#we love talking about the true nature of evil

[toastandjamie]

Hey so I wanna talk about the two distinct types of evil present in WoT, the Dark one and Shadar Logoth.

These evils are similar in that they amplify negative emotions to the point that they boil over into cruelty and violence, where they differ however is that the emotions that draw people to them are born from different places, the dark one being an internal force where as Shadar Logoth relies on external forces.

The dark one is very classic satan allegory where the emotions he preys upon are the seven deadly sins. Greed, envy, lust, pride. The people who seek out the dark one and become dark friends usually feel like they are entitled to something that they aren’t receiving, whether that’s power, money, attention, knowledge- the dark one in turn offers them a way to achieve these goals they feel they deserve but evil is a corruptive force and eventually these feelings of envy and greed grow to the point where they no longer care about who gets hurt in the process of attaining their perceived just reward. The core of the Dark Ones evil is selfishness.

Shadar Logoth by contrast is a more “sympathetic” evil, born of feelings of anxiety and fear. Shadar Logoth was born from the people of Aridhol’s fears of the Trolloks and dark friends and as that paranoia grew they lashed out inwards and destroyed themselves. The evil of Shadar Logoth doesn’t make you violent or angry, the irritability and violence we associate it with are just side affects of the long lasting stress the evil does amplify. The core of Shadar Logoths evil is distrust.

These two types of evil while they do claim to despise eachother are not mutually exclusive however as we see Padan Faine seamlessly blend his greed and pride with Mordreth’s anxiety and fear, which feed on eachother until it developed into what we see him become where he’s callous and cruel, and specifically in the way he targets Rand, he “hates” Rand because of the anxiety that was born of failing the dark one and being tortured was amplified and mixed with his already present contempt and feelings of superiority.

However we see the flaws in the evil in the characters that manage to break out of the cycles of violence that they both feed on.

Verin, though she doesn’t go in with the intention of joining the dark went in with the selfish motivation of seeking out knowledge not for the good of the world but out of curiosity and boredom. She breaks away from the corruptive evil by her selfless act of sacrificing herself to bring to light the knowledge of the black ajah to the Tower.

Mat, is an interesting case because the corruptive nature of Shadar Logoth is more obvious. We see his fear amplified and it might be easy to say that the only reason he was freed from the evil was outside intervention and while that was what finished the job of cutting out the rot we also learn that he held up surprisingly well against the daggers corruption. He was able to last as long as he did because he was willing to be vulnerable and trust Rand. He was able to suppress many of the violent urges his fear created by sheer force of will because of the fact that he knew that he COULD trust someone which is antithetical to the evil of shadar logoth.

The two evils can survive on their own but they truly thrive in tandem and that was what made Faine so powerful that both the light and dark feared him. Because he exemplified all the worst parts of humanity all the fear, distrust, greed, envy and hate all personified into one being. The one thing however the destroys them both is in the most cliche of senses love, it is trust and kindness and selflessness that both evils can not defend against.

[sarahreesbrennan]

Are all the themes in “in other lands” supposed to be a commentary on something? Or do you just like writing sex scenes between minors, age gaps, and reverse misogyny?

Genuine question.

Ohhh, my dear anon, I don't believe this is a genuine question.

But it does bring up something I've been meaning to talk about. So I'll take the bait.

Firstly. Yes, my work contains a commentary on the world around us. I wonder what I could be doing with the child soldiers being sexually active in their teens (people hook up right after battles), and the age gap relationship ending in the younger one being too mature for the elder. What could I possibly have been attempting when I said 'how absurd gender roles are, when projected onto people we haven't been accustomed by our own society to see that way'? I wasn't being subtle, that's for sure.

Secondly. Yes I do enjoy writing! I think I should, it's my life's work. Am I titillated by my own writing, no - though I think it's fine to be. The sex scenes of In Other Lands aren't especially titillating, to be honest. It is interesting to me how often people sneer at women for writing romance and sex scenes, having 'book boyfriends,' insinuating women writers fancy their own characters. Women having too much immoral fun! Whereas men clearly write about sex for high literary purposes.

… I have to say from my experience of women and men's writing, I haven't found that to be true.

I’m not in this to have an internet argument. Mostly people use bad faith takes to poke at others from the other side of a screen for kicks. But I do know some truly internalise the attitude that writing certain things is wrong, that anyone who makes mistakes must be shunned as impure, and that is a deeply Victorian and restrictive attitude that guarantees unhappiness.

I've become increasingly troubled by the very binary and extreme ways of thinking I see arising on the internet. They come naturally from people being in echo chambers, becoming hostile to differing opinions, and the age-old conundrum of wanting to be good, fearing you aren't, and making the futile effort to be free of sin. It makes me think of Tennyson, who when travelling through Ireland at the time of the Great Famine, said nobody should talk about the 'Irish distress' to him and insisted the window shades of his carriage be shut as he went from castle to castle. So he wouldn't see the bodies. But that didn't make the bodies cease to be.

In Les Mis, Victor Hugo explores why someone might steal, what that means about them and their circumstances, and who they might be - and explores why someone else is made terribly unhappy, and endangers others, through their own too rigid adherence to judgement and condemnation without pity. The story understands both Jean Valjean the thief and Javert the policeman. Javert’s way of thinking is the one that inevitably leads to tragedy.

Depiction isn't endorsement. Depiction is discussion.

Many of my loved ones have had widely varying relationships to and experience of sex (including 'none'). They've felt all different types of ways about it. If writing about them is not permissible, I close them out. I'd much rather a dialogue be open than closed.

I do understand the urge to write what seems right to others. I've been brain-poisoned that way myself. I used to worry so much about my female characters doing the wrong things, because then they'd be justly hated! Then I noted which of my writer friends had people love their female characters the most - and it was the one who wrote their female characters as screwing up massively, making rash and sometimes wrong decisions. Who wrote them as people. Because that's what people do. That's what feels true to readers.

I want my characters to feel true to readers. I want my characters to react in messy ways to imperfect situations. I love fantasy, I love wild action and I love deep thought, and I want to engage. That's what In Other Lands is about. That's even more what Long Live Evil is about. That sexy lady who sashays in to have sexy sex with the hero - what is her deal? Someone who tricks and lies to others - why are they doing that, how did they get so skilled at it? What makes one person cruelly judgemental, and another ignore all boundaries? What makes Carmen Maria Machado describe ‘fictional queer villains’ as ‘by far the most interesting characters’? What irritates people about women having a great time? What attracts us to power, to fiction, and to transgression?

I don’t know the answers to all those questions, but I know I want to explore them. And I know one more thing.

If the moral thing to do is shut people out and shut people up? Count me among the villains.

[wordsinhaled]

just musing about how niko was one of edwin's biggest unconditional supporters and gentle guides in his self-discovery of his sexuality, and i think it's so interesting that we still never saw edwin confide in her overtly about his feelings for/attraction to charles, though he easily could have at any time.

before the cat king ever shapeshifts into monty or charles to tempt edwin to realization, niko's there to tell edwin that it's okay for two boys to like each other, to let him know it's okay if he noticed monty when they first met, or if he enjoyed the idea of monty liking him; and she plainly tells him that he's completely allowed to want explicit things with another boy.

they talk about edwin's feelings and desires multiple times - he admits to her he's never kissed anyone, and even that the idea of kissing has become appealing to him. she asks him, does he want to kiss monty? does he want to kiss the cat king? but she never asks him directly, does he want to kiss charles? charles is the elephant in the room of that conversation, so to speak; the only other boy they know, the one she knows edwin is actually closer with than anyone else.

but she doesn't ask edwin about charles.

i think it's actually one way niko shows her love and care for edwin, her perceptive understanding of his boundaries, and her respect for his comfort, that she never pushes him to open up to her about this most vulnerable and newly-developing aspect of his truth—that his feelings are for charles—who is already the most important person in his life, and thus so much more life-alteringly consequential to him. even though she hasn't known edwin a long time she seems to grasp that he needs both the push and the personal space to come to his deepest realizations, even as she opens the door for him to come to them.

(i did consider for a split-second that maybe she never realizes it's charles that edwin's in love with, but i vetoed that thought immediately because... edwin just seems too deeply unsubtle for that to ring true. monty can see he's been passed over for charles. the cat king knows it immediately and asks about their 'special friendship,' and not just because he can literally read edwin's desires. crystal is going through amnesia and an identity crisis, and she still clocks that edwin and charles are like a married couple. so it only makes sense that niko can see it as well.)

plus, niko's got excellent reading comprehension, by her own admission; and she and edwin bond over both being great, astute detectives—getting to the bottom of a case is a love they share. and so i just think it's neat that between niko and edwin, the conversation about charles seems to remain deliberately unspoken even when it could easily become overt.

instead she speaks to edwin about charles in metaphors. she starts their conversation about physical intimacy and romance specifically with drawing edwin's attention to the red and blue starfish. "isn't it romantic? they're in love." they proceed to talk about monty, and about the cat king, but i doubt either she or edwin could fail to notice the color symbolism there. and when edwin tries to get scientific about it, she reminds him, "luckily, love requires no logic." and finally she gives him the red sea glass, for courage. courage to help him come to terms with what—and whom—he really wants, whoever it could be.

and in the end... edwin tells niko, "i did actually tell the boy i like that i like him." this is directly after niko tells edwin she's sorry monty turned out to be an evil spy crow and she and edwin commiserate about how things with monty didn't work out for him. and obviously, it was never the cat king edwin really liked. so, just like that, through process of elimination, edwin can only be talking about charles. and even then, they never say his name. they never have to.

i just think there's something awfully soft about how edwin's feelings for charles are first so deeply ingrained and natural to him as to be something he had to be woken to rather than something that happened to him suddenly. then once he was awake to what he felt and wanted, there's something i find lovely about the deep bond niko has with him, that she understands and honors his need to speak around his feelings for charles while holding space for him to still share them with her in his way. something about how charles is so deeply loved that it is easily understood, that he is there in the conversation without his name ever needing to be spoken.

[comicaurora]

I'm sorry that the terfs made their way onto your blog but it does feel good to see you support trans people. Thank you for that

Always.

I think, charitably, that the discourse going down on that post is an extrapolation and over-focus on one element of the point I was making: that for me, determining with certainty that I was cis was a rather fraught process. I was presented with many alternatives, but underlying their imposition on me was the oddly regressive idea that the things I liked, the principles I valued, the parts of myself I was proud of were not permitted of women. My whole life I got smacked with the background radiation that I couldn't like being strong because women aren't allowed to be stronger than men. I couldn't like being loud and boistrous because women aren't allowed to take up space. I couldn't be a math geek because women aren't smart. It was all deeply regressive misogyny from day one, but I started getting hit with it slathered in a fresh coat of paint - all those assumptions still held to be true, but now there was the out that I could do all those things if I just wasn't a woman.

Concluding that the underlying bioessentialist premise was wrong was very important. Absolutely none of those statements were true, and were only ever maintained by cultural saturation, goalpost-readjustment when they were actively disproven, and the occasional bout of lying with statistics to pretend they weren't just Shit All The Way Down. The core premise that certain things were only permitted of or possible for men was bullshit, and I didn't need to surrender the gender I liked best in order to play in the spaces I wanted to. I could simply exist the way I was already existing. I didn't need anything else.

The misinterpretation is the assumption that this being true of me means this is everybody's relationship with gender. I turned out to be cis, so for me, feeling that holding onto my assigned gender wasn't allowed was distressing - just another invocation of the same bioessentialist bullshit I'd been dealing with since the preschool playground. This is because misgendering is fundamentally denying that a person has the right to express themself the way they want. When aimed at me, it says I'm not performing traditional femininity well enough to deserve my pronouns. The same disrespect is the root of misgendering when aimed at trans people. "Perform your gender to my satisfaction or I will confiscate it."

The problem is, bioessentialism is 100% ingrained into the terf playbook, which is why, for instance, all their shitty talking points about trans athletes eventually boil down to "no woman can ever defeat a man in any contest because we are simply naturally weak and stupid and there is nothing we can do about it" and quite frankly nothing disgusts me more than the defeatist acceptance of the very lie that feminism is dedicated to overcoming. Instead of accepting that the paradigm of bioessentialism is a false dichotomy right from the jump, they embrace and weaponize it against the people whose existence proves the dichotomy is a lie. If gender essentialism is fundamentally false, then it is nobody's fucking business what anybody does with their gender. If the lines don't exist, nobody needs to enforce them. And yet there the terfs go, hunting down people whose lives are none of their business and trying to argue that they represent some great and terrible evil, some downfall of society made flesh, something that makes it totally correct and normal for them to spend so much time thinking about strangers' genitalia. They want this to be a noble crusade so badly they won't even examine what flag they're flying.

I love and support the trans people in my life and will always, always stand on the side of your right to exist, but alongside that, terf rhetoric especially disgusts and infuriates me because it is, at its heart, utter cowardice. The world told them they were weak and stupid and inferior and they fucking believed it. And now they think Fighting The Good Fight For Women means turning around and using the same paradigmatic weapon that hurt them to hurt the people whose existence outside the binary proves the weapon is a lie. They're the same shithead schoolyard bullies who made me believe my entire existence was foundationally wrong for years of my life and I will never, ever side with them or the shitty, cowardly rhetoric that contributed to the loneliest years of my life.

Figure out who you are and do it on purpose. Find the real source of the misery in your life and try fighting that instead of the other crabs in the bucket. Trans rights.

[thewriteadviceforwriters]

Villains vs. Antagonists (Guide For Writers)

Hey there, fellow writers and wonderful members of the writeblr community! 📚✍️ It's Rin here and...

Today, we're diving into a topic that's close to many writers' hearts: villains and antagonists. These characters often steal the show, driving our plots forward and giving our heroes something to push against. But here's the thing – while these terms are often used interchangeably, they're not quite the same. So, let's unpack this, shall we?

First things first, let's break down the difference between a villain and an antagonist. It's a distinction that can really elevate your storytelling game!

An antagonist is simply a character (or force) that opposes your protagonist. They're the obstacle, the challenge, the thing standing in the way of your main character achieving their goal. Here's the kicker: an antagonist doesn't have to be evil. They could be a rival love interest, a stern parent, or even nature itself.

A villain, on the other hand, is a specific type of antagonist. They're the bad guy, the evildoer, the character with malicious intent. All villains are antagonists, but not all antagonists are villains. Mind-blowing, right?

Let's look at some examples to make this clearer:

In "Romeo and Juliet," the feuding families are antagonists, but they're not villains. They oppose the protagonists' desire to be together, but they're not evil.

In "Harry Potter," Voldemort is both an antagonist and a villain. He opposes Harry (making him an antagonist) and he's also evil (making him a villain).

In "Cast Away," the island and the challenges of survival are the antagonists. There's no villain in sight!

Now that we've got that sorted, let's dive deeper into how to create these characters and use them effectively in your writing.

Creating Antagonists:

Define their opposition: What specifically does your antagonist do to oppose your protagonist? This could be physical, emotional, or ideological opposition.

Give them a reason: Why are they standing in your protagonist's way? Even if it's not justified, there should be a reason that makes sense to the antagonist.

Make them strong: Your antagonist should be a worthy opponent. They need to pose a real challenge to your protagonist to keep things interesting.

Consider their perspective: Remember, your antagonist is the hero of their own story. Try writing a scene from their point of view to understand them better.

Create contrast: Your antagonist should in some way contrast with your protagonist. This could be in values, methods, or personality.

Creating Villains:

Establish their evil: What makes your villain "bad"? Is it their actions, their beliefs, or both?

Develop their backstory: How did they become evil? A compelling villain often has a tragic or twisted history.

Give them dimensions: Pure evil can be boring. Give your villain some complexity – maybe they love their cat or have a soft spot for classical music.

Create a strong motivation: What drives your villain? Greed? Revenge? A twisted sense of justice? The stronger and more relatable the motivation, the more compelling your villain will be.

Make them smart: Your villain should be clever enough to pose a real threat. They should be able to anticipate and counter your protagonist's moves.

Now, let's talk about how to use these characters in different genres. Because let's face it, a villain in a romance novel is going to look very different from one in a fantasy epic!

In Romance: Antagonists in romance are often rivals for the affection of the love interest, or perhaps societal norms or family expectations standing in the way of true love. Villains are less common, but when they appear, they might be abusive exes or manipulative friends trying to sabotage the relationship.

Tip: In romance, make sure your antagonist's motivations are clear and relatable. We should understand why they're opposing the main relationship, even if we don't agree with their methods.

In Fantasy: Fantasy is ripe for both antagonists and villains. You might have a Dark Lord seeking to conquer the world (classic villain) or a rival magic user competing for the same goal as your protagonist (antagonist).

Tip: In fantasy, world-building is key. Make sure your antagonist or villain fits logically into the world you've created. Their powers, motivations, and methods should all make sense within the rules of your fantasy realm.

In Mystery/Thriller: In these genres, your antagonist is often the perpetrator of the crime your protagonist is trying to solve. They might not be evil (maybe they committed a crime of passion), or they could be a full-fledged villain if their crimes are particularly heinous.

Tip: In mysteries, your antagonist needs to be clever enough to challenge your detective protagonist. Leave subtle clues about their identity or motives, but make sure they're smart enough to almost get away with it.

In Literary Fiction: Here, antagonists are often more abstract. They might be societal expectations, personal flaws, or even time itself. Villains in the traditional sense are less common, but morally grey characters who oppose the protagonist are frequent.

Tip: In literary fiction, focus on the nuances of your antagonist. They should be as complex and flawed as your protagonist, with their own rich inner life.

In Sci-Fi: Science fiction offers a wide range of possibilities for antagonists and villains. You might have alien invaders, oppressive governments, or even well-meaning scientists whose creations have gone awry.

Tip: In sci-fi, make sure your antagonist or villain is consistent with the technological and social aspects of your imagined world. Their methods and motivations should make sense within the context of your sci-fi setting.

Now, let's dive into some tips to make your antagonists and villains the best they can be in your novel:

Make them believable: Whether you're writing a mustache-twirling villain or a morally grey antagonist, their actions and motivations should make sense within the context of your story and their character.

Give them a personal connection to the protagonist: The conflict becomes much more engaging when it's personal. Maybe your antagonist and protagonist used to be friends, or they're fighting over the same goal.

Show their impact: Don't just tell us your antagonist is a threat – show us the consequences of their actions. Let us see how they affect your protagonist and the world of your story.

Give them wins: Your antagonist or villain should have some successes along the way. If they're always failing, they won't seem like a credible threat.

Humanize them: Even if you're writing a truly evil villain, give them some humanizing traits. Maybe they have a pet they dote on, or a tragic backstory that explains (but doesn't excuse) their actions.

Make them adaptable: A good antagonist doesn't stick to one plan. When the protagonist foils them, they should be able to come up with new strategies.

Give them their own character arc: Your antagonist or villain should grow and change throughout the story, just like your protagonist does.

Use them to highlight your protagonist's strengths and weaknesses: Your antagonist should challenge your protagonist in ways that force them to grow and change.

Consider their presentation: How do other characters react to your antagonist? How do they present themselves to the world versus who they really are?

Don't forget about henchmen: If you're writing a villain, consider giving them some underlings. This can add depth to their character and provide more challenges for your protagonist.

Remember, whether you're crafting a dastardly villain or a complex antagonist, these characters are crucial to your story. They're the ones who push your protagonist to grow, who raise the stakes, and who often drive the plot forward.

But here's a gentle reminder: while it's important to make your antagonists and villains compelling, be mindful of the impact your writing might have. If you're dealing with heavy themes or traumatic events, handle them with care and sensitivity.

Now, I know we've covered a lot of ground here, and you might be feeling a bit overwhelmed. That's okay! Writing complex characters is a skill that develops over time. Don't be afraid to experiment, to try different approaches, and to revise and refine your antagonists and villains as you go.

One exercise I find helpful is to write a short story from your antagonist's or villain's point of view. This can help you understand their motivations better and ensure they feel like real, three-dimensional characters.

Another tip: watch movies or read books in your genre and pay special attention to how they handle antagonists and villains. What works well? What doesn't? How can you apply these lessons to your own writing?

Remember, there's no one "right" way to create these characters. What matters is that they serve your story and engage your readers. Trust your instincts, and don't be afraid to push boundaries or subvert expectations.

As you work on your antagonists and villains, keep in mind that they're not just there to make life difficult for your protagonist. They're an integral part of your story's ecosystem. They shape the plot, influence character development, and often reflect themes or ideas you're exploring in your work.

And remember, writing is a journey. Your first draft of an antagonist or villain might not be perfect, and that's okay. The beauty of writing is in the revision, in the gradual sculpting of characters until they leap off the page.

Lastly, don't forget to have fun with it! Creating antagonists and villains can be some of the most enjoyable parts of writing. Let your imagination run wild, explore the darker sides of human nature, and see where your characters take you.

I hope this deep dive into antagonists and villains has been helpful and inspiring. Remember, you've got this! Your unique voice and perspective will bring these characters to life in ways no one else can.

Happy writing! 📝💖 - Rin. T

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[callmerainman]

Alastor in a relationship with a pure hearted s/o

a/n. the relationship can be interpreted as queerplatonic or even romantic if you wish, but not sexual in any nature. hope Alastor is not ooc!

tw! canon typical violence

"cuddled up with a heart condemned, I should love you and I swear I do"

it's true that Alastor is touch averse, but this doesn't apply if it's you we're talking about.

also, we saw that Alastor dislikes physical touch only when it's someone else getting handsy with him. he can be pretty touchy if he wants to and likes to be close to you.

sneaking an arm around your waist, putting his hands on your shoulders, pecking your forehead. also, arms intertwined while walking around the city.

hand holding is more occasional, but not excluded at all.

he likes the sound of your laugh, and has a soft spot for your smile. he thinks that it suits you so well like a perfect-chosen accessory.

veeery protective. he knows you can be naïve and that Hell loves to take advantage of more innocent inhabitants.

he prefers to go with you when you have to leave the Hotel and strikes deathly smiles to anyone who dares to look at you with any kind of intention.

you're the only person who can see him drop his smile sometimes. he doesn't have to use it as a tool when you're around so there's no reason for him to always keep it. he doesn't feel vulnerable around your presence.

sometimes he comes back to the Hotel covered in blood. you don't approve his ways, and he knows, but he's just like this.

you shrug your shoulders, sigh, and then take some towels to clean him up.

"you'll end up ruining your coat and your pretty face like this"

loooves to dance with you. swing dancing specifically. maybe to the rhythm of an upbeat jazz tune in your room.

you were completely wack at dancing the Charleston, but he taught you well since he's an absolute beast at it.

you occasionally slow dance, it's a really intimate moment for you and Alastor and makes you both feel closer to each other. your favourite spot to slow dance is the forest in his room, especially at night under a clear and starry sky.

you like to drink together, he's a classy type of drunk and you make the best conversations while sharing a glass together.

sometimes, he'll start ruminating about the possibility of you redeeming yourself and leaving the Hotel.

he doesn't like ruminating, it makes him feel weird because he doesn't believe in redemption in the first place. so case closed...right?

he says to himself that even if you were to be, he would find a way to let you stay.

but he immediately tells himself that he doesn't want to force you. but he also starts to get concerned because it's not like him to contain himself and his cold heart. more ruminating, more concerned Alastor.

he's aware that he cares about you, and that you're special to him and that he feels a deep rooted love. but he never thought it would affect his evilness and now he's confused.

you like to cook for him, since you're aware that he's a huge foodie. and he loves to do the same for you! he likes to share his mom's recipes.

loves to call you "my darling"

you like to hang out at his radio tower, just listening to him intently while he hosts a program.

sometimes even asks you to join in to talk about jazz!

very occasionally sleeping together, just holding your hands with fingers intertwined.

honestly Alastor doesn't even know what love is, but he just knows that he feels it for you.

[magerightsmagefights]

I know people tend to forget Wyll a lot in this fandom (I wonder why. What Could Possibly Be Different. Can you spot the difference?/s) but I'm genuinely surprised at the lack of Durge x Wyll content. Especially if you're going Redeemed, there's that inherent flavor of "My lover cannot know the truth, I am horrible and they would hate me, they would be correct to hate me." And with Wyll it's just... so juicy, he's so pure and shining, and Durge is so filled with filth and misery that there's barely a person left underneath.

Idk, as a femme romance reader I've spent so many years reading the "love redeems" arc where a FMC plays beauty to an MMC beast, in every genre, medium, budget, etc. I'm not here to yuck anyone's yum, but beauty and the beast as a story structure has never done it for me.

until it's reversed, apparently, because Wyll as the beauty to Durge's beast needs to be injected directly into my veins like yesterday. All the other companions are good and sweet, don't get me wrong, but their reactions are coded like 'i accept you,' where Wyll to me comes off much more as 'we will heal you.' He doesn't have any funny little quips about you trying to bite him, no innuendos, no "I Will Put You Down" a la Laezel, he's just... so good, and he believes in your inherent goodness, he so easily sees "you" and "your urges" as wholly seperate entities he would step between if he could.

Speaking of which!! The coronation scene, when everyone finds out you're Bhaalspawn? I never see anyone talking about Wyll's reaction compared to other companions getting angry (even Dark Shadowheart will yell at you) because Wyll seems to be the ONLY PERSON who immediately separates you(the person he knows) from you(the person you used to be). Astarion isn't angry, he even appreciates your scheme freeing him from Cazador, but he also kinda falls into the whole "I will talk to you as if you are the exact same person who did these things, this is Your True Nature and I feel positive about it."

Wyll's reaction feels like the only one saying "You WERE that," instead of "You ARE that." It also feels like the only one that kinda-sorta acknowledges Durge's actual amnesia, because he doesn't treat this revelation like a betrayal the way the other "good" companions do. They be saying "The real evil was hiding within our ranks all along" like wym hiding? Durge didn't know either, how tf they supposed to tell you?

Wyll doesn't even blink. Once he knows what you are, his No.1 priority is reassuring YOU about it. The fact you're Bhaalspawn isn't a betrayal; it's a Horrible Burden and he's sorry you have to bear it, but there have been others like you who were good, who overcame, and your blood isn't who you are. His first instinct is to offer hope, to reassure you that there's a way out, he believes so hard that your urges are a defeatable enemy and he's ready to fight them with you.

(I also fall into the Durge And Gortash Fucked camp, and I cannot overstate the tastiness of Durge waltzing into the coronation of their ex, the Worst Man Alive, while bringing along their new boyfriend, the Best Man Alive)

Idk, I've just never engaged in a romance where I played the part of the Beast. As much as people rag on pure, princely archetypes, I don't actually see them that often. I genuinely don't remember the last time I read/saw a male lead behave like Wyll, but I've seen plenty of Astarions, Fenrises, Rhysands, etc. Romance loves a fixable MMC, but so rarely an MMC who wants to do the fixing.

Anyway. Justice for Wyll or whatever. I can only cross my fingers that future DLC will include more romance content, because we all deserve to have a Beauty for our Beast sometimes.

[chlix]

sharpest tool

bf! chan x fem! reader: chan doesn't love you like you love him. you're not planning on doing anything about it

genre: angst, suggestive (but not actually very fun or sexy)

word count: 2.9k

warnings/tags: toxic relationships/situationships, arguing, self-worth issues

a/n: this fic is inspired by "sharpest tool" off sabrina carpenter's new album! i heard it and immediately knew i wanted to write for it. i also plan on doing other songs off the album with other members but we'll see if i get to that before the album loses all relevance 💀

“What’s new with you then?” your coworker Seohyeon asks once the lunch rush dies down. You’re wiping spilled coffee off the bar and she’s pretending to reorganize the stacks by the till, but really, you’re both just trying to look busy while you recover from the last round of customers. Seohyeon has already bitched about her evil landlord and snitched on your manager for critiquing the way the new girl set up the cup display. Now, it’s your turn to overshare. Unfortunately, your life is scant of any juicy details.

“Nothing. You know I have no life outside this job,” you say.

“So not true,” she says. “What about that guy who keeps hanging around waiting for you to get off every day? How’s that going?”

You stiffen. “It’s going.”

She hums sympathetically. “That bad, huh?”

You drop your rag in the bucket of sanitizer water and take a long breath.

“It’s not bad. It’s not really anything right now.”

“You know, I mentioned how he’s always waiting for you, but I haven’t really seen him in a couple of weeks.”

“You and me both,” you mutter. Unwittingly, your hands drift to your phone in your apron pocket, hoping it’ll buzz and you’ll get a text from Chan, as if he’d sense you thinking about him and give you the attention that you’ve been craving. When you first met, the two of you had that kind of psychic connection. It was like you were of one mind. He was everything you wanted in a guy. He still is.

That’s what makes this all so difficult.

The idea of Chan using you as a warm body isn’t inherently distressing. Or, it wouldn’t have been, if he’d posed the idea initially. Maybe if he’d asked you for that up front, then you would’ve known better than to catch feelings. Or at least if you had, then you could take all the blame unto yourself for being softhearted, overly optimistic. He could be blameless. This would be easier if he was a bad person. Or maybe he is, and you just love him too much to care.

“If you want to talk about it, I’m all ears,” Seohyeon says.

“There’s not much to say. We weren’t really even dating. I think. I mean, he doesn’t owe me anything.”

Seohyeon gives you a knowing look, and it makes anything else you were planning on saying stick in your throat.

“Get well soon, girl,” she says, and turns back to the till. You swallow, pick up the bucket of dirty water, and go to dump it out in the sink in the back.

Chan does not come in at the end of your shift and wait for you. Of course not. He does text you, though.

Hey, he says. It’s the first time he’s spoken to you in a week. The casual nature of it swallows you alive.

Hey

Busy tonight?

Never for you <3

My place? 8?

It’s almost pathetic of you to keep falling for the same old trick. Can it even be called a trick if you’re neither fooled nor impressed? You always knew you were just a placeholder, filling in the gaps for when he can’t have the girls he really wants. He doesn’t have to make it so obvious, though.

Placeholder. It’s one of those thoughts that as soon as it crosses your mind, you know you’ve already lost. You’re not sure if Chan realizes that’s what he’s turned you into. You can’t really blame him. You only recently realized it yourself. You’ve been hooking up for months, you’ve been hanging out with his friends, you’ve been posting each other and having cozy nights in with long conversations that last until the early morning. He’s your baby. You’re his girl. But you’re not his girlfriend. Six missing letters and suddenly, you’re the crazy one.

You wonder if Chan knows how these periods of long silence make you feel like a cheap lay, like someone he doesn’t even know. Maybe he does, and this is all an elaborate manipulation tactic that’s working distressingly well. Maybe he doesn’t know, and you’re projecting malice onto his thoughtlessness.

It doesn’t matter either way. You know it, and you’re still going to go.

Ok <3

You put your phone away and start walking to the bus. You need to go home and get ready.

You arrive at his apartment just before eight pm. He hates it when people aren’t punctual, and you hate it when he’s upset, so here you are, shaved and showered and dressed all pretty. You’ve developed a scarcity mindset around him- you need to make sure every time he sees you is perfect because the incidents are so few and far between. You need to look irresistible, so enticing that he’ll be begging to come see you again. It’s so pathetic that you piss yourself off on a daily basis.

You fix your hair and clothes, ring his doorbell. He answers the door, all smiles and muscle tees, and it almost makes you forget that you haven’t seen him since the last full moon. It’s like a thirst that doesn’t make itself known until that first drop of water.

“Hey, baby,” he says, drawing you into his arms. He kisses you deeply, not lustful but loving and you let yourself fall into it.

“Missed you,” he says, low in your ear. He smells like aftershave, like sandalwood and pine.

“Missed you more.”

He pulls you into his apartment and closes the door behind you so he can press you up against it and kiss you again. He licks into your mouth, and you let him, bringing your own hands up to cup his face. The barest bit of his stubble tickles against your palms. His body is warm and solid against you, it makes your knees weak, makes your heart race. For the moment, you forget every grievance you’ve ever had with him. You forget how upset you were at work today, and Seohyeon’s pity, and how empty your phone has been lately. The world outside the two of you might as well not exist.

Chan’s hands slide up under your shirt, pressed against your stomach. Your gut twists.

The illusion shatters.

You pull your lips away from him.

“Chan,” you say, trying to be authoritative, but you’re breathless. He moves away from your mouth and latches onto your neck, and your body reacts without your permission, arching into the touch, but you pull your hands away and press on his chest.

“Chan, stop.”

He lets you push him, taking a step back and looking down at you with blown wide eyes.

“What’s wrong?”

“Nothing. I’m just…not feeling it.”

“Right, sorry. Didn’t mean to pounce on you. We can move to the bedroom if you want?”

“No…” That sticky feeling is building in your throat again. “I’m just not really in the mood for sex at all, right now.”

“Oh.”

“Yeah.”

Awkward silence stretches between you. He’s just looking at you, unsure how to proceed, and you want to die a little more every minute.

“I’m sorry. I shouldn’t have come. I’ll just- I’ll go-”

“No, wait!” He catches your arm as you go to turn away. “You don’t have to leave. I’m the one who’s sorry. You shouldn’t have to apologize for something like this.”

“Okay…”

He kisses your forehead again, affectionate and chaste. “I’m glad you came. I wasn’t lying about missing you, yeah? Let’s just have a chill night in.”

“Yeah?”

“Yeah. We’ll order in. It’ll be nice.”

You let out a long breath and pull him into a hug. He embraces you, and your ear ends up pressed against his chest. You can hear his heartbeat thrumming under his ear, soothing, reassuring.

Okay. Okay okay okay.

You try to have a good night, you really do. You want to be happy when you’re around him, but it’s like a switch has flipped in your head and it’s impossible to truly relax. He orders food from your favorite place without you having to even ask.

“You want your usual?” he asks.

“You still remember my usual?”

“I remember everything about you, love.”

You think about earlier, how he’d known to text you as soon as you got off work yet hadn’t made the effort to actually show up like he used to. You tell him your usual is fine and kiss him on the cheek.

When the food arrives, you curl together on the couch under blankets and put on some show as background noise. There was a drama you were watching together, but he doesn’t bring it up and neither do you. As he pulls up Netflix, you notice the title card in his Recently Watched, but you haven’t been over in so long that you know it can’t be from the last time you were together. He doesn’t pause, skipping over it completely to select another random thumbnail.

“This okay?”

You hum an affirmative and the Netflix logo appears on the screen, signaling the start of the episode. You eat your food and try to focus on how good it tastes instead of how leaden your stomach feels.

As the night wears on, you realize that he’s being cagey. He asks you questions about your life and your job, about your sister and her baby and your plans for the holidays. He’s always been a good listener, always attentive and empathetic and curious. He’s been good at getting secrets out of you as long as you’ve known him.

I’ve never told anyone this before, you would start sentences, but I feel like I can trust you.

You can, he’d respond. I’d never judge you. I care about all of you, even the parts you might not care about yourself.

Always so welcoming, so loving. It had you spilling your guts after only the third date.

I’m rambling, I’m sorry. You don’t need to hear about all my baggage.

Y/n, I want to know anything you’re willing to tell me. Communication is important in relationships. It builds strong foundations.

And yet here he is, only a few months later, dodging all your questions about where he’s been or what he’s been up to.

“How’s work?”

“It’s been alright.”

“You’re pretty busy around this time of year, aren’t you?”

Chan shrugs. “Yeah, but I’m used to it by now.”

You nod around the fork in your mouth, unsure how to continue the line of inquiry. You try again, another topic this time.

“Did you hear about that giant pile up downtown? There were like ten cars involved.”

“I haven’t been watching the news much lately.”

“Well what have you been watching?”

“I’ve kind of had other things going on. Not much time for leisure.”

“Right. You said you were busy with work.”

He doesn’t reply to this. You want to shrink into the couch cushions and coil inside one of the springs.

You eat in silence for a while, eyes flittering between the screen and his face. Once or twice, his phone will ding, and he’ll pick up and scroll through it, shoot back a quick reply. You don’t ask who’s contacting him. When he’s done, he sets his phone face down on the table, out of your reach.

When you’re both done, he takes the empty containers from you and goes to dispose them. His hair bounces as he moves, curling around his ears and the tops of his brows.

“Your hair’s getting long.”

“Is it?” He pulls at a loose curl, stretching it out in front of him critically. “Guess I should get it cut.”

“Nooo, I like it. It suits you.”

He glances at you shyly. “You think?”

“I know. You look adorable.”

“I can’t be walking around adorable. What would that do to my image?”

“Right. Mr. Tough Guy Bang Chan, who always has short hair and thick biceps. There’s a brand image to consider.”

“Exactly! I knew you’d understand.” His cheeks dimple in his smile, but it’s shaky, and it disappears as quickly as it came. “And anyway, I just don’t think…” He trails off.

“Don’t think what?”

Chan stays quiet for a while, lost in thought. You’re unsure whether or not to push, but before you can say anything else, he snaps out of it. He shakes his head as if to clear it and throws an apologetic look your way.

“Never mind. Just getting too into my head.”

Concerned, you rise from the couch and cross the room to his kitchen.

“Is everything okay?”

“Of course. Don’t worry about me.”

“Of course I worry about you. I care about you.”

Chan isn’t meeting your eyes. “Just leave it alone, y/n. It’s stupid anyway.”

“Something bothering you could never be stupid.”

“I said just leave it alone.” His voice is harsh now, face hardened in the way he does when he’s not being nice anymore. He’s putting his walls up and you don’t understand why, and it’s tearing at you, the cumulative weight of all this distance.

“Okay. Whatever then.”

You turn around and start walking back towards the couch.

“Whatever?”

The audacity to sound offended after the way he’s been treating you.

“I can’t make you talk to me. If you don’t want to tell me anything then why keep asking?”

“Don’t be dramatic. I’ve been talking to you all night.”

“No, you haven’t. You’re shutting me out.”

“Shutting you out?” He sounds genuinely confused. You stop halfway back to the living room and turn to look at him.

“Yes, that’s what I said.”

He lets out a short laugh and pushes his curly bangs away from his forehead, hands alight with anxious energy.

“Y/n I invited you over here. We’ve been talking and watching the show. I thought we were having a good night. Now I want to keep one thought to myself and I’m ‘shutting you out’?”

That same twisting in your gut starts up again.

“You’re making me sound so unreasonable.”

“I mean, can’t you see how this looks from my perspective?” He turns away from you and pinches the bridge of his nose, like he’s developing a headache. Like he’s the one being tormented. “Sometimes I feel like you and I are living in different realities.”

It’s like a dagger in your chest. All your indignation leaves you, leaking out of you and pooling at your feet in a sad little puddle of self-respect.

“Don’t say that.”

“I don’t know what else you want me to say.”

You set out of your ring of self-loathing and approach the island where he is, still turned away from him. You reach out a shaking hand and turn him to face you. When you meet his eyes, you see frustration, confusion, and helplessness.

You’re a placeholder. You know it, Seohyeon knows it, the girl he’s been texting all night knows it. It’s possible Chan doesn’t.

That’s fine. You know it, and you’re in love with him anyway.

You press your hands against his chest, leaning up so you can look right in his eyes.

“I’m sorry,” you say. “You’re right. I’ve been on edge lately; I didn’t mean it.” You smile, self-deprecating, embarrassed. “Forgive me?”

Chan lets out a long breath. He grabs your hand and kisses it, then keeps holding on to it, his grip strong and secure.

“Nothing to forgive. I’ve been all over the place too. But we’re here now, together. So let’s just relax, yeah?”

You nod. He leans down and kisses you. The twisting in your gut persists, but you don’t pull away until he does.

“Let’s go finish this episode,” he says, and goes to lead you both back to the living room.

The night feels like a failure. You can’t figure out why, but the thought of just finishing your show and then putting your coat and boots back on and leaving feels like accepting defeat. Your legs are unstable underneath you, but not in the way they were earlier, when Chan was kissing you like his life depended on it. Now, you are standing at the top of a very tall hill, fighting against gravity to remain upright on the slope.

Get well soon, girl.

You close your eyes tightly, then reach forward and grab the back of Chan’s shirt. He jolts, surprised, then turns back to you. You release his jacket as he turns and grab his hand instead, lacing your fingers together.

“Forget the show,” you say. “Take me to bed.”

His eyes widen. “Are you sure? Earlier you said-”

“I’m too in my head. You’re right. I should try to relax. I haven’t seen you in weeks.” You get on tiptoe and lean up to his ear and whisper. “You can make me feel better, right Channie?”

Chan’s fingers tighten around yours. When you lower yourself back onto your heels, he’s looking down at you with dark eyes. You push down your unease, leave it abandoned on the floor with your anger and ego and heartbreak.

“You’re sure.”

“Never surer. Unless you don’t want-”

He effectively silences you by sweeping you into his arms, lifting you up like you weigh nothing.

“Baby, you have no idea the things I want.”

You laugh, shocked at the display of strength, and wrap your arms around him as he carries you away. The last thing you see before he shuts the bedroom door is his phone on the table, vibrating with an unanswered call.

[nemesyaaa]

AND I SAID " ROMEO TAKE ME SOMEWHERE WE CAN BE ALONE."

AND MY DADDY SAID " STAY AWAY FROM JULIET. "

“ I TALKED TO YOUR DAD, GO PICK OUT A WHITE DRESS. IT'S A LOVE STORY, BABY, JUST SAY "YES. ”

🌹 it was a tragedy but you were already hooked. if you die for me, i would die for you, as he always murmurs in your ears.

romeo!jj who knelt down for you the first time he saw you in that rose garden, on one of his knee, dressed in his shining silver armor. he was a fallen prince that reached for his sinned princess.

romeo!jj who complimented your sublime, long dress, a gift from your father, but who wanted to see you without it.

romeo!jj who helped you lace up your corset, but had to refrain from touching you in front of your servants every time your breasts bounced above the cleavage.

romeo!jj who helped you undo your dress, sliding the threads through his hands, while kissing your skin every time he undid a lace.

romeo!jj who liked to irritate your father because he was young and arrogant. romeo!jj who showed up at balls where he is not invited, drinks from the cup of wine of your dad before throwing it on the ground, and sneaking among the guests to find you. you. the woman he seeks and wants. romeo!jj who kicked out all the dance partners you had, just because he was the only one who can make you dance.

romeo!jj who fighting your father with his precious sword in front of everyone, while making you dance. he was meticulous, his blade never touched you.

romeo!jj who may loose the fight but will end up finding you on your balcony later while you wait for him in the light of the moon.

romeo!jj who kissed you passionately, with the love you deserved. romeo!jj who was all dirty after a long battle, messy sweaty hair that smell victory, bruises on his pretty young face, and blood but who refused to be far away from you.

you were his juliet to whom he wrote love letters with ink stains but you loved to smell his scent in every word.

romeo!jj who was not a music lover but such a fan of hearing you play the harp late at night.

you had tried to teach him but his hands were always somewhere other than on the tiny fragile ropes.

romeo!jj who forced you to leave your prison while your parents slept to take you to have fun. you threw yourself off the balcony and he caught you in his arms. but often complained about the size of your dress. sometimes, jj fantasized about seeing his princess in silver armor.

you had tried to push him away dozens of times, but it never worked because he was stronger than you at this game. romeo!jj wanted you, and even if he had to have the world against him , it didn't matter, because he would let this world burn for his only love.

romeo!jj who fought duels with all his rivals, and who took pleasure in capturing you whenever he could. he had a big white horse and took you for rides. sometimes he dreamed of being an evil prince and kidnapping you, and locking you in a giant tower. but you were too beautiful in his eyes to be hidden from the world.

you were his juliet, the one to whom he revealed his scars, to whom he let see his weaknesses, his true nature, weak and sensitive.

you were his juliet and he agreed to cry in front of you because of his father.

you were his juliet, a sin. but he was in love. no matter how much hell tormented him, he would descend there for your beautiful eyes.

he was your romeo, and he taught you how to use the sword, one hand on your waist, and another on his weapon. romeo!jj who had engraved the initials of your name on his blade.

he made you a soldier capable of fighting, but you remained his princess who would never be able to kill anyone. but you didn't have to worry, that was his favorite part. fighting for you.

he was dressed to kill every person that pissed you, and make him jealous, and you were dressed to be his favorite pure and soft angel. and in the future, his perfect wife.

romeo!jj who knew how much your families hated each other but couldn't stay away from you for more than five minutes. romeo!jj who planned to run away with you.

romeo!jj who knelt in front of you one day, “will you marry me ?” with the most precious ring in his hand. romeo!jj who had found nothing better than to make you cry on your birthday with his surprise. romeo!jj who wanted nothing more than for you to be his.

even if your father humiliated him yesterday because a capulet would never marry a montague. that the blood of your family was superior to others. that he would never have you.

there had been another fight between the two. he never gave up, even when your father placed a blade against his throat, forcing jj to go on his knees. you begged your father to not kill him. while you cried your heart out, jj's blood stained your dress, he whispered in your ear.

“ already in tears for me? i didn't fuck you well yet. don't be a crybaby, princess. your romeo will not die tonight. ”

you wanted to hit him. but you smiled at him when he got up.

but you knew that his own father had also beaten him for this betrayal and shame that was your love for each other.

“ my father is going to kill you.” you said with a soft voice, your fingers stucked in his blonde curls, while he was on his knees, his hands on your waist covered by your big princess dress. and his eyes all over you.

“you are the only one capable of killing me. and you've already done it a million times.”

“ don't die, jj. i forbid you. you think you can conquer everything like achilles, but you will die because of your ego. you are young and i still need you."

" you trust me ? "

"my father is a monster. he won't be afraid to kill you."

" are you afraid of dying with me?"

“nothing scares me more than dying without you., jj. ”

but you had let yourself be blinded by love and happiness, you could never have known, neither you nor jj, that it was the last time you kissed his cold and bruised lips.

and the saddest part was that you died without knowing where your romeo was. you had both been consumed.

you had forgotten god, and you had been punished with jj for that.

credits to @daddldee for the dividers <33 moodboards was made by me. and i'm proud fr 😭 yes, it's inspired by love story/white horse by taylor swift, dont ask me why 😔 i dont think it's really angst but yes, both jj and reader die at the end💀

[corruptedcaps]

A Helping Hand

Maddy had always been invisible. With her thick-rimmed glasses, a penchant for sci-fi novels, and a wardrobe full of oversized sweaters, she herMiddleton High School like a shadow. She sat at the back of the classroom, her nose buried in a book, unnoticed by her peers. Although she dreamed of having more. She dreamed of Chad.

Chad was the school's star quarterback and the reigning king of the hallways. His presence was impossible to ignore. He walked with a swagger that commanded attention, his broad shoulders cutting through the sea of students with ease. But as easy on the eye he was, it wasn’t the main thing that attracted her to Chad.

Much to her own surprise she found herself unbelievably turned on by what a bully he was. She would watch as he pummelled some dorky freshmen with rapt attention and a wetness in her panties. She didn’t know why but seeing him so cruel was the hottest thing to her.

At night in the privacy of her bedroom she would touch herself as she thought about him. In her fantasizes he wasn’t alone though, she was with him, egging him on and joining in. When they had their fill he would fuck her and she would cackle with evil glee and scream out his name.

She knew it was wrong and immoral, the wicked thoughts she had, but she couldn’t deny her desires. Besides it was nothing more than a fantasy, he would never go for such a plain looking girl like her. Even if he would, she couldn’t compete with Millie.

Millie was the head cheerleader the most popular and beautiful girl in school. Despite this though she was the kindest, most generous person around. She had no idea of Chad's true nature, no clue about the darkness lurking behind his charming smile. This fact only made Maddy want him harder.

As her desire for him expanded her distain for Millie grew in equal measure. She would catch her fantasizing about bullying Millie. She imagined getting fucked hard by Chad as the cheerleader was forced to watch and cry.

Maddy resented Millie with an intensity that surprised even her. It wasn't fair that someone so sweet and kind should have Chad. He needed someone who understood his cruelty, who could match his viciousness and revel in it. Someone increasingly like Maddy.

It eventually became too much for her and she needed to do something. That’s when she turned to the dark arts. She had found a small, dimly lit magic shop on the outskirts of town, a place whispered about in the darkest corners of the internet. There, she had bought the transfer spell.

The spell had cost her every penny of her college savings, but Maddy didn't care. She had watched in fascination as the shopkeeper, an old woman with piercing eyes, explained how the spell would work. It would transfer Millie's beauty to her, leaving Millie plain and unremarkable. Maddy would finally be worthy of Chad's attention.

She couldn’t practice the spell out loud as it had a one time use so she had scribbled the spell on the palm of her hand. A series of intricate symbols and words glowed faintly in the dim light against her pale skin. Soon, she would be everything he needed, everything he deserved. And Millie? Millie would be nothing.

Maddy waited until she saw Chad and Millie alone near the bleachers after school. Gathering her courage, she walked over, her heart pounding. Millie looked up and smiled warmly.

"Hi! Can we help you?" Millie greeted.

“Shut up bitch! In a second you’ll be nothing! Worse, you’ll be worthless!” Maddy spat with venom.

“Hey nerd nobody treats my lady like they even if you are a girl.” Chad said standing up intimidatingly. Maddy felt a rush of pleasure to her pussy.

“Mmmm yesss I love your passion, I can wait for it to be me you’re protecting.” Maddy grinned manically.

“Whatever you feel I’ve done to you I’m sure we can talk about it.” Millie said trying to defuse the situation.

“What you’ve done is you’ve kept this fine specimen of a man, a king even, on a leash. He walks on egg shells around you, hiding his true bastard behaviour. Once he’s mine, he’ll be free.” Maddy smirked.

“Babe, what does she mean your true nature? Have you gone back to bullying?” Millie said taking a step away from him.

“No of course not. Listen weirdo I’m flattered but you’re not my type." Chad said turning between Millie and Maddy trying to put out multiple fires.

Maddy smirked, her fingers tingling with the anticipation of what was to come. "I’m not now, but I will be in a moment."

She glanced at her hand, ready to read the spell. Her heart sank when she saw that some of the runes were smudged, blurred by the sweat from her nervous palms. Panic set in as she realized the spell might not work as intended.

She looked back at Chad, who was smirking, and Millie, who now wore a look of concern. Time seemed to freeze as she weighed her options. If she attempted the spell and it failed, it could backfire horribly. But she was too far gone now to back down. She had to take the risk.

What Maddy couldn’t have known was that this one decision created a split in reality, creating three parallel universes....

MADISON

Looking down at the ruins she began to chant. The air around her seemed to shimmer, and a cold sweat broke out on her forehead as she hoped it would be enough.

As Maddy finished the chant, the air around her crackled with energy. Millie's eyes widened in horror as she felt a strange sensation wash over her. Maddy's lips curled into a triumphant smile, then she began to laugh, the sound echoing through the empty bleachers.

Millie’s golden hair, once thick and lustrous, started to lose its shine and volume, becoming dull and lifeless. At the same time, Maddy’s own hair transformed, growing longer, thicker, and darker with each passing second. While it didn't turn blonde it did take all of Millie's vitality and cascaded down her shoulders perfectly straight.

Maddy’s chest expanded, her previously modest figure now filling out into a curvaceous silhouette that demanded attention. Maddy’s hands immediately went to her gorgeous new tits and she rubbed them lovingly.

“I knew I’d love having your big boobs but this feels even better than I expected. Can’t wait to get that cock of yours in between.” Maddy said with a lustful look towards Chad who watched in bewilderment.

Her butt rounded and lifted, giving her a newfound confidence in her posture. Her muscles tightened around her, she felt not only strong but athletic. She knew instantly she could now do the splits with ease. She glanced down at her transformed body, her laughter growing louder.

“Mmmm thanks for the tight flexible body loser, with it I’ll be able to take your place as head cheerleader, not that you’ll be putting up much of a challenge.” Maddy said with a confident pose.

Her lips plumped, becoming fuller and more inviting, a deep, seductive red replacing their usual pale hue. They curved into a smile as she watched Millie’s lips thin and lose color.

“I knew taking everything you had would make me feel so hawt and nasty but seeing you lose it all is even better! I’m getting so horny.” She said biting her new enhanced bottom lip at Chad who now was feeling a twitch in his dick when she looked at him.

Maddy’s nails lengthened and hardened, turning into perfect, glossy tips that any girl would envy. She wiggled her fingers, admiring the transformation with glee, imagining all the wicked things she would do with them.

Finally, her skin smoothed out, removing the blemishes and acne she had instantly. It took on a flawless, porcelain quality, glowing with an inner radiance that had never been there before. Meanwhile, Millie’s skin dulled, imperfections marring her once perfect complexion.

Millie's voice trembled as she looked at Maddy, her once bright eyes now dull and filled with confusion. "What did you do to me, why do this to me?" She asked, her voice barely a whisper.

Maddy stepped closer, her new beauty radiating an air of superiority. "I took what should have been rightfully mine. You never deserved this, you never deserved him." She sneered, her voice dripping with malice.

Maddy pushed Millie off the bleachers and she fell onto the hard dirt below. Chad watched the scene unfold, frozen to the spot as Maddy loomed over Millie.

Tears welled up in Millie's eyes as she tried to crawl backwards away from her new tormentor. "He won’t accept this! I’m his girlfriend! Chad tell her!" She pleaded, her voice cracking with desperation.

“Why would he want you, a fugly loser nobody, when he could have me, the bitchy irresistible Madison? Isn’t that right babe?” Madison said turning her head to Chad and noticing with triumphant that she could see the outline of his erect cock in his pants.

Chad walked up to Madison with a smirk, his eyes gleaming with a twisted amusement. He turned to Millie. "You? My girlfriend? As if loser. No my girlfriend is a badass bitch who is as sexy as she is cruel and she can bully whoever she likes." He said, his voice cold and indifferent.

Madison laughed, a cruel, mocking sound that echoed in the empty bleachers. "See, Millie? Chad understands. He needs someone who can stand by his side and compliment his power, not some weak, pathetic little goodie goodie."

Madison turned to Chad and put her arms around his neck. “I’ve waited a long time to do this.” She said and leaned in for a kiss. Millie could only watch in horror as the cruel couple made out passionately. She knew she was beat and quietly tried to slip away.

“Ah ah ah, not so fast. I believe you’re wearing something that belongs to me!” Madison said as she broke from her kiss to scold Millie. The former beauty queen stood and took off her cheerleading outfit and dressed down to her underwear which now loosely fit her.

Madison slipped out of her previously baggy now tight clothes and eagerly put on the uniform which fit her like a glove. Millie sadly reached for the baggy clothes before Madison slapped her hand.

“Don’t even think about it bitch. This transaction is complete, now get lost.” Madison said with a superior smirk and watched as Millie scampered away.

“My god, Madison you’re incredible. Why did I ever waste time with her?” Chad said as he wrapped his arms around her from behind.

“Exactly! You have a lot of wasted time to make up to me. Now where were we?” She replied as she turned around and the two started to kiss again.

Meanwhile in an alternate universe…

AMELIA

As Maddy chanted, the air grew thick with energy, and the symbols on her hand glowed brighter. She felt a strange sensation, a warmth spreading through her body. But something was wrong. The warmth turned into an uncomfortable heat, and she realized with horror that the spell was backfiring.

Maddy felt a surge of emotions flooding her mind, emotions she hadn’t anticipated. She was overwhelmed by a profound sense of kindness, love, and empathy. It was as if every ounce of Millie’s good nature was being transferred into her. Tears welled up in Maddy’s eyes as she felt a compassion she had never known.

Meanwhile, Millie’s eyes widened in shock. She stumbled backward, clutching her chest. A dark shadow seemed to pass over her face as Maddy’s darker desires began to seep into her. Millie’s expression hardened, a cruel smile twisting her lips. Her eyes, once filled with warmth, now gleamed with a predatory hunger.

Chad went to Millie, bewildered as he put his strong arms around her shoulders. “Babe are you alright, what’s happening?” He asked.

“Mmmm I feel fucking amazing.” Millie grinned wickedly as she composed herself. She straightened her posture, her demeanour completely changing. She looked at Chad with a cold, calculating gaze.

Maddy, now filled with Millie’s inherent goodness, looked at Millie and recognized the look of contempt on her face. Maddy’s heart ached with a compassion she had never felt before. “Millie, I’m so sorry I did this to you.” She said, her voice trembling.

“Save it loser, I’ve never felt fucking better.” Millie snapped, her eyes narrowing.

“Millie, what’s gotten into you?” Chad asked confused but a little intrigued. Millie turned to him, her eyes gleaming with mischief.

“It’s not what’s gotten into me but what's gotten out. I wasted all this time caring about others and being kind to losers like this dork when I should have been ruling them like the queen I am. Queen Amelia! But what’s a queen without her king?” She smiled lustfully at Chad as they leaned in and kissed.

Maddy stepped back, her heart heavy with regret and the unexpected burden of Amelia's kindness. She knew Amelia's gaze would fall on her in a second and she shuddered to think what she would do. Although she had some idea.

However Amelia was too fast and Maddy was too slow. Amelia broke from her kiss and grabbed Maddy by her hair, yanking her head back with a sharp tug. “You pathetic little worm. You thought you could take what’s mine? You’re worthless.” She sneered, her voice cold and filled with venom.

Maddy winced in pain, tears streaming down her face. She felt helpless under Amelia's grip, the old her who cared for everyone was now completely gone. “Please, Amelia, I’m sorry.” Maddy pleaded, but her words only seemed to fuel Amelia’s lust for inflicting pain.

Amelia laughed, a chilling sound that echoed through the empty bleachers. “Sorry? Oh, I don’t think you understand, Maddy. I wasted so many years being a goodie two shoes, playing nice, when I could have been a queen bitch. So now I’m going to enjoy every second of it.”

She shoved Maddy to the ground, kicking her hard in the side. “Get up, bitch. You’re going to learn your place, and I’m going to make sure everyone knows exactly who’s in charge around here.” Amelia hissed.

Chad watched the scene unfold with a sick, twisted joy, a grin spreading across his face as Amelia continued to punish Maddy. He felt almost bad for the nerd she was wailing on, after all it was somehow because of her that he now had a girlfriend that suited his tastes to a tee.

On the other hand if Amelia now got off on bullying as much as he did than he wanted her to do as much of it as possible. The more she did, the more fun they would have fucking later.

Meanwhile in an alternate alternate universe…

CHANTELLE

Maddy's chant grew louder, the runes on her hand glowing brighter. Suddenly, a wave of energy burst forth, engulfing all three of them. For a brief moment, Maddy felt a surge of triumph. But then, everything went wrong.

Chad's body began to shimmer, his features becoming more refined, more feminine. Millie's beauty seemed to drain away, her radiant glow dimming as Chad absorbed it. But that wasn't all. Maddy felt a wrenching sensation deep within her as if something vital was being pulled out of her.

All desire to be a bad bitch was being sapped from her and flowed into Chad whose eyes widened as he received it. His already wicked desire to be cruel and evil only intensified.

"What is this?" He marveled, his voice gaining several octaves as he spoke. He watched as his muscles softened and shrunk. His broad shoulders narrowed, and his frame became more delicate. His hair, once short, flowed down past his shoulders in silky, smooth waves. Maddy watched in stunned silence as his jawline softened, losing its harsh angles, becoming more rounded and feminine.

“Mmmm whatever you’ve done to me freak I’m loving it!” He said, his voice now a bitchy purr.

His chest expanded, developing two large tits. His waist cinched inward, creating a striking hourglass figure. Chad’s once masculine hands and arms grew slender, his fingers becoming long and delicate. Long manicured nails shot out from his fingertips.

Millie stumbled back, her face pale and ordinary now, confusion and hurt in her eyes. “Chad, what’s happening?” She cried, her voice trembling.

Chad laughed, a cold, heartless sound that sent shivers down Maddy and Millie’s spine. “Oh shut it you frigid bitch! Who needs you when I can be the hot slut everyone wants.” He giggled as his skin tanned to perfection and he felt his dick shrink away into nothingness, with a perfectly sculpted pussy taking its place.

With a joyous moan the new bitch standing in front of Millie and Maddy arched her back and ran her fingers all over her new body. Maddy and Millie looked at her in stunned silence.

“What are you two unfuckable losers looking at? Haven’t you ever seen perfection before?” She snarled at them.

“Chad, we have to reverse this before it’s too late.” Millie said weakly.

“Chad? Chad is dead. I’m Chantelle and I’m feeling even nastier now as a hawt babe then I ever did as some dumb man. I assume that increased cruelness is what I stole from you is it?” Chantelle said turning to Maddy who was still speechless. Chantelle rolled her eyes and slapped Maddy across the face.

“Hey dumb bitch, I’m talking to you.” Chantelle spat.

“Y-yes. Yes that came from me. I’m so sorry, it’s just… I didn’t expect… I loved you.” Maddy said flustered.

“Awh you did this out of love for male me huh? And do you still love me?” Chantelle said mockingly.

To Maddy’s shame she still found she was enamoured with Chad’s cruelty even if she no longer desired to be bad and that he was now a she. Maddy nodded solemnly.

“Haha fucking priceless. And what about you?” Chantelle said turning to Millie with a newfound sadism glinting in her eyes. As much as Millie wanted to tell this new bitch to go to hell, she found herself unbelievably attracted to how cruel she was, just like Maddy, a side effect of the spell. She managed a nod.

“Oh isn’t this perfect, I have two little simping sluts who will do whatever I say just to please me. This is going to be delightful. Well come along then, I have a lot of work to do to become queen of this dump including fucking my ex teammates to get them under my thumb. It’s going to be so much fun.” Chantelle giggled as she turned to walk away, with Maddy and Millie following loyally behind her.

-

With three universes definitively changed forever by three new evil queens, my question for you dear reader is who did you prefer the most?

[frigidwife]

i would like to ask ur opinion on this bc u are one of maybe 5-6 iwtv blogs that i trust and i don't know if i am simply biased but i think u are very thoughtful and fair in ur analysis of iwtv. because even among self-proclaimed louis lovers/understanders, i have seen the idea that louis "could not and would not" save claudia from the fire, or choose her over armand, or that louis was also abusive to claudia if not the Most abusive, or that he "let" lestat/armand destroy her. and i agree that louis failed claudia in some ways (though saying that feels much too vague at this point) and that liking characters doesn't mean apologizing for their flaws and i understand the reflex to spotlight claudia's mistreatment as many fans are so quick to dismiss her importance. but i think people get so caught up in emphasizing claudia's tragedy that they end up falling into victim-blaming rhetoric and ironically de-legitimizing really important aspects of her character and impact. so i wanted to ask though, how do you think louis actually did fail claudia? and should we call claudia's death louis' failure?

ty for valuing my opinion 🥹 i agree w you completely people emphasize claudia's tragedy at total expense of her personality...which sucks bc i love her personality...i think louis actually primarily failed claudia in the exact way that every single parent fails their child. if you've read frankenstein it's about the inherent monstrosity of creation--inherent hubris of creating something whether it's a creature, a work of art (the novel itself!), or a child (shelley's miscarriages and her relationship with her parents haunt the novel). you create something that is a part of you and a mirror of you, you confer your expectations as naturally as breathing, even with the best of intentions, but now the creature/novel/child exists outside of you, outside of your body and your imagination, autonomous, with desires and effects you couldn't have dreamt of, and there is something terrifying and painful in that chasm even in the best of conditions. and this is more broadly true of loving anyone. and in that sense i don't think louis's turning of claudia is really more selfish than having a child ever is. it's not an aberrant or evil desire. so that's one layer.

and then the next layer is the conditions. louis cannot stop seeing claudia as his daughter, even if he calls her sister. she'll always be his daughter. and again this is an almost fundamental condition of being a parent. even if ur parents make an effort--and louis is making an effort--to see you as equals, that foundation is underlying it and can't come undone. the problem is that normally, even if maybe you're always a baby to your mom deep down, you're also functionally an adult in the real world. but claudia is an adult who is constantly belittled and condescended to and treated as a child from all corners. so she goes from louis who can't see her as her own person because he cant stop being her parent to an outside world that can't see her as her own person bc it's structured to deny children's autonomy, and girls' in particular, and especially black girls'. AND THEN the abuse. “you chose lestat over her again and again” i think people take daniel as word of god a lot even when the show has demonstrated that daniel is less than careful talking and thinking about abuse, when it comes to both louis and claudia. Louis chooses to take lestat back, can’t kill him for good, chooses to commit to armand, tells her to put up with the coven’s abuse. those are choices that hurt claudia terribly. but they also exist in the context of abuse. over two decades of debilitating destroying violence and then a new man who tracks him down and dangles his and claudia’s life over him as penalty from the jump. louis is constantly calculating risk based on what they’ve experienced and the same way claudia’s trauma drives her into the waiting arms of a cult, louis’s means he sees enduring as his strongest means of survival . and even from before that from keeping his family afloat under jim crow —performance, self sacrifice at the expense of closeness with grace and paul; using “weakness to rise”. so when louis tells claudia to endure its bc he cannot imagine a way out. which is a failure sure and something claudia can and does resent him deeply for but is entirely and categorically different from what lestat and armand inflict on her . his “choosing armand” is never really about him liking armand particularly it’s him deciding he knows what’s best for both of them—again seeing claudia as his child—to the extent that he won’t even tell her about armand knowing their secret.

this isn’t selfless it’s foolish it’s prideful but the story very clearly is not Louis picking a man over his daughter. (claudia calls out what he wants in a companion in 2.01—“if he can’t call you pretty and take you ballroom dancing” Armand won’t even light his cigarette). i think people have constructed this narrative which funnily enough is the exact same one armand uses to gaslight louis with in 2.05 ("you threw around her name for cover, but you always went back to talking about him" or something like that). Which is really obviously a victim blaming narrative lol like the amount of joke posts that r essentially saying Maybe if louis wasn’t so cock hungry his daughter wouldn’t be dead. Okay?? i think its absolutely fucking insane to call her death louis's particular failure when she was lynched. by armand

and you can tell by episode 6 claudia has realized louis isn’t picking armand over her. her frustration with him is with this martyrdom that she never asked for or wanted, that clearly isn’t “you and me” either. Like you cannot tell me she believes “imagine me without the burden of her” means louis is happy and relieved to see her go Bc she’s not stupid and she’s seen him happy before. If she really thought he meant something like that she wouldn’t behave towards him as she does in the rest of ep 6 and doing the trial. completely ignoring her personality

there is also a hopefully really small subset of people who think pointing out how patriarchy works Is gender essentialism who posit louis as the primary perpetrator of misogynoir in order to justify their fundamental queer human right to call lestat femme . and then expect pats on the back for acknowledging #intersectionality . which is. absurd.

[selfloverrrrrr]

Can you do Sukuna? I want to request him having a favorite maid who gets special privileges, but she has to fuck him in order for those privileges to remain special. For example, she gets better pay than the other maids who work for him. And then he falls in love with her later, making her his wife.

The Bonding

Warning: smut, heavy smut, unprotected sex, teasing, nipple play, edging....

( All characters are aged up/18+)

Masterlist

Minors Do Not Interact

Read the warnings carefully....if you don't like my stories block me not report

Sukuna was a wealthy and powerful man from heian era. He's well known for his cruel and calculating nature. He employed many maids to tend to his large estate, but there was one in particular who held a special place. I received special privileges, such as better pay and more comfortable living conditions, but these privileges came at a price.

In order to keep my special status, I was required to submit to Sukuna's sexual desires. He would often summon me to his chambers late at night, demanding me to service him in any way he wants. At first, I was repulsed by the idea of sleeping with him, but over time I grew to accept it as a necessary evil. I told myself that as long as I continue to please Sukuna, I would be able to keep my privileged position.

As the months passed, however, something unexpected happened. Sukuna began to develop genuine feelings for me. He found himself thinking about me all the time, and he grew to cherish the time they spent together. He even started to treat me with kindness and respect, rather than just as a sexual object.

One day, Sukuna decided to make his feelings known. He called me to his private room. I thought it was just like the other days. But when we were alone he took my hand and looked deep into my eyes, telling me how much he loved and valued me. I was shocked by the sudden declaration. but I loved him too. I never told it to anyone but I do love him too much. I couldn't deny the feelings that had been growing inside me as well. I told Sukuna that she loved him too.

He sits on the bed and I was sitting on his lap. We broke the kiss. Sukuna looked at me "should I?" He asked. "Please" I whispered. He pushed me on the bed and climbed over me. I was laying on the bed and Sukuna was laying on me. He looked at me and asked " do you want it?". "Yes..." I whispered. He smirked " Say it clearly please ". "Yes... yes please" I said. "Please what?" He asked still with that smirk on his face. " Please fuck me already..... I want you to fuck me.... please" I begged him and he gave me back a smirk and took off my top and bra. He looked at me and started sucking my boobs, squeezing it, playing with it as he want. I was a moaning mess. I took off his shirt. He got up and unbuckled his pant and underwear. His huge dick sprang out. I was starting at it without even noticing. My lust was increasing just seeing it. He smirked at me. He took off my bottoms and once again lay on top of me. He kissed me roughly. He lined himself with my entrance. Then smirk at me and pushed his whole length slowly. I scremed when it was fully inside. " it's okey... it's fine." He said and kissed my forehead. He started thursting in and out.

I was moaning his name. He was giving me pleasure. The pleasure I was hunting from months. His thurst became harder and harder. Faster and faster. One of his hand reached for my clit. Rubbing it. My legs were shaking. I was screaming, moaning with pleasure. In moment I came. Finally. Finally got my satisfaction. With a few more thursts he came inside me. He threw himself beside me.

From that day on, Sukuna and me were inseparable. We spent our days exploring the estate and our nights making love in Sukuna's luxurious bed. We would often engage in dirty talk and playful spanking, driving each other wild with desire.

As husband and wife, Sukuna and me were happier than we had ever been. We had found true love in each other's arms, and we knew that nothing would ever tear us apart. And as we lay in each other's arms, we knew that we would never again have to worry about the special privileges that I had once fought so hard to keep. We had become a true couple, and we would face the challenges of our lives together, hand in hand.

Give me your requests guys...

I love when you give me your requests 💕

[genericpuff]

hi, i know the episode came out weeks ago, but i wanted to talk about ep 277 and your essay on it. i thought it was very well thought out and had brought up lots of concerns abt apollo's other victims and the harm persephone caused to others that i just. hadn't really thought about myself because honestly this webcomic is a BLUR to me LOL. thank you for writing these insights and putting them online for others to read ! i think you manage to keep a respectful distance to rachel [1/]

Yeah, regarding how the SA was handled...

I think Rachel did exactly as well as anyone might have expected someone like her to write a plotline like that.

Honestly if Rachel really did want to do the arrow thing, I think it would have worked WAY better if she had used the arrow of hate. First of all, because it had already been established back in S2 when it was shot at him by Psyche, but ALSO because making it an arrow of love confirmed that Eros literally did what Apollo asked despite the fact that he's Persephone's best friend and should have been more suspicious of what he was going to use it for. Why not just do a bait & switch where Apollo is under the impression that it's an arrow of love but Persephone trusts in her friend and pieces it together that it's probably an arrow of hate? It would also payoff the whole "news crew being nearby" thing (as well as all the other gods that just randomly showed up) because uh oh now they all see his true nature and he can't hide behind his lies anymore!

After all, as I mentioned in my previous post about this (the one I believe you're referring to) it's not like there wasn't already foreshadowing that Apollo was going to fall on his own sword the way of Mr Waternoose from Monster's Inc, he was already showing signs of cracking under the guilt that he was feeling towards how he treated Persephone/Eris/Hermes/etc. so why did it have to be Persephone taking a massive risk by sticking him with an arrow of love that still doesn't fully explain why he would even suddenly be a changed man? Loads of people like Apollo think they're in love / define their infatuation as love so I don't see how an arrow of love would suddenly make him empathetic to her pain. Especially when, again, he still begs her not to make him confess, so the guilt he's feeling is still completely empty and unmotivated.

I will leave this with one final thing that I saw the other day that very much reminded me of the Apollo SA plotline and I think it rings very true for the misdirected conclusion of the plot itself:

One of the biggest issues of the Apollo SA plotline, at least in my opinion, is that it never really gets to the root of why people like Apollo exist. There absolutely were strong foundations for this - he's the son of a guy who's known for being a serial cheater, he's popular and egotistical and is used to women wanting him, etc. - but all of those foundations kind of fell to the wayside in favor of turning Apollo into just another boogeyman, especially to lift Hades up as a "good man" by comparison (when Hades himself also falls on this spectrum). But many people like Apollo aren't just random guys in an alleyway or conspiring with some "higher power" that's manipulating them, they're men who fundamentally do not understand consent and assault on the varying spectrums in which it exists from "SA just exists, oh well" passiveness to "I'm an actual monster who gets pleasure out of victimizing women" aggressiveness. I think there's a lot to discuss about how people like Apollo exist WITHOUT sympathizing with them, but LO manages to do neither - not only does it give us uncomfortable and unnecessary looks into the rapist's POV more than we get the victims, but it does it in a way that doesn't actually address the issue of how people like Apollo come to be, it's just "Apollo is the big evil boogeyman who raped Persephone". Not only does it not actually put enough focus on the victims, but it reduces the societal and cultural complexities of where Apollo's brand of egotistical entitlement comes from to just "some guys just be evil like that". Guys like Apollo don't just come out of the womb like that, they're often shaped into what they are by a society that both excuses them for awful behavior towards girls ("Boys will be boys!") and enables - if not outright encourages - them to objectify women as trophies that they're entitled to. Even the seemingly innocent and sentimental practice of "giving away a bride" at a wedding is rooted in these patriarchal systems, with the belief that a woman first "belongs" to her father before being "given to" her husband.

It's the part of feminism that often gets overlooked - it's not just about uplifting female voices and helping survivors speak up about and heal from SA, it's also about deconstructing and challenging the patriarchal systems that lead to SA victims being created in the first place. Sure, Apollo got sentenced to building temples in the Mortal Realm, but what is that actually doing to address the bigger topic of how men like him come to exist in the first place? Especially when it was also treated as a good thing for TGOEM to be disbanded, instead of, idk... reworking it into a women's support group for survivors like Persephone?

IDK, it's a very complicated subject that you can approach from a million different angles, I don't think that my criticizing it should outweigh the opinions of those who were satisfied with the punishment that was given to Apollo (my saying the SA plotline sucked doesn't mean you're not allowed to find your own validation in it) but I do think that, at best, Rachel ended the SA plotline the only way she could because she herself is just not equipped to tackle such broad subjects that require a lot more education, experience, and nuance than what she's capable of writing. There are definitely 1298423108 better ways that plotline could have been resolved, but not with Rachel Smythe at the helm.

And that's my many cents on that.

[churrochamp]

Let's talk about Merlin and lying. This isn't meant to be character bashing, but it might not be the most generous take either.

In All About Love, bel hooks writes: "In our culture privacy is often confused with secrecy. Open, honest, truth-telling individuals value privacy. We all need spaces where we can be alone with thoughts and feelings - where we can experience healthy psychological autonomy and can choose to share when we want to. Keeping secrets is usually about power, about hiding and concealing information."

(hooks has a lot more to say about the reasons why people lie in relationships, and our need for love and difficulty with love in general. Book is fantastic, highly recommend.)

The question is: was Merlin's years of lying about his magic, and all that he did in Arthur's defence, justified? Why'd he do it?

I've been trying to think through how the fandom generally interprets Merlin's character and choices in the show, and how this character makes me feel. It's really complicated and interesting (to me at least lol).

I often see the claim that Merlin lied about his magic for years out of fear for his safety, but it's never fully satisfied me as an explanation. Given that as a fandom we pretty much all agree that magic can be a metaphor for queerness, there's a natural alignment with the claim that queer people aren't ever obligated to come out, for any reason, but it's often said, especially if their physical safety might be jeopardized (which I agree with btw).

And it's true, given Camelot's genocidal laws, Merlin's life could be threatened if he revealed himself as a sorcerer. On the other hand, Merlin is basically all-powerful in the universe of the show, and I don't think the rest of Camelot could do much to him if he were prepared.

What's more convincing to me is the claim that Merlin's afraid of the potential emotional harm that could come from revealing himself. What if Arthur hates and rejects him? That's something his magic can't defend against.

I think Merlin's heart is in the right place. He believes all his work is done in service of Arthur and their joint destiny, which is the good of Albion. And he does save Arthur's life a whole dang lot.

The issue is, probably a good half of the show's major conflicts directly relate to Merlin's actions and inactions - usually, lies he's telling (Morgana, Mordred...). Conflicts that maybe could have been resolved with much less harm if Merlin, who often is the only one with crucial knowledge, had made different choices (and Gaius too oh my GOD). Dude is shooting himself in the foot. Merlin's lying isn't just about personal privacy and autonomy. It becomes a fundamental part, baked into his relationship with Arthur and his role in their prophecy (and the governing of a kingdom jeez).

In addition to plot SNAFUs, the way I see it, Merlin's lying has two major consequences for him:

His most important relationship, with Arthur, is deeply flawed and incomplete.

Merlin remains the most important, influential character in the show. His energies go to trying to keep the power for himself.

As bel hooks argues, there can't be true intimacy in a relationship if one or both parties withhold and deceive the other. This could look like lying to manipulate the other party to get what you want, or even lying to make the relationship go easier. Relationships built on untruth aren't fair to all parties - the deceived person can't make informed choices in the relationship, and the deceiving person robs themselves of the opportunity to be fully supported and loved for who they are. When Merlin lies to Arthur about magic, when he tells Arthur that magic is evil, even if it is for "his sake," he's taking choice away from Arthur often at crucial moments, for both their relationship and the well-being of the kingdom. Without knowledge of the truth about magic, and about Merlin, Arthur can't make fully informed choices as a king or a partner. Things go to shit, and it's terribly lonely for both of them, even if only one of them know about it. Merlin's reason for this might be fear of pain. However, when you don't give someone the opportunity to love or reject you for who you are, how can you feel held by that person? You deprive yourself of the chance.

Another reason to lie can be desire for power and control. By keeping the secret of his magic and their destiny, Merlin keeps all the responsibility and power to himself. This is the premise of the show: Merlin is the only person who can turn Arthur into a good king, save magic, secure Albion's future well-being--and he must do it all secretly. The show jokes about it, the characters joke about it. This premise is a kind of power-fantasy - being the secret power working from the shadows, using all your wit and guile to succeed despite the secrecy, risking life and limb for no recognition, but having the satisfaction of knowing that you are instrumental. It's very James Bond. Without the secrecy, what would be the point of Merlin? The secrecy might be part of what makes Merlin feel special, worthwhile.

As the years go by, the lies compound and the relationship becomes inseparable from them. The most significant on a personal level, probably Merlin's poisoning Morgana, Mordred, Ygraine, and Sophia.

Merlin can't control all the factors, he can't do it all by himself, he can't make Arthur into the ideal king and boyfriend of destiny, and from the start it's a doomed endeavour. Luckily Arthur loves him all on his own, and does get to see him at the very end, and they'll get a second chance.

So in summary, why does Merlin lie about his magic and his actions for so long? Fear, love, and power, is what I suggest. And ultimately it leads him and Arthur to ruin. It's not exactly exemplary behaviour, but it is very very human.

[mire1li]

You tried to steal my daughter so I'm stealing your mother! part 2

So I actually wasn't planning on a part 2 so soon but here it is LMAO Part 1!

Lucifer was… well, wallowing in pity, to say the least. In the hotel, of course, since he was trying guilt-trip Alastor into letting him spend time with you.

Alastor was obviously just going about his business, whilst Charlie was trying to comfort Lucifer.

It was pretty clear he was being a bit over-dramatic but he does it for one reason: to be able to spend time with you, without Alastor.

Ever since Lucifer told Al about you ‘sneaking out’, Alastor hasn’t left your side for a moment, until now, that is.

He was keeping an eye on Lucifer whilst he sent you to represent him in the Overlords meeting that day, since he was clearly unable to go.

Lucifer, sitting in a corner of the lobby, was now making sobbing noises, which only seemed to irritate Alastor (rightfully so)

“Alright, since I am obligated to… remove trash from the hotel premises, leave” Alastor turned to Lucifer and pointed at the door, to which the demon gasped in an over dramatic way.

“Trash?! Perhaps you should see yourself out then?”

Alastor glared at him, slightly pointing his microphone at him before sighing “I’m quite sure Mother would love to know about you insulting her son~”

“Now hold on, you cannot do that! You started this!”

“Yes and it matters not who began it, but who ended it”

“You’re evil!”

“Yes, thank you!” Alastor replied happily, turning back to what he was doing beforehand.

“Hey, we weren’t done talking!”

“Weren’t we?”

“NO?”

“That’s unfortunate, I just so happen to be very busy”

“You’re literally just standing there”

“Exactly! I’m being productive by not wailing like a child!”

“I’m not-! Ok so maybe I was doing that, but I wouldn’t have to if you just let me be around [Name]!”

“Not in a million years”

“Well, actually-“

“Don’t.”

And then you just so happened to return, in time to see the rest of their little argument! So fun.

At this point, Charlie had given up and left to talk with Angel and Husk at the hotel bar.

“What are you two arguing about this time?” You asked the two demons, who looked quite shocked to see you back so soon.

“Ah, Mother! Is the meeting over?”

“It is! It was quite boring, I must say. I have no idea how you do it, darling”

"Yes, can you believe I have to suffer through that each time?"

"It seems like such a hassle, you poor soul" Lucifer chimed in, naturally, rolling his eyes as he said this.

"Thank you for the compassion."

"Stop that, you two! I don't feel like getting caught in the crossfire of yet another one of your fights" you sighed, moving Alastor away from Lucifer. Sometimes you wondered how Alastor hasn't been murdered by him yet. Clearly some sort of miracle!

"Oh, but Mother! I cannot possibly allow this… scoundrel to take up much of your time!"

"Scoundrel?!" Lucifer screeched, it would be safe to assume he preferred 'Little bird' over 'scoundrel'… but it's not like Alastor cared much! He'd just go ahead and switch between the two.

"Yes, 'scoundrel'! When was the last time you were honest about something?"

"Earlier today before [Name] returned!"

"Are you referring to that insult?"

"Perhaps I am"

"You see, Mother? A true rat, right here! He admitted to insulting me!"

"You started it first though!"

You sighed again, joining Charlie, Angel and Husk at the bar. By this point, it's just the area everyone goes to when Lucifer and Alastor are arguing in the hotel.

"Don't ya deal with that on most days?" Angel asked, turning to you as you sat down on one of the stools.

"Surely it gets exhausting?" he added, surpringly pushing away a shot of some kind of alcohol that he was offered.

"Yes, however… I suppose I have Charlie to help. Although, she tends to be a bit unsuccessful…"

"I'm trying! They're like… like… ah! I don't know but they're something!"

You turned back to look at the two, the sight before you… less than pleasant: Alastor and Lucifer were fighting… kind of. They were essentially trying to push the other out the hotel… it wasn't necessarily too violent, rather childish instead.

"Absolute morons… hey, no! I'll be taking that back!" Angel shouted as Husk took the shot away from him.

"Absolutely not"

"Oh come on!"

"You shouldn't be drinking in the first place!" Charlie, of course, interrupted them, pointing a finger at Angel as he was now trying to reach over the counter.

"Then why offer it to me?!"

"To test your morale, of course" Husk poured out the contents of the shot glass and placed it somewhere off to the side.

"No! What a waste!" Angel Dust whined, now leaning on the counter in defeat, looking at the empty shot glass.

"UNLOCK THIS DOOR RIGHT THIS INSTANT!" Alastor could be heard, faintly shouting from outside the hotel. Somehow, Lucifer had managed to lock Al out. You wondered what would come of this predicament between them, though you were sure it would be nothing good.

You walked over to Lucifer "Luci-"

"Dear! Let's ignore this whole thing, yeah?" He grinned, putting his arm around your shoulder and side-hugging you, beginning to walk in the opposite direction from the front door.

"Okay wait, wait, wait!" You didn't allow him to simply walk away from the situation at hand. Him simply looking at you with the most innocent expression ever!

"I am not going to ignore that you locked my child out of the hotel!" your tone amused, as you exclaimed, turning back to face the door. Certainly, you weren't mad, it was quite a… silly situation, to say the least.

"It's fine! I'm sure he's capable enough demon to get back in"

"Yes, you would be correct about that" Alastor grinned, appearing right in between the two of you, lightly swatting Lucifer away from himself before dusting off himself (supposedly from Lucifer).

Lucifer, absolutely flabbergasted, looked at the entrance, the door being wide open and Charlie awkwardly waving, with a sheepish smile on her face.

"Charlie!"

"Yeees?"

"You let him in?!" Lucifer cried out, putting his hand on his chest. "My own child betrayed me!"

"I didn't betray you! … Kind of"

"Yeah! Kind of!"

"Sorry! Aha..ha…" she chuckled, awkwardly side-stepping back to her room.

You waved to her as she entered the hallway and disappeared from sight. Having almost forgotten about Angel and Husk, you could see Angel recovering from a laughing fit, whilst Husk sat there amused, cleaning the shot glass from earlier.

"Well then, little bird, I would say it's time for you to leave!"

"I beg to differ! I haven't been here that long yet!"

"Certainly long enough for me" Alastor shrugged, pushing Lucifer towards the exit.

"Uhh, no, I'm not leaving that easily this time!"

"Ah, so irritating" Alastor sighed, taking your hand and leading you away from him again.

"I believe I'll be sticking around until I'm too busy with my duties to do so! Out of spite, of course~"

Okay… why don't you two calm down? Oh! I know! Why don't we spend some time together painting each others nails!"

"What?"

"Mother, I refuse-"

"It wasn't a request!"

@montis-posts @sleepdeprived-barelyalive here you go!

[miles-edgewords]

short rant about stanford pines because i need to talk about him

(content warning: mentions of abuse/cults/etc.)

ford is not evil, and i will not be convinced otherwise. he definitely struggles with emotional empathy in high-stress situations, but he’s got plenty of cognitive empathy when he’s given time to process. journal 3 made it extremely clear that he felt remorse for his actions, and ultimately he ended up admitting that stanley was the hero in the end. obviously feeling remorse ≠ earning forgiveness, but by the end of the book he’s very clearly taking steps to make amends for his mistakes and doesn’t expect forgiveness in return.

a lot of the shit ford did was also during the time he was being heavily manipulated by bill. again, this doesn’t excuse anything, but you have to remember that bill is so good at manipulation that he was one of the most feared entities in the multiverse for an enormous amount of time. bill used tactics commonly used by abusers and cult leaders to make their victims easier to manipulate (ie. enforcing severe sleep deprivation, waiting until the victim is at their lowest to make a move, isolation, love-bombing, etc.) and even when ford finally discovered the true nature of his “muse” he was effectively still being manipulated. during his 30-year dimension travels he was so worried about being used again that he agreed to have a metal plate surgically installed in his head and was still devoting 100% of his time and energy to bill—he just saw him in a negative light now instead of a positive one. again, bill’s manipulation doesn’t mean ford is exempt from accountability, but it’s worth keeping in mind.

another thing i’d like to mention is ford and stan’s parents. we don’t see that much of them, but between what we see and what’s implied we know that their father was pretty much the pinnacle of toxic masculinity. ford was raised believing that the only way he could be respected, not to mention loved, was by keeping his flaws to himself and strengthening his redeeming qualities. ford loved his research, yes— but it was also the only thing he could let himself focus on. without his assets, he was nothing (or so he believed).

ford is, at heart, someone who desperately wants to be known and loved. it took him a long time to realize that the solution to that was not awards or fame or glory, despite what he’d been led to think. it wasn’t by being the smartest kid in the classroom, or the toughest guy in the interdimensional battlefield. the best way to feel fulfilled, as he would eventually discover, is by being with people who love and trust him, and loving and trusting them in return. and he got there. bit by bit, he got there.