#what basis is this off of

[poorly-drawn-mdzs]

Lan Wangji Goes To Lotus Pier AU: Part 1: Dread on Arrival

(Part 2)

[wigglybunfish]

Been rereading Little Women recently... or technically, properly reading it for the first time. The last time I touched this book was when I was ten, and the book I touched was a shortened chinese edition (or was it just the first half? anyway) Here are the sisters in 21 century post covid and I think Beth would've loved the groundbreaking invention that is the Hoodie

[midnightmah07]

MERMAID X PIRATE AU EVERYONE🗣️🗣️🗣️🗣️🗣️🗣️

I gotta say I'm really proud of Daisy's design HOWEVER I am still unsure about the color of the blue fabric that covers her back and a good part of her front, idk if I'll keep it in the future or nah, but for now it's what I have lol

[beelikesbirds]

GOD they really said “how thick can we lay on the weird courtroom flirting when phoenix and edgeworth face off again?” and went with AS THICK AS HUMANLY POSSIBLE. JESUS CHRIST.

like i understand it’s hard for you guys to be normal about this but i feel there are some. important stakes here?? like multiple lives maybe??? no???? ok you do you i guess

[go-see-a-starwar]

The Chosen One has taken over the Empire State Building [x]

[aliencatart]

so the story goes....

seriously such an amazing series and i'm going to be missing these kings very dearly

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[pepperf]

There are so many things to be annoyed about the TUA s4 debacle, and I am exploring every one of them. This is not a particularly joyful thing for me, I don't run on spite, but I guess I just need to work my way through this.

TODAY'S ANNOYANCE! Read at your own peril! Dead dove, do not enter, I'm venting about both fandom's and Five's attitudes towards Lila.

I remember how much vitriol and pearl-clutching there was about Lila after season 2. Fandom at large HATED her: she was manipulative, she lied, she drugged Diego, she tried to kill them all, blah blah blah, god it was like people had never watched TV before.

This shifted to a somewhat grudging acceptance after season 3, "Well she's going to be a mum so maybe her claws have been clipped - but OH NO SHE'S STILL MANIPULATIVE, SHE PUNCHES FIVE AND FAKE-DRINKS AND EATS SUSHI?!" (If it's bad for babies, apparently someone forgot to inform the entire nation of Japan).

But now - now that Five "loves"* her, now she's been portrayed as a saccharine shadow of her glorious self, a living mannequin for your favourite blorbo to fuck - NOW you like her? Go fuck yourselves.

If you can't handle Lila at her most chaotic and weird and destructive and terrible, you don't deserve her. Let's be real, it's not about Lila at all. It's not about the character we've seen for the past two seasons. You don't want that Lila, you want some kind of Stepford wife to make Five happy. Which, hey, was apparently what he wanted, too!

For the record, and to stave off some of the flames I may be provoking, I think this version of Five is equally bullshit and feels like they twisted the character to fit the plot they wanted, rather than following what he'd been like previously. I mean, I do think he has control issues, he's forever telling people what to do, but he's not, in general, an emotionally-stunted manchild, and he's definitely better than this.

*Tell me, gentle readers, is it true love to lie to someone for six months about something that you know is vitally important to them, and then claim you know what's best for them, and then fucking sulk about it when they turn you down, or is that being an emotionally-stunted manchild with control issues? And some people think that is the height of romance! Are you on crack? Are you in a cult? Knock three times if you need help!

[mikkeneko]

This is just my own interpretation, and I very much do not say that other reads are wrong or that people shouldn't write romantic/sexual qijiu fic, which I've read plenty of and is great, but

I think it's also valid to read Yue Qingyuan and Shen Jiu's relationship as being neither romantic nor sexual

they are still 100% each other's most precious person but in an entirely platonic way. This read to me mostly comes from the fact that their bond -- which was so strong that the splintering of it kicked off a sequence of events that led to the downfall of their sect and arguably to the end of the world -- formed in their childhood on the streets, before either of them had gone through puberty. And, critically, although they met again when they became teenagers and then adults, their relationship never advanced in any kind of positive direction after that.

I don't think Shen Qingqiu was Yue Qingyuan's white moonlight, or the one he got away. I think he was the one he couldn't save, and the inability to save him hollowed Yue Qingyuan out. It was a wound that was inflicted early enough that it took up half his world, and only grew as he did. I think you don't have to be romantically or sexually interested in someone to love them enough to be willing to die for them.

I think you can get a valid read of the situation that Yue Qi and Shen Jiu's relationship was never romantic, let alone sexual.

[adelrambles]

Tips on Writing Bishop

I've been asked a couple times for advice on how to write a good (03-style) Bishop, and I'm well-aware he can be a bit tough to get a grasp on. As someone who's studied him specifically to learn how to write him as accurately as possible, I figured I'd compile some thoughts in case it'd be helpful to anyone else. I know a lot of Rise takes on him are basing off the 03 version, so maybe this could help generate ideas, too. SO!

Big Overall Points!

At the core of EVERYTHING Bishop does are two primary motivations. The first: the protection of the earth. What this means to him can get tricky, because it doesn't necessarily mean protecting the people, at least not all of them. But it will be better understood alongside the other:

The second: The protection of his sense of safety. Bishop has been deeply traumatized, and everything he does is born of a want to avoid that pain ever again. In his mind, earth is a safe area, a controllable factor, and anything outside it is a danger that must be eliminated. This is why he will still be willing to put himself and other people on the line in service of this; any sacrifice is worth the greater goal. (It's worth noting, Bishop will claim the first as his motivation freely, but is likely not consciously aware of the second.)

Bishop deals in Big Picture ONLY. Another reason Bishop will willingly throw away anything, including the lives of the people he claims to protect, is that he seems incapable of understanding things on a small, individual basis.

Bishop is a cold personality. He does not have strong displays of emotion. He does emote, but for the most part it's muted, so I recommend using emotional bursts very sparingly. (In my own writing, as an example, I try to limit my use of exclamation marks in his dialogue as much as possible.)

At his core, Bishop is afraid, and his response to fear is aggression. This also makes it particularly difficult to talk him down, if he's put in an emotional state. His response to not being in control is often violent retaliation.

With those basic tenants understood, let's move next to some major personality traits:

Bishop is a controlling personality. This is a direct result of his trauma response. Things that can be controlled are safe, therefore he must control everything. If something cannot be controlled, it's a threat that must be eliminated. If he doesn't know why something happened, he becomes angry (including even when it benefits him.)

Bishop is very low-empathy. When writing him, I try to keep in mind that he cannot put himself in the perspective of others. (Or if he can, he doesn't care to.)

Bishop is a sadist. He gets personal enjoyment from hurting others.

Bishop likes fighting, but only when he's winning. He will quickly leave if he can't see a guaranteed victory.

Bishop is paranoid. This is probably self-evident, but it's the reason he's often so well-prepared even when things don't go to plan.

Bishop genuinely seems to enjoy science. He's shown to be far more lenient with scientist characters than anyone else, and he seems to involve himself in his scientists' projects to a degree. Enough to, at the very least, understand their work. (Given he was the one set to dissect the turtles, it might also be argued he has some medical or biology background, himself.)

Bishop is an opportunist and scavenger. He can roll with failures as long as he can find something to get out of it. If he's presented with an opportunity to stab someone in the back, and he has something to gain? He'll take it without a second thought.

Bishop is deeply self-blind. For all his perceptiveness and strategic prowess, Bishop is not very self-aware in the slightest. He is completely blind to his own hypocrisies, and thoroughly confident in his own righteousness.

Bishop adapts fast. He accepts situations for what they are and acts (Though he may still be angry about them, or what have you.) This is likely a skill developed via longevity; the world around him has changed rapidly, but he doesn't feel out of place at all.

Bishop will take extreme risks and thinks wildly outside the box. Also self-evident, if you're familiar with the plans he enacts throughout the show. He'll put a lot on the line if he thinks the reward is worth enough, and he's willing to go to extreme lengths to get what he wants, even if his plans would be considered crazy by normal standards.

Bishop is persistent. If he wants something, he won't stop until he gets it. If he fails, he'll retreat, make a new plan, and try again. It is very difficult to convince him to back down (and certainly not on moral grounds.)

Habits and triggers I've noted:

Being restrained of any sort puts Bishop in a panic. He is more likely to have an emotional response in these scenarios, and seems to have (an albeit muted) desperation to escape. (See: Leatherhead restraining him in the first encounter; His reaction to being trapped on the surgical table in Head of State.)

When being duplicitous or suppressing a reaction, Bishop will go to adjust his tie. This could possibly be considered his tell.

Bishop seems to have a particular fear of aliens blending in as humans. His slayer project was built around the assumption that this is a common threat. (Worth noting: This makes The Shredder the model of the exact threat Bishop is afraid of. Technically, Bishop himself may also fit the description of a threat shaped like a human.)

Writing considerations:

In 03's narrative, Bishop is EPF and EPF is Bishop. Narratively speaking, any organization Bishop is head of acts as if it is an extension of his will and character.

Bishop is shown to strike fear and/or discomfort into most characters he interacts with. Anything beyond this is an outlier, and will draw a reader's attention.

Dialogue-wise, Bishop is generally succinct and blunt. He does dabble in gloating, though, and especially likes to upset others. If he's given a chance to be mean, he'll usually take it. It can help to consider he has a Mission Mode and a Normal Mode. When it comes to Mission Mode, he gets straight to the point and hates unnecessary talking. Otherwise, he's still not very talkative, but will take the time to make pointed jabs or talk through a plan. A lot of his sense of humor seems to be rooted in how He's Better Than You (And You're Going To Die Painfully.)

It's a common pitfall that Bishop is depicted as seeking out the turtles. In 03, once he gets their DNA, he's done with them. Any encounters after that are incidental. Bishop does not care about anything that won't effect his greater goal. If he's targeting another character, it should have to do with a greater plan.

Bishop is an extremely competent combatant, shown to be able to handle up to 7 opponents at once. For a breakdown on his fighting style check out my other post on that!

Bishop is hard to kill, and oftentimes he accidentally contributes to his own defeat. (The hook from Bishop's Gambit is an example I get a LOT of mileage out of, as a perfect symbol of his self-defeating prophecies.)

We almost only ever see Bishop in the context of his work. While it could be construed that he depersonalizes himself, it's much more clear that the narrative depersonalizes him. As far as we, the audience know, Bishop's work is all that he is.

It's unclear if Bishop was released from his abduction or escaped. Depending on which you ascribe to, this can have ramifications for his mindset on how to deal with the alien threat. (Personally, because so much of his inability to cope hinges on a feeling of helplessness, I believe he was released. If he escaped on his own power, that undercuts it, somewhat.)

Thematically-speaking, Bishop parallels both his own torturers and his own victims at the same time. He has perpetuated the cycle that traumatized him in the first place by trying to fight fire with fire. (In that vein, I don't think he's capable of understanding that, not seeing aliens as people in the first place, just dangers. Considering how deeply ingrained his trauma is in his worldview and actions, it would probably ruin him, if he were ever able to actually grasp it.)

Bishop and EPF are likely a commentary on the military of the time 03 was coming out. This can be something worth keeping in mind, when figuring out his greater themes in your story, though it can just as well be discarded if it doesn't fit.

Adding to that, Bishop has an extensive american military background. His skills and knowledge will reflect that.

Bishop also plays on and references a number of real-life alien conspiracies. It can be worth digging through conspiracy history to drum up ideas and themes, too.

The ethical and philosophical quandaries of Bishop's body-hopping and humanity tend to not hold too much weight, because Bishop, himself, doesn't seem to care.

If I think of more I'll certainly be adding on to the reblogs of this post! Or, if you have more thoughts, please feel free to add! If you're in the mood for more Bishop ramblings, that's practically most of this blog atm, but this post is a particular favorite. If you're interested in Fast Forward!Bishop, specifically, consider this post! (also read Taking Pawns. slipped in that self-promo, nice.)

[beans-beneath-moonlight]

Just a casual reminder for the BSD fandom

[stuckinapril]

you ignore my asks which means i know you think it’s true

bro I have a LIFE outside of TUMBLR I’m not gonna bother discoursing w ppl like you on a dying blogging platform. I’m here to post what I want then just leave it’s not that deep 😭😭

[bezetka]

City of Wizards sketches pt. 2!! It was so fun to sketch some cookies I'm not used to drawing, especially Milky Way!!

[imagine-too-many-books]

Just thinking about it and it’s absolutely WILD how Dalinar promoted Kaladin straight to captain when he was 20,,, like his qualifications were having just saved Dalinar’s ass. I know Kals a prodigy but there’s a whole gap in duties and skills between a squad leader and captain of a whole unit of the military.

And I just no there was no training whatsoever

[existentiol]

something that pisses me off in RA is that Flanagan will occasionally hype up Pauline as this super important and prominent figure in Will’s life, even treat her as a proxy for the mother he never knew, and yet will just refuse to show it beyond the like. two or three (personal) conversations that they have in canon. I get that he was attempting to make her an important person in Will’s life but why not do that by actually making her an important person in Will’s life

[priceofreedom]

some people are now realizing that Zack is a good boy... yeah and water is wet. thanks for admitting that you hated him for no reason though.