 2022’s Dragon Age: Absolution was a well-animated series with an interesting cast of characters and story. But all these still left the fandom with a major question: What was going on with the next game? It was untypical of BioWare to be so secretive, in comparison to how they handled sharing information of the past games in the franchise. The only form of updates fans still have to go on is mostly just concept art and short stories, hinting that something must be in production. But why was the wait so long?

In 2015, the first version of the next Dragon Age began with a clear vision, clear scope of practice, and a reportedly happy developer team. Most gloriously in my book, there was no multi-player… but this did not align with the Electronic Arts typical money-mad schemes. EA’s push for “games as a service” meant they wanted to monetize all their games as much as possible, and therefore, they wanted them to be a live service — as Anthem demonstrated, that meant sacrificing things that are staples of good RPGs, like narrative and character choice. So in 2017, version one of the next Dragon Age was scrapped and replaced. This new version would have, in total or to at least some degree, an online portion of play.

There is one part of Schreier’s article, “The Past and Present of Dragon Age 4,” that really sticks out to me, regarding this:

“One person close to the game told me this week that Morrison’s critical path, or main story, would be designed for single-player and that goal of the multiplayer elements would be to keep people engaged so that they would actually stick with post-launch content.”

The idea of splitting up components of a game into single-player and multi-player is a terrible idea, because it means that there would be a large bulk of content only accessible through online gaming; something many fans, like myself, are repulsed by. Even if I did enjoy it, I spent most of my life growing up with either no internet or shoddy internet incapable of playing online games. I know many rural people who are still in that position, losing more and more of their favourite gaming pastimes because they are locked out of the ability to play them. It is a disservice to hide content behind a wall like this, especially in a world that is so lore-heavy like Dragon Age. The news of multi-player in Dragon Age understandably upset many, and this is when I first noticed a large drop off in excitement over the next game.

However, in 2021, the failure of Anthem (multi-player) and success of Star Wars Jedi: Fallen Order (single-player) led the executives at EA to bend to the wishes of BioWare leadership and allow them to go back to the drawing board yet again on the next Dragon Age. This meant removing all multi-player content!

While I am very happy that there will reportedly be no multi-player in Dragon Age: Dreadwolf, I can’t help but feel bitter and a little disgusted over the ridiculous development time spent on something no one but EA wanted in the first place. If it weren’t for this foolishness, Dragon Age: Dreadwolf would be in our hands right now. Instead, it’s been in development hell for nearly nine years and counting. Nine years is a long time to expect fans to carry a torch for you through radio silence, but it’s no wonder BioWare has shared barely anything about the next game; it’s been in flux for so long, they likely haven’t had anything concrete to show.

BioWare hurt its reputation even more when the news broke that the studio very suddenly laid off 50 people who were working on Dragon Age: Dreadwolf. This is pretty damning on its own, but BioWare took it a step further. Former developer Jon Renish shared a statement revealing that the studio was only willing to offer laid-off employees two weeks of severance per year of service, and denied health benefits. The denial of health benefits in particular is a pretty wild move for a studio with a reputation for “stress casualties”. The latest news on this is that BioWare has still so far refused to negotiate better severance packages, leading to a lawsuit. The lawsuit originally had 15 former employees, but this dropped due to the fear of not being able to afford to pay their bills. So now, while EA sits on $400 million net income, the laid-off employees are struggling to buy holiday presents for their children. These horrid business practices are not to be ignored when accounting for a lack of faith in a studio. What kind of monsters reward workers who make your games special with vaguely reasoned lay-offs?

The latest news on the Dragon Age: Dreadwolf front from BioWare came early this month, December 2023, with a trailer… announcing a trailer that will come next summer… that will announce the release of the game. Supposedly. Maybe. We’ll see. But by this time, BioWare is something of a laughing stock of their own fandom. Reactions to the video released with a pretty map graphic and a few rendered locations were, from what I personally observed, mostly sardonic in nature. People have commented on the vapourware nature of the game, and like all vapourware, that leads to disintegrating trust.

Despite all this, people like Mary Kirby, (one of the veteran Dragon Age writers who was a victim of the layoffs,) said, “it’s bittersweet that Dreadwolf is my last DA game, but I still hope you all love it as much as I do,” encouraging fans to still support the game when it eventually is released. But after every misstep BioWare has taken, that’s a tough sell now. Fans are finicky, RPG fans more so than others, one could argue. We have our favourites, and many of us stick to those favourites for life over our appreciation for the artistry — but that relationship between studio and fan should go both ways. EA and BioWare has betrayed that relationship, and it will take a hell of a lot to build it back up again, now.

[This piece is also available on Medium!]

[causenessus]

Nightmares. | Bungou Stray Dogs

inc: dazai, chuuya, tecchou

written in 2nd pov (female reader implied at least for chuuya)

song recc: roslyn by bon iver

word count: 1064 words

summary: "how do they take care of you when you have a nightmare?"

sorry if they all seem the same D: i tried to make them all unique and i can see the difference between each character in how they would treat u but i know it's small i'm sorry they're all just such green flags and would be the sweetest <3

dazai

has had so many nightmares himself he knows just how to take care of you

having someone with him at night helped reduce the stress and the number of ones he has <3

you’ll wake up from a nightmare, crying out as you shoot up and he’s there for you from the very start, sitting up as well and shushing you, pulling you to his chest

“it’s okay, it’s okay,” he kept repeating as he drew your head near to his chest. “deep breaths, bella,” he encouraged softly, holding your face so that you were looking directly into his eyes while he gave you a gentle smile. he ran his hands through your hair, smoothing it out until your breathing calmed down

is super patient with you throughout the whole process, will not act sleepy in the slightest so that you don’t feel bad for waking him up or anything else

“ ‘m sorry I woke you,” your voice shook as you tried to take a deep breath, wiping the tears away from your eyes.

he took your hands off your face, using his own to brush away your tears with all the care in the world. “don’t be sorry, I was half awake anyway. take your time, love.”

he’ll offer to listen if you want to talk about it, but he understands if you’re not ready yet

tries to coax you back to sleep soon after because he wants you to rest

but he knows from experience how hard it can be when your mind is racing

the reason it’s helped him so much to sleep with someone though is bc it can take your mind off the dream <3

he’ll position you against his chest and between his legs while he rests against the headboard of the bed. he’ll intertwine his arms with yours, rubbing circles on your wrists while he hums softly to distract you

if you’re feeling sensitive to noise, he’ll place his hands over your ears instead, using his thumbs to rub the sides of your head

he’s there for whatever you need him to do. during your first nightmare with him, he’ll still be figuring out how you react to them. after that, he'll remember exactly what you need and want from him. he wants to make sure you feel safe and comfortable no matter what <3

chuuya

wakes up first while you’re still tossing and turning in your dream

he’ll sit up and lean over, waking you as gently as he can. he’ll cup your face as you wake up, brushing anyway any tears with warm hands

“hey, hey, it’s okay. you’re okay. it’s just a bad dream. I’m right here. you’re safe,” he whispered softly as you woke up shaking, your breathing erratic

he kisses away the rest of your tears, touching you so gently and with so much love

asks if you want to talk about it and if you need anything else which he’ll be happy to get for you

afterward, he’ll pull you close to his chest, one hand on your head and the other around your waist, making you feel secure and protected

I think he’d be the type who would keep talking the whole time, distracting you from your thoughts. he’ll talk you through everything he’s doing, he’ll continue to comfort you, and will talk about any other random thing once you both have laid back down

probably tries to make some jokes a little bit before you head back to sleep as well to make you feel better

“sometimes, that stupid dazai shows up in my dreams and I just know it’s not a coincidence. there’s no way that scheming blockhead doesn’t have some mysterious way of communicating and entering people’s dreams. and he does it just to piss me off. ugh, just thinking about it makes me upset,” he ran a hand through his hair, smiling when you let out a small laugh, wiping away the last of your tears with the back of your hand.

he took your hand in his own and kissed it softly, “there’s my pretty girl. see? you’re safe, nothing bad is gonna happen.”

tecchou

does not wake up

you wake up from your nightmare, eyes bleary and heart racing. the only thing you want is to be in his arms so you wake him

once he sees your tears though he’s up immediately, hands on your face as he wipes them away, “oh angel, what’s wrong?”

you place your hand over his own, “just a nightmare…I’m sorry I didn’t know what else to do.”

“nothing to be sorry about,” he says softly, a smile on his face as if you had said something funny, “that’s what I’m here for. I’m glad you woke me up.”

he suggests making a warm drink to calm you down if you’re up for it 

in his experiences, he’s found it best to get up and change his surroundings in order to get his mind off a bad dream

if you say yes, he’ll make you something to drink before sitting next to you in the kitchen. he’ll be with you the whole time, telling you that he’s willing to listen if you want to talk about it or anything else if you don’t want to think about it

will have a hand on your thigh or back, rubbing it slowly to comfort you

when you both head back to bed, he’ll hold you close to him, one hand intertwined with yours to let you know he’s there while the other runs through your hair <3

if you don’t want to get up from the bed, that’s okay too, he’ll ask you what you want him to do and makes sure your every need is taken care of <3

kisses your forehead as you both lay back down, then draws patterns across your skin with one hand. the other one flat against your lower back to keep you pressed against him

if you’re still a little scared, he’ll continue to comfort you and reassure you that it’s okay. he’ll wipe away any more tears and stay awake the whole time. he tries to make sure he hears your breathing slow and that you’ve fallen back asleep before he closes his own eyes again to make sure that you get the rest you deserve <3

[theyhavetakenovermylife]

Hey welcome back! 🐢🔥 I missed your writing!!

Was thinking of like 2003 Raph helping his stubborn s/o to blow off some steam and calm them down by pleasuring them. 👉👈

Chill Pill (18+)

2003!Raphael x reader

A/N: I am glad to be back!💚🐢 Now, time for Raph’s stubborn partner to cool off hehehehe😈❤️

All characters are aged up.

Warnings: Orale - female receiving, fingering, grinding, implied sex.

“Have I ever told ya how hot you are when ya get worked up?”, Raph said with a smug smile, watching as you stormed around your bedroom in annoyance. You turned towards your boyfriend in a snap, staring daggers into his face as he laid there comfortably on your bed, smiling at you as if you were the funniest thing in this world.

“You’re such a prick!”, you yelled out, before continuing stomping around your bedroom, more frustrated than before.

“Feisty”, Raph chuckled, sitting but from his relaxed position. “I like that”.

“Shut up”, you mumbled, not even looking at him.

“Babe”, your boyfriend said, his voice as friendly as ever, directing your attention towards him, seeing him sitting there while his smug smile showed brightly at you. “I know it was a stressful day at work, but it’s okay now. Tomorrow is going to be a much better day”.

“No, it’s not okay!”, you yelled, feeling more frustrated than ever, your cheeks red and ears burning. “Because tomorrow that bitch of Karen is going to keep complaining, and then my boss will keep telling me to fix it, even though she is the bitch that started the problem in the first place!”, you yelled, standing for a moment to catch your breath.

“And people call me a hot head”, Raph said as he got up from the bed, causing you to shoot him another unamused glance. He walked over to you, wrapping his arms around you, looking directly into your still irritated eyes. “You need to relax”, he said, giving your nose a small tap with his finger, making you scrunch your nose.

“No I don’t”, you said, waving away his hand from your face.

“You don’t? Huh, funny”, Raph said, looking as if he was thinking. “Aren’t ya the one who keeps telling me I need to relax when I get worked up?”

“I am”, you said somewhat annoyed.

“I thought so”, Raph said with his stereotypical sarcastic voice. “So now, do like the pretty girl that ya are, and lay down on the bed for me”, he said, giving your back side a small clap as he guided you towards the bed.

“Sometimes I hate you”, you said over your shoulder as you made your way to the bed.

“And that is also why ya love me. So get on ya back and be as cute as ya always are”, he said, crawling onto the bed himself.

“Shut up”, you said once again, trying to hide your pressing smile.

“No”, Raph said with big mouth movements, placing his hands on your legs, giving them a small shake. “Even if I lose my mouth, I won’t shut up”. His hands went up your legs, gliding over your pants covered thighs. “But we won’t want me to lose my mouth”.

“Why not?”, you asked, feeling like a small challenge, watching as Raph’s fingers slowly went for the button of your pants in order to undo them.

“Ya know why not”, Raph chuckled, tugging at your pants, sliding them off of your legs when you lifted your hips for him. You couldn’t help but bite your lip, as you slowly realized what he meant.

With your pants hitting the floor, Raph settled between your legs, spreading them wider for him. And from the smug smile on his face, he was able to smell something you obviously couldn’t.

“Someone is liking this”, he said, his fingers slowly taking a hold of the sides of your underwear, getting ready to pull them down.

“You’re dumb”, you said, no longer able to hold back your little smile as he slowly pulled your panties down.

“You, need to take a chill pill”, Raph said with a smile, pulling your underwear all the way down your legs, leaving your lower half bare for him.

“You got one for me?”, you asked, watching him as you continued to bite your lip.

“Of course I do”, he answered, lowering his lips connecting to your thigh before slowly making their way upwards. “And I got plenty of where they come from”.

Raph’s lips came into contact with your mount, pressing a firm kiss against it, before slowly moving downwards towards your bundle of nerves. His hands running down under your thighs, grabbing a hold of them before pulling you closer against him, allowing his tongue to lick over your clit. This action caused your legs to tension up momentarily, your lips parting allowing a small sound of pleasure escaping, closing your eyes momentarily.

Raph’s chuckle vibrated against you as he gave your clit another lick, watching your reaction with observant eyes, loving what he was seeing. His trick was already working on you, just like he knew it would. You were already crumbling beneath him, and he hadn’t even started yet.

He continued his kitty licks on you, watching as each lick got a reaction out of you. It didn’t take long before one of your hands found their way to the top of his head, pushing him further against you.

“Keep going, Raphie”, you moaned, your eyes closed in pure bliss. And so Raph did, wrapping his lips around your clit, sucking lightly before slowly going harder at it. This caused you to buckle your hips up against his face, welcoming all the actions he gave you.

Raph hummed against you, finding amusement in your actions along with the expression on your face. Placing one hand on your abdomen, he pushed you back down against the mattress, your legs already beginning to squirm, just like he knew they would. You needed this.

“Shit”, you mumbled, hiding your head against your shoulder. You could feel Raph smirk against you, giving you one more lick before wrapping his lips around your clit once more. You felt Raph’s finger prod against your entrance, feeling your wetness and his saliva running down your folds.

Raph watched as you laid there in pure bliss, your eyes shut closed and your mouth open, one sound of pleasure after the other, your other hand coming up to hold the mattress by your head, while the other continued to push Raph’s head against your core.

You gasped when Raph’s finger entered you, his thick digit stretching you out ever so slightly around it. Raph’s churring against you as he moved his finger in you, moving it based on your reaction, leading him to do curling motions when he found that familiar spot inside you. This made you sit up and look at him, taking in the sight of him between your legs, smiling smugly at you. Of course he had to give you that look. The I-told-you-so look.

You wanted to call him something, just to be playful. Just like the two and you often would. But at this point Raph could read you like an open book. He knew what you were going to do before you did it. So with that he worked his finger harder and faster on you, making you fall back against the bed once more with a loud moan.

“Fuck, you’re a prick, Raph!”, you moaned, trying to buckle your hips against him again, causing him to laugh against you once more.

“Your favorite prick”, he smiled, before continuing his work on you, adding another finger.

Your legs started to shake by Raph’s head, letting him know that you were not far away from reaching your peak. You could feel the growing pressure inside you, pushing further and further, making you feel like you were going to explode.

“Raph, babe, I’m close”, you whimpered, your voice breathy.

Raph answered with a low growl of approval, somehow speeding up his fingers, pushing you closer and closer to the edge, your legs lifting and curling, your sounds becoming more and more desperate.

A few more thrusts of Raph’s fingers and his tongue and lips on your clit, finally caused you to trip over the edge, letting the wave of pleasure wash over you as you came onto his face. Raph continued his actions, letting you ride out your high, until you finally calmed down, laying on your bed, blissful and happily exhausted.

Raph crawled up from between your legs, resting his chin on your chest, looking up at you with his face covered in your juices. “How did ya like that chill pill?”

“It was okay”, you hummed, smiling down at him, before letting him press a sweet kiss to your lips, letting you taste yourself.

“Great”, Raph hummed, using his hands to wrap your legs around his hips, before he slowly grinded himself against you, letting you know exactly what was on his mind. “Because now I need one as well”.

[mmgwritings]

RUIN ME, RUIN US

Characters: Kaz Brekker / Dreg ! Reader

Prompts: “I… I want you to touch me,” Kaz admits, while staring up at the ceiling, "There" cheeks reddening in an increasing show of embarrassment. (prompt created by @dumplingsjinson)

Warnings: Smut; Canon divergence; Obviously, I didn't proofread again; Masturbation; Oral Sex; NSFW; Really Long Text Sorry!

The streets were packed with people. Dazzled tourists, ravkan peasants, privileged and neglected children fought for space in the alleys with merchants, prostitutes and pickpockets - all the same, all too happy with the promises of the holiday. Nachtspel was an event during the Kerch year, in Ketterdam the party lasted for more than a week if you looked for the right club to spend money on frivolous pleasures.

This year people commented that the festival would last a month due to the visit of King Nikolai of Ravka, a tall man with a sarcastic smile who every now and then Y/N would bump into in the Slat - a place where kings didn't belong, that much she knew... at least not kings with a good reputation. The visit of the Ravkans was a promise of prosperity, King Nikolai and his entourage were in Ketterdam to bargain a spice trade line with the Council of Tides, a way of linking Ravka, Kerch and Shu Han in a triple alliance.

But it's interesting to think that King Nikolai is smart enough to also bargain with the real monarch of Kerch: Kaz Brekker. Y/N had not yet been in Ketterdam years ago when the Fold was destroyed, when a certain Ravkan prince needed the help of a small gang of thieves. But she heard about all this from Jesper, the Dregs' sharpshooter and part of Kaz's small retinue: the Crows. She also heard about the former king of Ketterdam, Pekka Rollins, and how Kaz made him beg, how he took everything from Rollins: clubs, indentures, friends in politics. Everything.

Well, almost everything. Kaz Brekker remains a mystery.

Y/N met Kaz a few days after arriving in Ketterdam, when he walked into the teashop she tended to. He needed a new waitress for the Crow Club, a seemingly simple job if the additional skill of the position wasn't listening to the conversations of some customers. She accepted, and here she is three years later. And she's dangerously involved with Kaz.

It all started very simply, they barely realized that they were spending too much time together. Y/N in the lounge, taking care of drinks or delivering envelopes to Kaz's office, or sharing a quiet living room in the Slat after everyone went to sleep.

One thing led to another over the years. A whispered conversation after the two drank too much, a longing look exchanged as they left for their posts at the Crow Club, a sleepless night on the building's terrace. But the moment they really realized, admitted, actually, having feelings for each other was when they realized that they needed each other.

For Y/N, their relationship was experienced at two peaks: the calm and comfort of knowing that they both loved each other and the turbulence and insecurity when dealing with Kaz's traumas. Y/N saw the way Jesper and Wylan, Nina and Matthias' relationship bothered Kaz, he wanted to be able to offer Y/N the same level of intimacy.

And that's why they've fought countless times. Silent wars where Kaz reluctantly tried to break up and Y/N pretended not to hear her boyfriend's stupid arguments. When Kaz tried to get away from her in vain, because Y/N always found a way to bother his heart with smiles, jokes and words of affection.

Kaz knew Y/N was patient. She was the best in his world. But, he knew that he needed to become a better man for her. What kind of relationship is this where he couldn't touch her without almost throwing up, fainting?

Y/N realized, just like she notices all the little things that make Kaz human, that he was trying to be more physical. Sometimes he would touch her hand gently, his fingertips gliding across her palm as if she were made of the most fragile glass. Other times he sat next to her on the window sill, too close that she felt his heat. Or when he suddenly decided that they would share the room, the same bed.

That was a difficult moment: Kaz gradually tried to stay close to her, until finally he managed to rest his arm on her throughout the night. But, all of this was done when he was fully dressed. Long-sleeved shirt, thick pants.

The kisses? Impossible. These took longer to go from merely touching lips to touching tongues. Let alone get lost in the moment. A kiss from Y/N would leave Kaz feverish, on the precipice between fainting from anxiety or lust. Sometimes he didn't even know if his trembling hands were a good or bad thing.

But it's over. Kaz, when properly warned, could get carried away. Y/N and Kaz occasionally had make-out sessions, one that left them panting, sweaty and craving for more. Wishing they were like all the other normal people, the ones they heard sighing in the dark alleys when they came back late at night from some mission. Those who occasionally locked themselves in the Crow Club bathroom and came out with a flushed face.

Would today be anything different? Y/N wondered as she went up to her room. Earlier, when she was still in stock at the Crow Club, Kaz spent time with her keeping her company while she counted the products. Y/N could tell he was a little nervous, but she didn't pressure him into saying anything.

So, he finally said a curt "Meet me in the bedroom later" and left for the office before Y/N could ask anything. And here she was, walking into the room and finding the sight of a Kaz Brekker sitting by the window, his eyes vacant into the night.

"Hey, how are you? Where's everyone?" Y/N said, taking off her coat and placing it on the trunk at the foot of the bed. When she arrived at Slat she noticed that it was strangely empty, even for a festival the house always had one or two people in the common rooms.

"Out" muttered Kaz "I gave them the night off." Then he finally looked at Y/N and there was something strange, it was as if he had never seen her in his life, as if he didn't know how to approach her.

"Cool… But, what happened to you? Did you want to tell me something?" Y/N said, approaching him slowly. Kaz sighed and held out his arms, an invitation for her to touch him, to hug him.

Y/N smiled, a gesture mirrored by Kaz, before surrendering to her arms. She was a little shorter than him, barely reaching her shoulders, the perfect height to fit in. Kaz placed a small kiss above her ear, a kiss that ended up trailing to her temple, her cheek, her jaw, the corners of her lips.

And then the famine came. The desire for more, much more. Kaz kissed Y/N's lips, a warm touch. Her hands, which had been clasped behind Kaz's back, moved up to his arms.

And then Kaz's tongue touched Y/N's parted lips strongly, a request, a promise. His tongue was everywhere: first sliding tentatively across her lips, then massaging, then sucking. It was so much more than they'd tried before, Y/N thought, as he nibbled on her bottom lip, pulling her closer into his arms, squeezing as if to make sure she was real.

Y/N didn't need to think much, she didn't want to stop and ask Kaz if everything was okay because, a second later, she felt one of his hands on her ass, groping. They had too many clothes on. Kaz wore a dark, velvety green vest over a white shirt with long sleeves buttoned over the wrist. The pants were black and made of thick material, the ones he usually wears in the invention. Y/N was already wearing a long blouse, the pants she wore were masculine enough to not receive more than two glances from Crow Club customers. But now, she wished there weren't so many layers between them, that the cloths would disappear.

Y/N's hands came up to Kaz's face with a caress, she wanted more than anything to slide her fingers through his hair… so she did, and he allowed it. His kisses were making her dizzy, fervent.

"Kaz," she whispered as he occupied his lips with a new target, her neck. The hands on her ass tensing in search of more, more closeness. "Slow down, Kaz," she protested.

Kaz listened and then stopped, looked at her with dark eyes, his face flushed and his lips red… lips that Y/N would never get tired of kissing. "I want you" he said "I want you to kiss me until you're sick of it, I want everything… more"

Y/N's heart lost a beat and then pulsed quickly. That was the kind of thing he said in her delirium, when she dreamed and woke up wishing she could just embrace the man who slept next to her. What else could she do upon hearing this request? She kissed him like she had never kissed him before, her fingers threading through his hair, down his neck, to his face.

A sloppy kiss because they've never done it before. Hands roaming each other's bodies more than they dared before. Kaz was all hands. Tightly squeezing her ass or reaching up to her waist, pulling her closer.

Then, one of Kaz's hands went to Y/N's hair, deftly removing the ribbon that held the curls in a messy braid, while his other hand went down to her right thigh, lifting her leg slightly so that he could get closer... Saints, she wanted to be able to melt and merge with Kaz.

Y/N could barely breathe between the kisses, Kaz's lips were all she wanted, she wanted them all over her body, for him to mark her. Then he pulled her towards the bed, bumping into the table, tripping over the carpet and laughing a little at his clumsiness.

She sat on the bed and looked at Kaz, her face flushed and a slight smile on her face. The street light that entered the room bathed him in a warm, golden light, Kaz had never seemed more alive than at that moment. He was the most beautiful person Y/N had ever seen in her life. He looked so carefree as he rested one of his knees between Y/N's legs, his hand tenderly caressing her face and brushing away stray strands of hair from the front of her forehead.

"You're so beautiful", Kaz murmured, his lips resting a soft peck on the tip of Y/N's nose.

"I can say the same", said Y/N. Pulling him to the middle of the bed so he was on top of her. "There are so many beautiful things I can tell you now. But none of them compare to you, Kaz Rietveld."

She kissed his cheek, then his nose, his chin, his mouth. Her hand, the one that wasn't busy cupping Kaz's face, slid down his back, feeling the muscles beneath his clothes tense slightly, then, at the base of his spine, she pushed him slowly until their body was pressed together. Too many clothes, Y/N thought.

Kaz must have had the same thought, because he deftly slipped his fingers between the top buttons of Y/N's blouse. Beneath it there was nothing but skin flushed with desire.

Well, they've seen a bit of each other's nudity over the years they've shared a room, but it's never been this explicit. So raw. Kaz's eyes slid over Y/N's breasts, his fingers following his gaze to her nipples, touching tentatively, seeing how far they could both go. When her only response was a sigh of pleasure, Kaz opened the rest of her blouse and clumsily pulled the fabric from her body.

Mouths, hands, sighs, moans. Kaz offered and received caresses as he rested his mouth on Y/N's nipples, his warm tongue sliding, sucking and nibbling mercilessly. Y/N's hands didn't know where to hold on in the material world, they were in his hair, keeping him as close as possible, on his shoulders, on his arms, pulling him for more.

Kaz realized that his favorite sound was her moans. It was a sound that reverberated through his body like an overwhelming storm that made his heart palpitate heavily, that made his brain melt and that somehow, caused a pleasant pressure to rest in his groin.

Y/N was lost, she didn't know she was so sensitive there. Or maybe this is just Kaz's effect, his talent. When his mouth was on her nipples everything was perfect and horrible, she felt out of control, completely at Kaz's mercy.

When he stopped kissing her was the moment she hated him, but when he looked at her with a shy look on her face, Y/N loved him more than anything. What happened? Y/N wanted to ask, but there was no time, Kaz let out a low, guttural sound when he moved over Y/N, she felt, through all the layers of clothes that still separated them, Kaz's cock pressed against her.

A shiver ran up her spine. Y/N kissed him hard, tongue lashing over Kaz's lips, her nails scratching his arms, pulling him, feeling him. A wave of pleasure coursed through her body as her sensitive nipples came into contact with the raised embroidery of Kaz's vest. She opened her legs wider to accommodate him between her and Kaz's hand went to her ass, pulling her towards his crotch.

Suddenly, Y/N pushed Kaz away. Turning his body so she was on top, she then quickly took off her pants. She's sick of so many clothes.

Kaz was in awe, looking at her body as if it were some kind of miracle, as if some saint was descending from heaven with an offer too good to be true. Or like a demon, leading him to a path of no return. For the first time in his life he felt nothing bad happening, no repulsion, no aversion at the thought of touching someone. He just wanted more from her, wanted to take everything from her, touch her everywhere, but more than anything, he wanted her to touch him.

Their relationship was always smooth, they never talked about sex or about anything other than kisses, but they both wanted the same feeling of fulfillment that all other couples had. So, it was not without shyness that Kaz, completely vulnerable to Y/N, looked at her with pious eyes and pleaded.

"I... I want you to touch me," Kaz admits, while staring up at the ceiling, "There" cheeks reddening in an increasing show of embarrassment.

It was selfish of him to ask that. It was malicious, negligent, narcissistic, asking for pleasure when she was the one who should be adored. But Kaz was never much for bending, he was never pious.

Little did he know that it was what Y/N wanted most.

She smiled and kissed Kaz, her light fingers opening the buttons of his pants, slipping down to his cock. The feeling was very different from what she had imagined, Kaz was warm, soft, firm and… big. Very.

Kaz let out a strangled sound, his hands that rested on her waist fluttered slightly. "Everything is fine?" she asked, the movements of her hand stopped completely, but she didn't remove it.

"Yes," he sighed, closing his eyes in pleasure.

Y/N then moved her hand slightly up and down, gently squeezing the base, sliding the tip of her thumb over the tip of his dick. Feeling the cum spread in his hand. Kaz was discreet, he was trying not to get carried away, she realized, but she could hear the light moans that escaped his lips, she could tell that he was really enjoying it when he tensed his jaw, when he squeezed her ass.

Daring the limits, Y/N lowered Kaz's pants further, finally seeing him completely. It was definitely not what she had imagined. Kaz was very thick, the tip was a dark pink color that glistened with cum and had some prominent veins. She wondered what it would feel like in her mouth.

When Y/N gave Kaz a peck on the crotch, just above the pubic hair line, she looked at him as if asking if she could continue. His eyes were moist, as if it was a difficult task to contain all of his impulses.

“Please,” he begged, one hand caressing Y/N’s cheek. "Please don't stop" he moaned.

She then tried putting just the tip of his dick in her mouth, her tongue testing the taste of his cum, then, tentatively, she saw how much it all fit.

It wasn't much. She didn't have that much experience, she couldn't take his entire dick in her mouth without feeling like she might choke. So, she took turns sucking and licking, from the base to the tip, then, when she saw that he liked it, she held his balls and massaged them lightly. But she never stopped moving her hand in a tempting gesture.

Kaz was getting carried away. When he became very impatient with Y/n's slow movements he begged to be rough, when he felt her tongue passing over the tip, sucking, and looking at him, he let the moans, previously low, sound at ease. Damn anyone who listens.

Please, please, please, he said. Hip thrusting, his dick entering her mouth even more. Beg, Y/N wanted to say, beg for more and maybe I'll let you cum, fill my mouth with it, let you see how you ruin me.

So, when she felt his hip thrusts become more sloppy, when his moans were lost between his panting, Y/N sucked hard on Kaz's cock and felt, in the back of her throat, his cum pooling on her tongue, sliding down her chin.

When his orgasm ended, he was panting and feverish, his hair messy, beads of sweat sliding down his forehead, his cheeks pink. He was a beautiful sight. He was a beautiful mess.

As for Y/N, she was strangely shy under Kaz's longing gaze, feeling cum slide down her chin and drip onto her breasts. "Beautiful" Kaz said, standing up and placing a sloppy kiss on her lips, his tempting tongue lashing into her mouth, both of them tasting him.

"All mine", he whispered, as he pulled her to saddle him. Y/N felt his dick brush against her pussy. "And I want all of you. I want you to ruin me, ruin us."

[hotdaemondtargaryen]

TOM GLYNN-CARNEY INTERVIEWED BY VANITY FAIR MAGAZINE.

KING AEGON COULD BE A VERY ONE-NOTE VILLAIN CHARACTER, BUT IN YOUR HANDS IS NOT. HOW DID YOU APPROACH CALIBRATING AEGON?

"I think anybody who has the darker side to them as the more prominent side — the side that people see first —there’s always a reason for that."

"I dug into that and found a lot of his boyish vulnerability, insecurities, and self-hatred — stuff that he’d been drip-fed his entire life."

"He wasn’t even a spare, you know? He was just completely ignored."

"He was invisible to most people, which is why he behaved in such a way — to numb himself."

But also to say: "Hey, I’m here as well."

"Any attention was good attention for Aegon."

"I find him less of a villain and more of a tragic case."

CAN YOU TALK A LITTLE BIT ABOUT WHY AEGON DECIDED TO FLY TO ROOK'S REST AT ALL?

"It was that moment — well, it’s an accumulation of moments — but that one in particular where Alicent says, 'Do exactly what is required of you: nothing'."

"That was the final dagger in the heart."

"A real cold reminder that he really is seen as being useless."

"A pawn for Alicent and Otto [Rhys Ifans] to use as a puppet."

"But at the end of the day, the law of the land states that he’s the monarch."

"He’s the king."

"He’s the person to call the shots."

"And no one’s gonna fucking stop him from getting on that dragon if he wants to."

"So he got absolutely obliterated drunk and thought, I’m gonna show them."

WHAT WAS YOUR EXPERIENCE LIKE SHOOTING THE BIG DRAGON FIGHT SCENE?

"Cool, man."

"It’s kind of a little boy’s dream."

"It’s just something that you think of when you’re a child as being the coolest thing in the world."

"And it really was."

"They basically build a screen around you so you know where to look: what’s expected, what’s coming at you, what’s leaving you."

"Your entire perspective is quite clear."

"And then amongst that, you’re clad in all this armor that has been expertly crafted by some amazing workmanship."

"But then again, you’re crouched over this big saddle, strapped in, feeling like you can’t move."

"That crane has really got a lot of work to do to make it look like you’re moving."

AT THE BEGINNING OF THE SEASON, AEGON SAYS THAT AEMOND IS HIS CLOSEST CONFIDANT, AND BY EPISODE FOUR, AEMOND HAS BASICALLY TRIED TO KILL HIM. WHERE DO THEY STAND NOW? AND WHAT'S YOUR RELATIONSHIP WITH EWAN MITCHELL, WHO PLAYS AEMOND?

"Oh, Aegon and Aemond’s relationship is very different to Tom and Ewan’s relationship."

"Let’s put that out there." [laughs]

"Look, that is sibling rivalry on a very intense scale, isn’t it? It’s the flip of the switch that can happen when somebody feels pushed out or somebody feels like there’s been injustice."

"I always felt like Aemond saw himself being in that position of power and dealing with it better than Aegon would deal with it."

"But then again, his birth certificate states otherwise."

"It was bound to happen at some point, wasn’t it?"

WAS THERE A PARTICULAR SCENE THAT YOU FELT EXTRA CHALLENGED BY OR INVIGORATED BY?

"He’s never in the same frame of mind twice in one day."

"He’s all over the place."

"Keeping up with his erratic mood swings was the hard part, and was this thing that I was having to stay really focused on."

"There wasn’t particularly one scene that I thought, Oh God, not this one, because all of them are challenging in different ways."

"Even the ones where he’s still and more focused are difficult, because you’ve got that sort of inner Aegon rhythm that is rapid."

"It’s very different to mine."

"It’s maintaining that, but still keeping the tension of the scene."

"I relished the opportunity to play someone with such range and creative potential from an acting point of view."

OLIVIA COOKE, WHO PLAYS ALICENT, HAS NOTED THAT YOU TWO ARE NOT VERY FAR APART IN AGE AT ALL, AND YET ARE PLAYING MOTHER AND SON. HOW DID YOU GUYS WORK TOGETHER TO CREATE THAT FILIAL DYNAMIC?

"Every scene that I’ve had with Olivia, there is never a moment that isn’t filled."

"Everything is just so complex and deeply entrenched in her."

"She means everything she says."

"It’s a rare skill to have."

"As an actor, she has that in truckloads."

"It’s a gift to be able to work with her, to play her son."

"Yeah, [it’s] hilarious."

"She’s only a year older than me."

"I think we manage it because we get on so well."

"We’re pals as well, you know."

"I love Olivia to bits."

"Trust her wholeheartedly."

"We have a laugh. We don’t take it too seriously."

"We have common ground on that."

"But then in the moments where the work is happening, it’s all we care about."

"We care immensely."

"It’s one of those things where in the downtime, after we wrap, we can go for a drink."

"We can have a laugh."

"We connect on a personal level as well as a professional level."

"I think that’s what sort of breeds a healthy and believable performance thing relationship-wise."

THERE'S AN AMUSING SCENE WHERE AEGON IS SITTING AROUND WITH THE LADS AND TALKING ABOUT WHAT HIS SOBRIQUET SHOULD BE. SHOULD HE BE 'AEGON THE BRAVE,' 'AEGON THE WHATEVER,' ETC. WHAT DO YOU THINK HE SHOULD BE CALLED?

"Aegon Toast, probably."

[em-dash-press]

How Authors Write Fictional Wars

Some of our favorite novels include wars. They might stretch over a trilogy or build within a single book. Writing one might seem staggering, but it just takes a different planning approach. Use these tips to write a fictional war for your next story and make your readers feel like it really happened.

Foundational Factors to Consider

1. Your Opposing Sides

Wars always have at least two opposing sides. Start there and develop them before deciding if you need a third or fourth side involved. Cover details like:

What does each side want?

What would each side settle for?

What is each side’s worst-case scenario?

What is each side’s hard no? (What wouldn’t they sacrifice or do to win their cause?)

2. Who Supports the Opposing Sides and Why

As a war progresses, each side loses resources. They start running out of money, soldiers, and whatever public support they had when they started the war due to citizens losing their loved ones or sacrificing for the cause.

Your protagonist and antagonist will need to ask for help eventually. Who would support them and why?

There are numerous reasons why someone might pick one side of a war over another. Politics and economics are often the first things leaders consider. The morality behind each side is another factor.

Consider the American Revolution. Many historians believe America would have lost without France sending money, troops, food, and supplies. Why would France support a budding nation over Great Britain? People argue it was because the French:

Wanted to humiliate the British king

Wanted to hurt their British military rival by partnering with America

Wanted to weaken the British kingdom by ending the colonial taxes they benefited from

Wanted to gain power on a global standing by overcoming Great Britain and rising as America’s first ally

These reasons are great examples of what your novel could include. Another country, kingdom, or group could rise in sudden support for your protagonist or antagonist, ultimately throwing chaos into the determined path of war for better or worse.

3. The War’s Terrain

People can break into battle almost anywhere, depending on your fictional world. Your characters could fight:

On land

On sea

In space

In the air

Underground

Online

Some terrain also comes with other considerations. If your war happens on an ocean, will storms and hurricanes affect battles or the ultimate outcome? How will the soldiers and leaders on both sides deal with the weather?

Note these possibilities as you plan your novel. You can add them in as background or crucial plot devices once you have a skeletal structure in place for your story.

Need help remembering everything you’ve imagined? Try making a map and keeping it wherever you write.

4. What Would Make Each Side More or Less Powerful

There’s always something that could give one side an advantage over the other. It’s often in an unexpected way, although you could make the advantage a goal. The bad guys might feel confident in their ability to win, but they have a secret mission to develop a new weapon just to give them a greater advantage.

Other factors to consider would be one side or another doing something like:

Discovering or enacting a magic system

Eliminating a crucial resource their enemy depends on

Removing funding that makes their enemy able to fight by befriending or overcoming their enemy’s financial backers

Changing the positive or negative public perception of the other side’s reason for fighting to change national morale

Doing something that makes one side’s leaders more or less moral (which could change public perception, the soldiers’ vigor, the leadership’s advisory team together, etc.)

6. What Kinds of Conflict You’ll Write

There are two types of basic conflict you’ll likely write when navigating a fictional war. You may not need both if your story is shorter, but adding both makes the plot more realistic.

First, there’s external conflict. You’ll have at least two opposing sides on some kind of battlefield, sneaking around on spy missions, planning surprise attacks, etc.

Secondly, there’s internal conflict. Soldiers might start fighting amongst each other, people in leadership positions could lose trust in each other, citizens might turn on their country’s cause for one reason or another, etc.

7. What Weaponry Your Characters Will Use

The weapons used in your war depend on numerous factors. It will draw from the genre you’re writing, the time period your story takes place, the advancements made in each civilization’s weaponry prior to the war, and any advancements made while the war goes on.

Examples of these could be:

Guns

Swords

Bows

Bombs

Drones

Armed ships

Armed space ships

You should also consider if one side’s weaponry is more likely to change during the course of the war. That’s more plausible if your story or characters change locations where regional cultures use different weapons. Also if the war spans years, people will naturally develop new weaponry during that time.

If you want extra details to daydream about, think about which weapons will become outdated during your story. Some will prove less useful due to complicated usage or cleaning. They also may not work, like if your science fiction characters follow their enemy underwater, but their laser guns require a dry atmosphere to function.

Include Emotional Plot Arcs

Writing always involves some kind of emotional work that results in a plot arc. It keeps the reader engaged by evoking their core feelings. That’s what makes a novel different from a textbook (in a very basic sense).

Work on details like these to find what emotions will be most present and relevant to your story:

Your overall theme

Your characters and what they experience

The action your characters will go through

How the above action will change your characters by affecting their loved ones

What your characters’ goals mean to them emotionally

If your characters’ will undergo things that change their perception of their world, leaders, country, or themselves

You don’t need all of these things to have an emotional plot arc, but they’re relatable human elements that can drive your plot right into your readers’ hearts.

Avoid Some War Story Tropes

Tropes have a bad reputation that I don’t think is entirely deserved. People recognize them as overdone stereotypes, but sometimes they’re useful.

When you’re writing a war, you’re going to have necessary tropes like:

The hero

The unit or squad

The antagonist

What they undergo and who they become is how you make them fresh concepts for your readers.

Some tropes aren’t helpful because they’re what readers expect from every story. If you give them what they expect, your story isn’t as engaging (unless you get the occasional reader who exclusively reads war novels and never tires of overdone tropes).

Keep these in mind as things to avoid, unless you have an ingenious way to make them a brand-new experience:

One soldier dying in another’s arms

A character dying by going out “in a blaze of glory”

Characters using guns in ways that are obviously wrong (i.e., firing more bullets than the gun-type/model holds)

Getting military rank incorrect (if your characters exist in a real-world, already existing military structure)

Injury-proof characters (even your protagonist will eventually encounter some physical harm, whether it’s illness in bad weather or getting shot on a battlefield)

You can check out this great resource to discover more tropes to avoid/consider as you draft your plot outline. 

-----

If it feels like writing a war over the course of a book or a series is challenging, you’re not alone. There’s a lot to consider to make it have an engaging flow.

Keep notes on things like these to develop your story as much as possible before starting your first draft. You can always go back and add or edit things out as needed while developing it. Writers do this all the time—you don’t need to get any manuscript perfect on your first try.

[i-heart-hxh]

does ikalgo have deeper significance to killua's character? i get that hes like a new friend for killua but why does it feel like he was portrayed so importantly to killua's character during caa? its like theres a deeper meaning, why did killua go out his way just to save ikalgo from those two chimera ants when they entered the building? and why did he look so hesitant? he had thoughts that said "what am i doing..? why the hell am i going the opposite direction?" or something like that. idk it just feels like togashi was implying something abt killua there but i cant figure out what that is. do u have an idea?

Hello! This is a great question!

Ikalgo's friendship with Killua is vital both to Killua's development and also to Chimera Ant arc as a whole! I can explain that significance.

Throughout much of the series, Killua tags along with Gon and primarily focuses on him. He befriends other people, certainly, but he generally does this through Gon--it's not like he's going out of his way to make these friends on his own.

In Chimera Ant Arc, the connection between Gon and Killua gets somewhat disrupted by the events that happen, and Gon's focus shifts primarily to saving Kite and his revenge on Pitou, leaving Killua to worry and feel somewhat left behind and helpless (partly as a result of the the Palm situation as well).

When Killua splits off from Gon to try and save civilians, he meets and a battles an enemy at the time, Ikalgo.

During their fight, Killua gives Ikalgo a choice: Either sell out his friends by revealing their nen powers, or die. Ikalgo chooses to die rather than betraying his friends, and Killua is able to relate to this loyalty. He spare's Ikalgo's life and tells Ikalgo that if they'd met another way, maybe they could have been friends.

Killua's kindness in empathizing with Ikalgo and sparing him is the only thing that saves his life later when he's bleeding out from the needlefish darts. Had Killua not extended that mercy and said those kind words to Ikalgo, Ikalgo would not have saved him, and he would have died.

It's interesting/neat how the scene right after Ikalgo saving Killua from the needlefish involves Gon having his own encounter with another friendly Chimera Ant, and the tone of their conversation is quite a bit different:

Contrast is so important in Chimera Ant Arc!

Anyway, when Killua shows Ikalgo mercy, makes it clear that they're friends now, and invites him to come along and be part of the human side of the war, he essentially becomes to Ikalgo what Gon has been to him: Someone who represents light, and who represents a path forward to a better life. In this arc, Killua worries that he doesn't deserve a place at Gon's side, but at the same time here he extends the same kind of light and hope that Gon gave him to someone else.

As for the scene where Killua breaks off away from Gon in the Palace Invasion in order to protect Ikalgo, this continues to show Killua's world expanding outside of Gon. Notice how in this page, it clearly shows Killua leaving Gon behind--they have their backs to each other, which is a frequent image in this arc. His mission was to protect Gon and make sure Gon could complete his revenge against Pitou, so deviating from that mission is both shocking to him, and potentially dangerous, but it shows that he's starting to protect and care for others as well as Gon.

Now, I want to be clear that I see this as a positive step for Killua. At this point in the series, Killua had made Gon his entire reason for living, essentially, and him going outside of that and making other friends and protecting and caring about them is a vital step for his character. It's showing that he's becoming a more expansive, mature person who can care for multiple people (or ants) at once rather than centering his entire existence and sense of self around one person. He made this action as quickly and efficiently as possible so he could get back to Gon's side, but he did go out of his way and leave Gon behind momentarily, and even he is surprised by this.

And while obviously I adore his nearly single-minded love and devotion for Gon, with what happens between them in this arc he needs to have others in his life besides Gon, and it's part of his transition into also being the light for Alluka and Nanika. It's a result of Killua's own innate kindness and empathy and the choice he made to leave his previous life behind, but also, he was able to reach this point partly because Gon showed him the love and encouragement he needed to become the person he is.

Now, as for Ikalgo's role in the arc as a whole: He's part of a chain of kindness and mercy that ends up changing the entire outcome of the Chimera Ant arc. This post puts it incredibly well. The chain of kindness started at the beginning of the series, with Gon befriending and rescuing Killua in spite of his background, which then eventually leads to Killua sparing Ikalgo (who then saves Killua right back), and then Ikalgo sparing Welfin, and then Welfin giving Meruem Komugi's name so that they got to be together in the end. Ikalgo shows the consequences of Killua's kindness, which are also the consequences of Gon's kindness, in part.

A major theme of the series and of Chimera Ant arc is that love and kindness are transformative, and Ikalgo has such an important role in demonstrating that theme.

[misteria247]

So I'm going to ramble a bit cuz I've been noticing that there's a lot of split opinions on Timmy Turner that rage from people adoring him flaws and all to people thinking that he's a little shit. So I decided to throw in my thoughts cuz it's been awhile since I've analyzed a character and I've got some thoughts fam lol. Please don't take this personally cuz this is just my opinion.

I think one of the main reasons why Timmy gets such a mixed reaction from fans is because a lot of his actual story is played like a sitcom. It's not placed in a more serious way, though there are moments where it is, it's quickly glossed over. If you take away the sitcom setting and the attempts of comedy and whatnot you actually get a rather horrible reality for this 10 year old boy. And with it suddenly a lot of his actions and attitude makes a lot more sense.

Timmy when introduced is a 10 year old. He's a child but he's also old enough to know the basics of right and wrong. Much like any kid. He gets his fairy godparents, Cosmo and Wanda because he was deemed to be a child in need of help. This whole scenario is played for laughs and whatnot but like, Timmy's life is actually horrid. He's abused by his babysitter, is tormented by school bullies, is essentially harassed by his teacher and is neglected by his own parents. This is his every day life, from the moment he was old enough to understand this was what he was exposed to and forced to accept. In a way Timmy was forced to grow up a bit faster because of it but not to a point where he completely lost the magic of childhood. When you think about this in a more serious way, things start to click together more.

Timmy's behavior when he gets snappy or creates mischief is a way to get attention from his parents. It's not a good kind but it's something. Or when he acts cold and selfishly, while it could be chalked up to being a kid, I could also argue that he might have actually learned it. Cause who else in his life puts their wants and desires before others? Who else doesn't think about the consequences of their actions and how it'd effect others? Who else ignores other people's thoughts and feelings when it comes to things?

His parents.

Timmy's parents do this shit constantly. From leaving him with abusive babysitters, to not really interacting with him, to making jabs about how their dreams died when he was born to a bunch of other shitty things. They forget to feed him and always criticize him, they're always jumping at the chance to essentially get away from him. All these things are things Timmy's witnessed and has been on the receiving end of for a decade. And never once does his parents really suffer any consequences. It's a known fact that children watch their parents and absorb information from it. Timmy's behaviors can very well be behaviors he unintentionally learned from them. Which is so sad because whenever Timmy's not acting like this, it's quite clear that he's actually incredibly different.

It becomes clear that Timmy's actually incredibly kind.

There's so many moments where he shows his kindness. From lending Cosmo and Wanda to Tootie, to helping fairies in Fairy World to literally giving his fairies the baby they always wanted to saving the whole world several times with little hesitation. Timmy at his core is a kind boy, but due to his home life and its constant reminders of the people in his life not wanting him. (Hell there was a whole ass episode about the world being better if he hadn't been born, like can you imagine that, it's fucking awful-). So in a way Timmy hides that kindness and rarely shows it because of these things.

Which is why Cosmo and Wanda and eventually Peri are so fucking important.

Cosmo and Wanda from the very beginning where different from everyone else. These fairies while granting some reckless and dangerous wishes, have always had Timmy's best interests in mind. Cosmo and Wanda are the positive influences that Timmy desperately needs, the adults that he actually needs to help encourage and push him towards the right direction. Cosmo and Wanda are always in Timmy's corner, even when he's made a mistake, and are always there to catch him and remind him that he's loved and wanted. In one episode where Timmy sneaks into his godparents castle, at the end when they're putting the picture of Maryann back into the hall of infamy, Timmy's first reaction is to apologize and believe that because he'd made this one mistake that he'd end up there with the other bad kids. Only to immediately be told no, baffling Wanda and Cosmo with the very idea of it.

It's things like this that help Timmy grow and feel comfortable with making mistakes. Cuz what he thought isn't exactly a normal thing. They help Timmy in so many ways and grow to love him as their very own cuz when Timmy allows himself to be well himself he's a rather endearing kid. It's no surprise they get so attached.

There's a lot of other things that I've got in my noggin but I just wanted to say these things for the time being. Maybe I'll update on this later lol.

[tyrantisterror]

Who's THE Devil?

You know, from, like, The Bible?

One of the things the various takes on Hell more or less agree on is that there is one demon among the legions of Hell who more or less reigns supreme - The Devil with a capital The. What they rarely agree on, however, is which devil that is. So, for funsies, let's look at all the candidates for The Devil, shall we?

Belial

The concept of demons arguably predates Abrahamic religions, at least if we take it at its most nebulous definition of "supernatural people from an Other world who are somewhat antagonistic toward humanity." But the more specific and probably more familiar version of them began with The Book of Enoch, one of many texts that were deemed non-canonical by Christians yet still holds a great deal of influence on Christianity as a whole. It's an extended account of the Noah story, positing that a group of angels rebelled against heaven because they wanted to sleep with mortal women, and created a race of giant half-human half-angel offspring called the Nephilim (Goliath, of David and Goliath fame, was one of the nephilim). God wasn't happy with this, and sent the rebel angels to a fiery pit before killing most of the nephilim with the big ol' flood (though Goliath's lineage survived somehow I guess).

It's not quite how most people picture the War in Heaven and rebellion of the angels, but it's nonetheless where that story started, and that makes it important. This is the first take on what would become the classic origin story for demons and Hell itself. And who is the leader of the rebel angels in this story? Why our good friend Belial, of course. Belial would remain a prominent demon from hereafter, but despite having the earliest claim for the crown of The Devil, Belial has not remained the frontrunner in the race, and is generally demoted to just being a high ranking demon, rather than the Highest ranking one.

2. Beelzebub

I've talked about Beelzebub before and I don't want to spend too much time rehashing that post, so brief recap: Beelzebub began as a mean nickname for a god from a rival religion to Judaism who was named Baal Zebul, which means Lord of the Heavenly Place. Baal Zebub, by contrast, means "Lord of the Flies." Eventually Baalzebub becomes Beelzebub and, divorced from the original context of its creation, becomes a character in his own right, being a prominent demon. And because Beelzebub appeared in a lot of texts, many of them very old as demonology go, he became a major competitor for the title of The Devil, and remains so to this day. I think it's partly because the name "Beelzebub" is really fun to say, but the sheer history and volume of demonology texts portraying him as a big, powerful devil also help. In the rare stories where Beelzebub appears but does not get to be The Devil, he's still portrayed as fairly high ranking, with both Milton's Paradise Lost and Marlowe's Faust making him The Devil's right hand demon, second in command of Hell. So even when he loses the crown, Beelzebub takes home a good silver medal

3. Asmodeus

Asmodeus is another of our "predates Christianity" demons, right up there with Beelzebub and Belial, and as far as I can tell from what I've read he was originally intended to be The Devil rather than just a devil. It's kind of right there in the name - "deus" means god, so Asmodeus having that name marks him as a demon who thinks himself equal to God.

(well, ok, there's some debate about the full origin of his name, with some arguing the "deus" part was originally a play on "deva," which in turn is loosely translated as... demon. The fact that Asmodeus's name is pronounced/spelled differently to a preposterous degree is part of why the water is so muddy - Asmoday, Asmodai, Asmodee, Osmodeus, it goes on and on)

One of his better claims to the crown comes from the story of Solomon - you know, the wise king who told people to cut babies in half. Solomon's less canonical feats include enslaving a shitload of demons to build a temple for him by way of the rite of exorcism, using a magic ring and the power of Christ to compel the damned to do manual labor for him. Asmodeus is specifically stated to be the strongest demon he summons in part because he is the King of all Demons, i.e. The Devil - and the other demons weep at the sight of their king being reduced to a slave by mortal hands.

Why is this a strong claim? Because the story of Solomon in turn inspired The Lesser Key of Solomon, a text about using the rite of exorcism to summon and use demons to do your bidding. The Lesser Key of Solomon includes the Ars Goetia, which is basically a big ol' bestiary of demons, and where many of your favorite pop culture demons - like, say, Stolas the owl guy - come from. Being the King of all demons in the story that inspired one of the more thorough and exhaustive lists of demons and their hierarchies should count for a lot.

There's one other great claim to fame Asmodeus has in his favor. While not directly named in Dante's The Divine Comedy, the description Dante gives of Satan's physical appearance matches with the most popular descriptions of Asmodeus - in particular, his three heads, one of which is yellow, one red, and one black. Granted, it'd be more of a smoking gun if one of those heads was a bull and the other a goat, but they're all very ogre-like, so I still think it stands. Dante's Devil is, more likely than not, Asmodeus, and that's a BIG point in Asmodeus's favor.

4. Hades/Pluto

Ok, so, a great deal of the Old Testament was originally written in Greek, and the New Testament was written in Latin, both of which happened when belief in the Olympian Gods was pretty strong. As such, the word "Hades" appears in the Bible a lot when talking about the place where dead people go, though it probably wasn't meant to literally be the same underworld as that in Greco-Roman mythology. Probably.

But because Christianity was spread primarily by the Roman empire once they converted to Christianity, and because Europe ended up getting a centuries-long case of stockholm syndrome for the Roman Empire that involved many people in power declaring that Greco-Roman mythology was super important literature and Latin was the language of God Himself, there is a good chunk of Biblical apocrypha that treats the use of Hades as, well, a literal crossover of sorts. Which is to say that Hades the god is sometimes treated as, like, a figure in Christianity, generally a demon specifically. And because he's, you know, Hades, from, like, The Odyssey, people feel he needs to be prominent. I mean, Hades RULED the underworld in Greek mythology, so if we're stealing him for Christian folklore, he should at least be in upper management, right?

The strongest case for Hades being The Devil comes from The Book of Revelation, one of the few books in the Bible that actually contributes to demonology (despite what people tell you, demons really don't show up in the Bible that much - most of what we think of as iconic demon lore come from non-canonical works). You know the four horsemen of the apocalypse? War, Famine, Plague, and Death, right? HA, WRONG! It's Conquest, War, Famine, and Pestilence & Death, you fake horseman fan. Well, anyway the line that introduces Death/Pestilence & Death ends with "And Hell followed with him." Except, no, not really, because the specific word used is... Hades. "And Hades followed with him." Which, depending on how you want to interpret the line, could very well mean a literal, King of the Underworld Hades.

Of course, the problem with using Revelation as proof is that Revelation itself is pretty unclear on who's leading the forces of evil. Is it the Seven-Headed dragon who's cast out of Heaven at the beginning of the end of the world? Is it the seven headed leopard monster that the dragon gives his crown to? Is it the monster who crawls out of the ground to speak for the seven-headed leopard with the voice of a dragon? Is it Hades? Is it God, the one who's allowing all this violent shit to happen and frequently sending his angels to make it way fucking worse? Who can say.

So, while it's not super common, there are more than a few works where The Devil is none other than Hades himself. Disney... might not have been completely off the mark, I guess?

While I think Hades's claim is pretty weak, I should note that one of the works that puts a LOT of Greek mythology into Hell is none other than Dante's The Divine Comedy. 70% of the demons in Dante's Hell are just Greek monsters, with the remaining few being Asmodeus and some OC demons he made up with portmanteu names a la Pokemon. Notably, Hades is one of those demonized Greek figures - presented as the Judge who decides where in Hell sinners end up based on their crimes. He's not The Devil, though, so while Dante kind of helps Hades's case, he also kind of ends up making a counter argument to it.

5. Abaddon/Apollyon

Ok, so, the word "abaddon" is used in some texts to refer to Hell, and sometimes it's personified as well. It literally means "ruin." Well, in time, Abaddon is personified and become a demon, which should feel like a familiar story to you by this point. And because Abaddon can also literally be Hell itself, it's only natural that some stories posit Abaddon the demon as the rule of Hell, much as Hades is the ruler of Hades in Greek mythology. This is Abaddon's big claim, and it's not bad, but it's not super strong. Nonetheless, it was enough for at least one prominent Christian text, Pilgrim's Progress, to make Abaddon (under one of his synonym names, Apollyon) to be The Devil, so we can give him that too.

6. Sheol

The sections of the Bible that are written in Hebrew use the word "Sheol" to refer to the underworld/afterlife rather than Hades. Now, Judaism doesn't have the same Hell as Christianity, or the same concept of Heaven either for that matter, and Sheol is less a place of torment for the damned and more of a waiting room for the dead to hang out in until the Messiah comes.

Nonetheless, Sheol did get personified like Abaddon and Hades, and that personification (which, in some versions, is a batty old lady, which is fun) later became a demon in its own right, and thus, for the same reasons as Abaddon and Hades, has a claim to being The Devil by dint of also being, you know, Hell itself. Not the strongest, most popular claim, no, but a claim nonetheless.

7. Satan

Feels rather obvious, doesn't it? Ok, so, in The Bible, one of the characters who was retconned into being The Devil is the angel in the Book of Job who takes on the title of Satan. In the original context of the story, "Satan" is not a name, but, again, a title - a job title, really, roughly akin to "prosecuting attorney." The Satan in the Book of Job isn't a rebel angel, but an angel whose job is to argue for the opposing view point to make sure everyone is doing the right thing. Less "The Devil" and more "the devil's advocate."

But! Christians fucking LOVE the devil, and they want more devil in their Bible, so many translations treat (the) Satan not as the hard-working servant of God he was originally written as, but as, you know, The Devil, arch-enemy of God and justice. And so Satan becomes synonymous with The Devil, and over time more and more appearances of The Devil give him the name Satan.

I can see an argument for this being the strongest claim, because the sheer amount of works where "Satan" is treated as The name of The Devil is enormous. But I think it's important to note that many of those works actually treat it as a name for the devil, which is to say, not the only name. I guess a lot of modern works think the name is so commonly used that it lacks its punch, and so they have The Devil pull the "I have many names" schtick to sound more imposing.

8. Lucifer

So there's a part of the Bible that talks about a star falling out of Heaven as a sort of metaphor for how people can fall from grace. Well, good ol' King James translated this as not just a falling star, but specifically The Devil himself, giving him the name Lucifer, which means "light-bringer." The King James translation of the Bible is bad in that it's immensely inaccurate, but good in that it's a beautiful piece of poetry in its own right, and since it had the authority of a goddamn king behind it, it quickly became a prominent Christian text and is still the preferred translation of many Christian sects to this day.

So, you know, that's pretty fucking big as claims go. There is one incredibly prominent (if woefully inaccurate) translation of the Bible where Lucifer is The Devil. Kind of hard to fight that one.

But it doesn't end there! I would argue that the most influential origin story for Christian devils, the one that has become ingrained in the cultural consciousness as THE story of the War in Heaven, is Milton's poem Paradise Lost. That's where most of the tropes we associate with The Devil and demons and Hell really come together to form the great devil mythology - well, it and Dante's The Divine Comedy, anyway. You know which name Milton chose for The Devil?

Lucifer.

Well, ok, he also calls Lucifer "Satan" with about equal frequency, but still - Lucifer is The Devil of Paradise Lost. And because of the sheer weight that both Paradise Lost and the King James Bible have in culture, Lucifer has ended up being used as The Devil in countless works since! Not bad for a translation error, right?

While the sheer number and notability of literature that uses Lucifer as The Devil is kind of argument enough for him having the best claim, I'd like to add one more argument in his favor: dramatic irony. I think what draws people to Lucifer is the meaning of his name - "the light-bringer" - and how it contrasts with his role as the king of a pit of darkness and misery. "Light-bringer" is a heroic name, the name of a character who brings hope and joy, which makes it so delicious when it turns out our "light-bringer" is an utter bastard. It's just irresistible, isn't it?

9. Mephistopheles

A good number of demon stories - arguably the majority of them - focus on mortals who make deals with demons and end up damned to Hell for doing it. We call these stories "faustian pacts," and we do that because the most famous story of this kind is the story of Faust, a scientist/alchemist who makes a deal with a devil named Mephistopheles to learn the secrets of the universe and ends up doing a lot of sinning in the process. Since Faust is such a famous and influential story, it only follows that its main devil is frequently viewed as The Devil.

...except

In most versions of Faust, Mephistopheles is not presented as The Devil within the narrative. He's a henchman, a flunkie, with one of the bigger names like Lucifer or Beelzebub pulling the strings. So while there are a number of stories (including a few versions of Faust itself) where Mephistopheles gets to be The Devil, it's far more common for him to be a devil - perhaps a prominent devil, maybe even one of the strongest and a close member of The Devil's inner circle, but rarely the one in charge.

10. Baphomet

Baphomet is a god whose name and appearance was repurposed as a demon by The Church of Satan, and so while I have to admit that is a claim to the crown, I don't think it's a great one. First, nothing about the Church of Satan's belief system is meant to be taken genuinely, with them admitting that they view Satan/Baphomet as a symbol rather than a literal supernatural being they believe in. Second, by rights Baphomet should be allowed to be Baphomet instead of being literally demonized. I honestly think it's better for Baphomet to lose this race than to win it.

11. Iblis

Demons in Islam work differently from demons in Christianity. Rather than being fallen angels, demons are wicked Djinn - a race of people made from fire and smoke rather than ash and dirt like humans. Djinn aren't quite as powerful as angels in Islam, but do have significant supernatural powers that humans lack. Like humans, Djinn have free will and can choose whether to be good or evil - and those that choose to be evil reside in Islam's version of Hell, where they are ruled by Iblis, the first Djinn to choose the wicked path and the ruler of Islam's Hell.

Unlike Christianity, there isn't really any debate on this. Iblis is, for all intents and purposes, the CANONICAL ruler of Hell, The Devil of Islam, and thus has the strongest and really ONLY claim to be The Devil of that religion.

...but, at the same time, Iblis can't really be the Christian devil, because Christianity doesn't have Djinn, and all the iconic parts of Christian demonology kind of hinge on the idea of demons as rebel angels, which demonic djinn very much aren't. So while Iblis's claim in Islam is irefutable, he doesn't have one in Christianity. Ain't that wacky?

I think it should be noted that there are more-or-less canonical texts where Iblis isn't treated as purely evil, either, including one where he actively asks for help in repenting and is turned down because, well, evil has to exist, and someone has to rule over it, and like it or not, that's Iblis's job now. It ends with Iblis wailing that he has become the greatest martyr of Islam. Which is so fucking hardcore, I love it. In Christianity, the texts where we humanized demons are non-canonical at best and deemed heresy at worst, but Islam allowed it to be more-or-less canon. They saw the coolest takes on the Devil and said "yeah we can allow that" - so much more rad than what Christianity did with them.

~

~

~

So, who do YOU think is The Devil? You know, from, like, The Bible?

[punkpandapatrixk]

💓Heartbeat Disco ☆ Timeless Tarot Guidance

Elements/Signs in this reading are calibrated to all aenergetic placements. Feel free to read as many Elements/Signs as you feel called to at this point in your spiritual evolution♡

☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Are you feeling this aenergy of a Higher Romance that’s been pouring unto Earth this year? Earth’s temperatures are finally changing and so many Destined Lovers are going to find each other in the coming decades. I hope you’re excited for that for yourself~ You might just get a heartbeat disco this year and I hope that gets you enjoying Life and Love all over again! ☆

Fated encounters? Honest romance? Love that doesn’t leave you guessing? What’s coming to you in Love within the year you’re seeing this reading?! I hope your happiness is here to stay finally~♪

☆♪°・. aenergetic companion PAC ☆♪°・.

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☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Heartbeat Disco for 🐞Fire Signs – Gold Astrologer (Simon Forman)

Page of Cups, 8 of Swords, 6 of Pentacles

This year, Fire Signs, you are going to meet very interesting people that will make your heart flutter. This isn’t just about romance but a real sense of human connection that makes you understand, finally, that good people really do exist. And you’ll be glad you never lost hope in people—at least, not entirely XD The people you’ll be encountering are either younger than you in age or they simply exude a joyful and optimistic aura. These people are going to pull you into their worlds—their worlds are very exciting. You just need to know that you, too, have a place in those worlds.

Up until now, you’ve lived under the impression that you’d never amount to anything. This was all a mind game though; perhaps your society made you believe that someone from your country or background would never be able to be where you dream to be; perhaps you were gaslit since childhood, being made to believe that you’re worthless; perhaps there were many evil whispers about your power and talents. All’s a mind game. You’re getting out of that fuck-fog; you’re seeing your true worth now and you have been magnetising your Tribe.

This year—whatever year you’re finding this reading—you’re on the fast track towards your Soul Tribe and that place you belong to. On this new land, on this new landscape, you will be sharing positive aenergies and ideas with people who are similar to you not only in character but also in dreams and ambitions. For the first time ever, you will truly know what it feels like to have a ‘family’. And this family is so much better than you could’ve ever imagined~🍀

Oracle Guidance for Fire Signs🔻❤️

🐏Aries – Priestess of Prosperity

🦁Leo – Priestess of Luxury

🎠Sagittarius – Priestess of Luck

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☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Heartbeat Disco for 🐍Earth Signs – Red Alchemist (John Dee)

3 of Cups Rx, Queen of Cups Rx, 8 of Wands

Wow, seems you’ve been through some betrayals up until this point. It could also be a feeling of being disappointed in people—people or communities you thought had your best interests. For quite a while now, I think you’ve been in a purging phase. Ridding yourself of attachments and expectations that no longer served your highest good. It seems to me this year you’re still gonna be in that phase. This year is probably your last leg of the purging process though.

This whole being isolated, being alone, keeping to your own, learning to care for your mental health, has been necessary as part of your growing up. This is integral to your character/story development. Your Higher Self (and likely your ancestors, too) wanted to shield you from outside forces—vampiric forces—that would’ve drunk from your aenergy constantly, leaving you mentally drained and exhausted.

This year could be your last year of being alone in that sense—or maybe some time beginning next year. Your new chapter of better communications and better connections with high-quality people is only beginning to unfold. It hasn’t even started yet, dang. So keep going and be expectant for what’s to come. You have high places to go and powerful/inspirational people to meet. Your glorious days are yet to come, babe~🥂

Oracle Guidance for Earth Signs🔻💚

🐂Taurus – Priestess of Ritual

🧘🏻‍♀️Virgo – Priestess of Opulence

🐐Capricorn – Priestess of Inspiration

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☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Heartbeat Disco for ⛲Air Signs – Gold Astronomer (John Dee)

Knight of Cups, 9 of Wands Rx, Knight of Wands

Have you been wishing upon a star for a healthy Love? Seems like lately there’s been a love song in your heart <3 Seems like your Higher Self is announcing the advent of someone special this year hahah Of all the Signs, Air and Water seem like they’re going to be having the hardest heartbeat disco LMAO A destined encounter is very likely to happen for Air Signs this year. I sense you’re on the trajectory of a Soul Mission. I know you’ve been having signs and synchronicities. Your Spirit Guides have been giving you premonitions~

You’re seriously coming out of a karmic loop where in the past relationships were always taxing on your emotions, and simply, difficult/confusing to navigate. You’ve done all the inner work now. Starting this year, it’s like you’ve transported yourself into a different timeline altogether and you will start meeting very important Souls throughout the next chapter of your Life. In what ways are they important? All ways! You’ll know when you meet them! The excitement in your heart will tell you what purpose each Soul is meant to serve in your Story.

Some may lead you towards your Life Purpose; some may really carry you through the storms so you get to your Life Purpose; some may work with you as part of your collective dharmic Life Purpose. The scenarios vary but the people you will begin to meet starting this year are those that will make you fall in love with Life and yourself again. For some, romance may not seem all too close this year because you’re really working on your enterprise, but that surely can come later, right? XD

Oracle Guidance for Air Signs🔻💙

👯Gemini – Priestess of Intellect

⚖️Libra – Priestess of Illumination

🏺Aquarius – Priestess of Enchantment

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☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Heartbeat Disco for 🐝Water Signs – Silver Astronomer (Galileo Galilei)

4 of Pentacles Rx, 4 of Swords Rx, 5 of Swords Rx

Ready to mingle, Water Signs? :D Y’all seem to be the peeps who are most ready to re-enter society LOL You’re the ones who have been most disciplined in your healing and transformation. I sense this is especially the case if Water is your Moon or Ascendant! And to some extent, if Water is your North Node or the NN is in a Water House. Anyway, you’ve done such a marvellous inner work all by yourself, isolated from society and some of you have probably been dealing with curses and financial misery and whatnot. You’ve been keeping your chin up tho! The time for you to get rich, mingling, and be of assistance to others is NOW!

If you’ve not been able to go out or work regularly or even hold a decent conversation with anyone, soon you’ll see that you’re coming back to your healthy self. It’s your psychology that you’ve been working so hard on fixing and healing. This year is the end of all your spiritual struggles. You’re coming into your authentic power, your authentic expression. You don’t care anymore and you won’t be easily triggered by what used to depress you so much before. You’ve won this WAR against frequencies that were trying to destroy you from the inside!

I’m actually seeing bombs raining down on whoever tried to mess with you up until recently XD All of the bad karma, all of the negative thought-forms formed against you are firing back at their generator(s). You’re safe. You’re on calm shores now. And moving forward, you’re going to be surrounded by new friends and family who are going to be so supportive as well as protective of you. Congratulations! Love is in the aethers for you! Claim it~ Aaaahh! <3<3<3 Happiness is the most potent revenge on those who wished death upon your Light!

Oracle Guidance for Water Signs🔻💛

🦀Cancer – Priestess of Healing

🦂Scorpio – Priestess of Solitude

🎏Pisces – Priestess of Love

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☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

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[the-eeveekins]

I love G-Witch's ending. While I do wish the journey had been longer, that we had gotten more time with the characters and the world, I would not change that destination. I still want it to end with Suletta saving her family at Quiet Zero.

"It's too happy, no one died!" I actually love this! Gundam has 45 years of bittersweet and occasionally downer endings. We can have one ending that is almost unambiguously a happy one. People always talk about finding non-violent solutions, about solving problems peacefully. And in a Gundam first, Suletta does that. She solves a violent situation with non-violence, and just this once, everybody lived!

"That was accomplished with bullshit space magic though!" Look, setting aside the fact that Bullshit Space Magic has been a part of Gundam since the original (and is often MORE bullshit in UC), this show is called The Witch From Mercury. If there was any Gundam series where Bullshit Space Magic saving the day and solving the problem is thematically appropriate and should not be an issue, it's this one.

"The bad guys lived and escaped jail!" I'm fine with this, especially since every good character survived too. And it's not like they didn't suffer any consequences. Miorine dissvolved the Benerit Group. Their empire is gone, along with their wealth and power. They may be free (for now), but they're definitely miserable. With Shaddiq's help, Miorine exposed the SAL's crimes, and considering the precarious position they were in previously, it's likely there was a major shake-up. The power structures in space were completely shaken up and changed, and much of it's power was transferred to Earth.

"What about Shaddiq?" Look, I definitely understand the contextual issues with Shaddiq being the only martyr. But in the show itself, Shaddiq accomplished his goals. He got to see the Benerit Group dissolved and their assets placed in the hands of Earthian companies, all without further violence. He secured the freedom of the women working for them, and importantly, they all now work for Miorine in her efforts to improve Earth and make reparations for Spacians. And as a last gift and blessing to Miorine and her new family, he took the fall for Quiet Zero while he was at it. Shaddiq may be imprisoned unlike the former BG members, but unlike them, he is a happy and satisfied man.

It's rare for the main characters in Gundam to enact massive, systemic change for the better, especially permanently. Amuro, Kamille and Judau did not change the world in any significant fashion. Their world was still mired in conflict after their reapective conflicts, to the point that Amuro dies in a later conflict and Judau gets so sick of things not changing for the better that he abandons Earth and later the solar system. Yet there is a lot of criticism that Suletta & Miorine didn’t solve all of Ad Stella's problems, that they did their part and peaced out. But their part was destroying the immediate threat of Gundams and Quiet Zero, they dismantled the Benerit Group power structure and put it in the hands of Earth and they exposed the SAL. They made huge changes to the world and they didn't stop. Miorine is still using her company to make amends for the BG's crimes and improve the lives of Earthians. Suletta has built a school on Mercury and is now building one on Earth. Even if they're not going to be fighting on the front lines, they're still fighting to make their world a better place.

That's not to say the ending is perfect. I don't think Nika should have spent 3 years in jail because of a guilty conscience and because Martin is a snitch. I don't think you should ruin the thematics of Suletta facing down and battling Quiet Zero by herself, but the part of me who loves to see giant robots fight wishes there could have been a way to involve the Demi-Barding, Pharact and Schwarzette in more action during the end. If not at QZ, then earlier in the series.

I personally believe a lot of the criticism of the ending boils down to preference, and people not preferring how G-Witch chose to end things, rather than those things being objectively bad. I think a lot of fans struggle to accept that G-Witch was trying to do something smaller, something different, and they still can't let go of wanting it to be something it never tried to be. Did it do what it wanted to do perfectly? Definitely not. It forgot what it was at points in S2 and I'd argue it actually cooked too good with it's background details, making people want more of something it never set out to do. But ultimately it was never trying to be a 50 episode war epic focused on the wider world. It was about these two girls and their families.

Suletta & Miorine's scene together in the wheat field on Earth is perhaps one of my favorite scenes in anime. Maybe in any media. I wouldn't trade that moment for anything short of their actual wedding.