#and the main plot suffers because of this decision

[autistic-sidon]

The way that a decent chunk of the Zelda fandom still insists on denying one of the most classic and easiest to spot forms of fandom misogyny annoys me to no end. Often in their quest to prove that the way they act about Yona isn't based in misogyny, they unknowingly prove my point. Popular retort being, "she's boring/badly written" even though Link is just as boring and poorly written due to reasons that are worse than Yona's, as well as Sidon's writing being pretty bare bones. I never ever see anyone hating Link and Sidon, nor any other characters who also "came out of nowhere." This, whether people like OR INTEND it, shows misogyny because of the double standard. Male characters are allowed to have bad writing and come out of nowhere, female characters are not.

In fact, another character who came out of nowhere and gets in the way of a ship is Tauro! Nobody and I mean NOBODY complains about him being new, nor do they complain about him getting in the way of Linpaya. (Do not lie to me and say Linpaya isn't as popular as the other ship. Do not.) I hope the reason is obvious. Yona is doomed to be torn apart by the fandom, because she is a newly introduced female character that gets in the way of an androcentric ship. Even if it weren't an mlm ship she got in the way of, people would still be awful of course, but the fact that it's 2 men instead of one, it's completely androcentric and results in people being 200% more awful about it. Because a woman who gets in-between something that is focused only on men is automatically the devil.

If you want a quick example of this same misogyny but instead with m/f ships, a good example is how the fandom treats Mipha. She also "gets in the way" of a ship, Zelink. People constantly call her a groomer, and basically any other evil word you can think of despite the fact that she literally cannot get in the way of Zelink. Because she's dead. And their relationship is still written as unrequited even when she's not dead.

People also like to say that the people who ship Miphlink and Sidyona are evil, which confuses the hell out of me because I've never met a mean Miphlink shipper, and the only evil Sidyona shipper is me. So where do we go from here. I'd also argue that hating a ships fandom because of it's misogyny and making such known isn't evil but I digress. Some people get called evil for simply saying they don't like the ship so idk what these people's qualifications for evil even are.

#loz botw #loz totk #sidon #prince sidon #lady yona #discourse #fandom misogyny #Sidyona #miphlink #zelink #you can see which group of shippers has harassed me the most by which one I refuse to say haha #sucks because I do really want to tag it so some of them can see it and MAYBE change their minds...maybe #and be normal about Yona for a change #but it's not worth the harassment risk 😭 #and if you're curious as to why I think Link is badly written #it's because the writers tried to make him a player insert and character simultaneously #and the main plot suffers because of this decision #it's very hard to read Link's character and to relate to him because the writers made him so distant from us

[aroacehanzawa]

i know i've beaten the "narcissus and goldmund by hermann hesse is just german monastery yaoi" joke to death by now + it's not even true because the majority of this book is about Straight Sex and Heterosexuality but then again its treatment of women (or rather lack thereof) is so classically poor it loops back around to being yaoi again

#or it's not so much the treatment of women (because the women that do appear there are treated fairly within the context of the story) #but rather the role of the women. which is entirely to serve as a plot device and a tool for the main character's development #disclaimer i'm still only halfway through so things may still change #but it's pretty bleak. without actually being Bad. like all the women that narcissus has relations with consent to be with him #and make their own decisions etc. but they're not so much written as characters as they are symbols and narrative devices #except for arguably lydia and julie. but the standards are pretty low in this book #it is however an extremely well-written and thought provoking book #just suffers from early 20th century literature written by a man syndrome #hesse

[starbylers]

“Will can move on and find someone else” do people not understand that this is a TV show? Of course if this were real life, there would be opportunity for Will to move on and be happy without dating Mike. But Will is a character. And the story has been set up in such a way that for Will, in the canon timeline of the show, it’s Mike or no-one. It’s Mike or rushed, under-developed, last minute/epilogue love interest. Will is in love with Mike specifically for a reason, and that was a storyline built up over years. He is not getting a fulfilling romance with some never-seen-before guy in the jam-packed finale season of the show. It’s Byler or they made a calculated decision to have the only gay main character, who is shown to be more painfully in love than any other person on that show, suffer gut-wrenching heartbreak and for what? When every other character has gotten a multi-season reciprocal romance plot.

Season 5 is the last chance they’ve got to offer him satisfying payoff for all that he’s been through, and of all characters, Will is the absolute last one who needs a “sometimes things don’t turn out the way you wanted but you'll be okay” message to conclude his story because he’s never gotten what he wants. His existence on this show has been traumatic event after traumatic event. They’ve set Mike up as the one thing Will loves and wants more than anything, and denying him that after all that he’s been through is unnecessarily cruel storytelling. (Obviously this is not at all to say that Mike is some sort of prize for Will, Byler perfectly intertwines with and completes Mike's individual character arc too, which is why it should and will (fingers crossed) happen).

Some guy called Will didn’t just randomly fall in love with his best friend and "oh it’s completely fine if Mike rejects him because there’s someone out there who’ll be right for him"—writers put him in this situation! Writers actively chose to double down on his “unrequited” feelings in the penultimate season! Writers put him through hell, physically and emotionally, and specifically relating to his sexuality. Then they slowly but surely revealed that he is pining for this one thing, this person that brings him strength and inspiration and hope, and people think him being told no that kind of happiness is not for you sorry kid, but hey at least your loved ones don't hate you for being gay, who could’ve predicted that? If you're lucky we’ll even let you smile at random cute guy in the epilogue! is acceptable let alone good storytelling? Will deserves better than a “there’s vague happiness in his future” ending, and we should absolutely expect better.

#byler #I've been trying to word this right for a couple of days #just my absolute least favourite anti take

[real-fire-emblem-takes]

The FE fandom is unfairly criticized for their treatment of main women leads because not enough people factor in how sexist the writing is. Edelgard would get less hate if she was held more accountable. Micaiah would get less hate if she didn't get written out of the final part and awful blood-pact device. Celica and Erika would get less hate if the writers didn't hand them the idiot ball. Female leads are often awful units compared to male counterparts. The male leads always upstage the female ones or are written overall better bc they were unconcerned with making them a sellable waifu. There's definitely sexist people in the fandom, and male characters everywhere get cut more slack, and I'm not denying an element of sexism in all of this, but holding the writers accountable something that needs to get brought up more.

.

Im gonna discuss my opinions on this take now.

Edelgard is held accountable and punished for her actions by literally dying in 3 out of the 4 routes. Like the Agarthans are not blamed for what Edelgard did. She takes complete responsibility and suffers the consequences for starting a war.

Erika giving the Sacred Stone to Formortis because she believes Lyon, an extremely skilled healer and magic user who has been studying the stones will get rid of him through using it is a smarter decision than Ephraim attempting to kill THE DEMON KING ALL BY HIMSELF. Like at least Erika's plan made sense and could have worked if Lyon was able to resist Formortis. People who call Erika stupid for her scene while not doing the same for Ephraim's are hypocritical in this regard.

While SOV is quite sexist in how so many of the women are damseled, Celica sacrificing herself for Mila makes complete sense and is not rooted in sexism because at that point in the game most people believe that they still need the gods to survive and a single human life is worth less than the life of a god. Celica trusted Jedah because to her that was her only choice. What is sexist is her having to be repeatedly saved by men while nothing similar happens to Alm.

I admit I'm being extremely nitpicky with this point, but Erika and Celica both act completely in character when they make their mistakes and therefore are not Idiot Balled. Idiot Balling is when a character acts uncharacteristically stupid and out of character to serve the plot.

Idk about the specifics with Micaiah in Radiant Dawn but yeah it sucks how Ike takes most of the spotlight from both her and Elincia :/

The only female lead that is a substantially worse unit than her male counterpart is Erika. She is an outlier that should not be counted. Celica, Micaiah and Elincia all have utility that Alm and Ike Lack while Edelgard is literally just as good of a frontliner as Dimitri. And Lyn is just as weak as Eliwood.

Character writing is subjective.

You are severely overestimating the importance of waifus and underestimating the importance of husbandos to the franchise. Straight and Bi women play Fire Emblem too.

Also characters who have depth tend to be more popular regardless of their gender. It is profitable to have waifus with layers.

I am not denying that sexism was and somewhat still is a thing in the writing and gameplay of this series; However, the fandom is just as guilty in how female characters are treated - perhaps more guilty in the newest two games where these issues rarely rear their ugly head in the story and the gameplay. The fandom should be held accountable too instead shifting most of the blame on the writers.

Anyway if you read all of this, have a heavenly creature i found recently <3

#petty playground squabbles #fire emblem #fe #fandom takes #gameplay takes #story takes #sexism mention

[cerastes]

With the exception of Arknights what are your thoughts on gacha games?

I don't feel like I need to exclude Arknights from the statement, I can criticize things even if I like them.

In general, I don't like that their widely accepted and even defended business model is "Capitalize on FOMO, exploit gambling addictions, create dependent users". I also think that the use of the "game as a service" model, and one that needs to keep pumping content forever and can't risk to alienate the player, severely limits what can be done with the medium in terms of creativity, because you can't kill off playable characters nilly willy (I actually think Epic Seven was cooking with this, Epic Seven will kill off playable characters and remove them from the plot if it feels like it, or at least used to back when I played, don't know nowadays), relationships and dynamics with characters tend to be limited because otherwise your audience can feel like you are cucking them, and I wish I was kidding but just look at the absolute dumpster fire of a drama going on as we speak (22nd of January, 2024) in Girls' Frontline 2 over in China over one of the characters having interactions with a male NPC, and you can't ever bring a true sense of finality to any given arc because everything ends up having to be foreshadowing, set-up, build-up and so on and on and on. In many cases, you also have a mold cast of Must Have tropes in your playable cast: The Maid, The Idol, The One That Worships The Ground You Walk On, The Underage And Underclothed One, The Underage (But We Treat This One As A Precious Child!) One, Foxgirl, The Cold And Highly Analytical One (But Actually, Loves You), Chuuni, etc, so it feels like in every game I kinda already know at least a third of the cast minimum already and I'm kind of primed to not really want to know them, even though there's subversions I end up liking sometimes (Fenny from Snowbreak is an example of an Idol-type I ended up loving despite not liking Idol-types).

On the other hand, even with these negatives in mind, having a game that periodically updates and adds content, and that you can discreetly play pretty much everywhere on the go due to smartphones being their main 'console', games that foster community and something to talk about with your friends that also play and that will always have something new every couple of weeks, as well as inspire fanart, fanworks, analysis, and commentary, and that tend to be more risque and interesting with their designs is honestly good to have. I personally enjoy the community aspect of gacha games, I consider it one of the two most important aspects for me, because I know I can come here, for example, and see people talking about the story, the characters, the music, the gameplay, and more, every day, and the other important thing to me is how discreet they are, since I can just play a few maps or stages in my phone real fast midst a social situation at work, and then hop back in with a renewed social battery or when a topic I like comes up.

I fully get when people showcase their disdain for gacha, yeah, but if we really want to be nitpicky, the majority of the game industry is kind of a cesspool of toxicity, which is not to say "stop bashing gacha" and instead say "bash the whole thing if you're going to be bashing it anyway" (and we should! Game devs and other personnel in the industry have been crying for better conditions for years now!). Either way, if someone decides to sit at the gambling den, it becomes their responsibility. I want there to be more safeguards for people with actual addictions and to protect them, but with this in mind, if anyone still decides to sit at the den, it's assumed they are going to take responsibility for their actions and financial decisions.

So all in all, yeah, predatory games that suffer in quality due to their own trappings, but also good sources of community, inspiration, and effective at being discreet games you can play anywhere and that get periodic updates (this isn't necessarily exclusive to gacha but it is an aspect of them that bears mentioning, which I point out since no doubt people will want to point out there's good non-gacha smartphone game options out there)

[thewriteadviceforwriters]

Hiii, I just dicovered your acc and i'm loving it 🥰 I have this lil problem where I have in mind and write scenes but without a plot. And I'm very fond to the characters so I can't put them into a plot because I don't want them to suffer or a think if they do suffer it'll we forced and too much. Any tips for that?

How to Plot A Novel If You Only Have Characters & Scenes

So, you have a great cast of characters and some exciting scenes in mind, but you're struggling to put them together into a cohesive plot. Don't worry, you're not alone. Many writers struggle with plotting their novels, especially when they have a strong focus on characters and scenes. I have also been facing difficulties with this recently. But fear not, in this article, I’ll help you explore how you can plot a novel even if you only have characters and scenes to work with.

Why Is Plotting Important?

Before we dive into the how, let's first understand why plotting is important. A well-crafted plot is the backbone of any successful novel. It keeps readers engaged, creates tension and conflict, and ultimately leads to a satisfying resolution. Without a strong plot, your novel may fall flat and fail to capture the attention of readers.

Types of Plots

There are many different types of plots, but they can generally be categorized into three main types: character-driven, plot-driven, and hybrid.

Character-driven plots focus on the internal struggles and growth of the main character. The plot is driven by the character's desires, flaws, and decisions.

Plot-driven plots focus on external events and conflicts that drive the story forward. The characters may still have their own arcs, but the main focus is on the events and how they affect the characters.

Hybrid plots combine elements of both character-driven and plot-driven plots. They have a balance of internal and external conflicts that drive the story forward.

Understanding the type of plot you want to create can help guide your plotting process.

How to Plot A Novel with Only Characters & Scenes

Now that we understand the importance of plotting and the different types of plots, let's explore how you can plot a novel with only characters and scenes.

Start with Your Characters

Since you already have a strong cast of characters, it makes sense to start with them. Take some time to fully develop your characters, including their personalities, motivations, and flaws. This will help you understand how they will react in different situations and what conflicts they may face.

Identify Your Main Conflict

Every novel needs a main conflict that drives the story forward. This could be a physical conflict, such as a battle or a chase, or an emotional conflict, such as a character's internal struggle. Identify what the main conflict in your novel will be and how it will affect your characters.

Create a Story Structure

A story structure is a framework that helps guide the flow of your novel. It typically includes the beginning, middle, and end, and can be broken down further into acts or chapters. Creating a story structure can help you see the bigger picture of your novel and how your characters and scenes fit into it.

Map Out Your Scenes (High Priority) 🚩

Now it's time to map out your scenes. Start by listing all the scenes you have in mind, even if they are not in chronological order. Then, arrange them in a logical order that makes sense for your story. This may require some rearranging and tweaking to ensure a smooth flow of events.

Connect Your Scenes with Conflict (High Priority) 🚩

Once you have your scenes in order, it's time to connect them with conflict. Every scene should have some form of conflict, whether it's internal or external. This will keep readers engaged and drive the story forward. Look at each scene and identify the conflict present, and how it connects to the main conflict of the novel.

Create a Character Arc for Each Character

As your characters go through different conflicts and events, they should also experience growth and change. This is where character arcs come in. A character arc is the journey a character goes through, from their initial state to their final state. Create a character arc for each of your main characters, and make sure their actions and decisions align with their arc.

Add Subplots

Subplots are smaller storylines that run parallel to the main plot. They add depth and complexity to your novel and can help develop your characters further. Look at your characters and see if there are any side stories or relationships that could be explored in a subplot. Just make sure they tie back to the main plot in some way.

Use Plotting Tools

If you're struggling to put all the pieces together, consider using some plotting tools to help you. There are many resources available, such as plot diagrams, beat sheets, and storyboards, that can help you visualize your plot and ensure all the elements are in place. If you need help with scene structure use my new scene workbook here.

Real-World Examples of Plotting with Characters & Scenes

One example of a novel that successfully uses characters and scenes to drive the plot is "To Kill a Mockingbird" by Harper Lee. The main conflict is the trial of Tom Robinson, but it is the characters, particularly Scout and Atticus, and their reactions to the events that drive the story forward.

Another example is "The Hunger Games" by Suzanne Collins. The main conflict is the Hunger Games themselves, but it is Katniss' internal struggle and her relationships with other characters that keep readers engaged and invested in the story.

Final Thoughts

Plotting a novel with only characters and scenes may seem daunting, but with the right approach, it can be done successfully. Start by fully developing your characters, identifying the main conflict, and creating a story structure. Then, map out your scenes, connect them with conflict, and create character arcs. Don't be afraid to use plotting tools to help you along the way. With these tips, you'll be on your way to crafting a compelling plot that will keep readers hooked until the very end.

If you require assistance with developing your scene structure, you can access my Scene Workbook for Writers at no cost.

I am sorry to the individual who sent me this question. I have a lot of questions in my Tumblr inbox and have only recently come across this nice question. I apologize for the 4-month delay.

#thewriteadviceforwriters #writeblr #writing #on writing #writing tips #creative writing #writers block #how to write #writers and poets #writing plot #plot points #plotting #character building #writing characters #aspiring author #writerscommunity #writerscorner #indie author #novel writing #writer #author #writersblock #writers on tumblr #writerslife #writersociety #female writers #writer things #character sheet #original character #character idea

[kyouka-supremacy]

why is teruko sexist? I don't see it

(*On why the Teruko scene is sexist, not Teruko herself)

Imagine being a female character in a seinen manga.

You've got near zero character elaboration or growth or expansion. Readers literally know nothing about you. You don't have a backstory. Your only role so far has seemed to be moving the plot forward. And now there's just been two intensely homoerotic chapters between two main male characters, and at the resolution of those, you're required to enter the stage. However, it's not of your own volition; it's to solve the command of what one of the two male characters had previously ordered you. The command, specifically, is to kill him. That brings you immense pain, because apparently your love for him was deep and true (and not an ignorable irrelevant side gag as some readers hoped). By the way, you're killing him to spare that PRECISE feeling of pain born from having to kill a loved one to the other male character, because of course your commander wouldn't put him through that, but making you suffer the same is fine apparently.

So now you've killed him, right? I mean you impaled the man with your own hands, and yeah maybe he ordered you to do that so it wasn't your decision and you don't have free will or freedom of choice and never will in this franchise, and yeah maybe you're being used again as nothing but a plot device, and yeah maybe you're only making nothing more than a four pages appearance again despite the last two chapters having been nothing but male spotlight, and yeah maybe you were once again delegated to the role of love interest to a man who doesn't requite your feelings– but at least you can claim to have done that, right? You can say you killed him! Maybe, if the author feels merciful, they'll even spare a few panels to elaborate on how doing that effected you.

Wrong. You didn't kill him. The cool action doesn't belong to you. You can't own it. The honour of doing that, the courage, the pain, the determination and moral conflict it required, it's not yours to retain, to posses, to show off. You're now submitting your sword – your sword!! The symbol of your role and of your power and a great motif for your character! – to the other male character. You're screaming, “You killed him! You are the one who cut down the captain! Any other story, and I'll make you regret it!”. That is the story. The story is his, it's theirs, not yours. There was no space for you in it since the beginning. There's tears in your eyes.

Imagine being a female character in a seinen manga.

#This is the kind of stuff that almost makes me wish the author just didn't write female characters at all #teruko ōkura #bsd #bungou stray dogs #bsd ch 113 #bsd analysis #mine #people asks me stuff

[the-daydreaming-show]

𝐏𝐫𝐞𝐥𝐮𝐝𝐞 — 𝘋𝘦𝘢𝘵𝘩 𝘪𝘯 𝘵𝘩𝘦 𝘍𝘢𝘮𝘪𝘭𝘺

𝐒𝐮𝐦𝐦𝐚𝐫𝐲: A brief return to what happened on the day of Jason Todd's death.

𝐂𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫(𝐬): Bruce Wayne X ScarletWitch!Reader; Clark Kent x ScarletWitch!Reader (platonic); Jason Todd x Batmom!ScarletWitch!Reader.

𝐍𝐨𝐭𝐞: This is a lot of anguish and does not contribute at all to the plot of the main story, but I love how it ends up, and I didn't put it in All For Us for reasons.

So, I hope you enjoy the suffering.

Beta Reader by @igotmessymind (Our savior and goddess, whom we must appreciate so… APPRECIATE HER!!)

𝐀𝐥𝐥 𝐅𝐨𝐫 𝐔𝐬 / Next Part.

Bruce always prided himself in the fact that you had always said that his mind was very well protected for somebody who was just a human man.

In the first years, when the both of you pretended to hate each other, that was the only thing that gave him some sense of security while being around you.

Of course, if you actually wanted to read his mind and explore his subcontinents that would have stopped you — but something was something, and he used to cling to that thought at that time.

Now it was just a curious fact. 

Dick has learned to protect his mind from magic under your teaching, and he liked to say that he was better at it than Bruce, just to joke around.

In fact, that becomes a part of the training that your husband gives your children. An immovable condition for going out with him to patrol.

Jason has received that training too, but you have confessed to Bruce that your boy had had the same natural protection to his mind before he got to you.

These points are important for two reasons.

One. 

Shortly after his fifteenth birthday, Bruce decided that Jason was beginning to be too neglected and angry for his own safety. That and the hormones make it inevitable that your husband took that decision, with Jason obviously in discord — and, in his rage for the decision, your boy ends up wandering all alone to the city one-day. He found himself in his old house and a box of memories that revealed that, in fact, Catherine Todd was not his biological mother.

It was the natural protection of his mind that allowed Jason to hide from you his guilt. 

He feels bad for lying to you and going after a stranger that just gave him life.

You have taken care of him, and you are his mom. But he needed to know. 

So, without you or Bruce's knowledge, he stole the Robin suit and went to find his mother once and for all.

Two.

When Bruce found the note that Jason had left explaining where he was going. His natural protection makes sure that his emotions will leak out of his head and to you.

He didn't tell you right away how Jason was looking when he left.

Bruce told you that he went behind the Joker on his own.

He should have told you the truth right away. But he knew how much you loved Jason and how heartbreaking it would be for you knew that he was looking for his mother, as if you were not enough.

When he told you the truth was when the Joker in fact was there. But, now you don't care about Jason looking for his mother, you care for his safety.

It was night when Bruce got home. 

Alfred. 

Oh, sweet and kind Alfred. 

He was the one who told you that he had arrived. And you ignore how he looked at you with tears in his eyes and pain when you immediately whispered the name of your son before leaving him alone in the room, almost running to get to the bat-cave. 

Where you thought that you would find your husband and son waiting for you.

But Bruce stopped you. He appeared without his cape or mask, but with the Batman suit still on. 

That was the first signal of something wrong. 

Bruce never went up to the mansion in this Batman gear. Never. Not before you marry and not after. At the start for security, and now to separate his lives.

“Bruce” you greet him smiling and hug him relieved because he was safe, ignoring the silent hassle in your heart “In so glad you two are safe” you wish as you hide your face in his chest. But he didn't return the gesture, he just watched the top of your head, his arms like dead weight at every side of him. You pulled out when you felt how tense he was, and smiled at him understanding, like you can not grasp the idea of him not being able to bring Jason home, and not thinking much of his acting was for the stress of your son running through the world without supervision for several days. “¿Where's Jason?” you asked quietly, calm as you can't be. Your baby was for sure in the cave, making a fit after Bruce scolded him all the way back to the continent. Yes, that was it.

“Love” Bruce started, the tone in his voice was not the one he used with you. Your Bruce was kind and loving while talking with you, but he sounded empty. “I-” he cuts himself when you move with the intention of passing him, and walks to the cave. “You can't go there” he says as he holds you in front of him with firm hands. You look at him, confused. He had never done something like that.

“¿Why?” you ask, “¿What happened?” your mind never went there. 

The thing is, a parent never actually thinks of the worst situation for their children when something actually happens. You spend your whole life worrying about them, but when something happens, it is like your brain is taken by surprise. Or at least that's what happened to you. 

When Bruce told you that you can't go to the cave your mind stopped for a second. A million reasons passed through your mind, but the truth was not one of them. You didn't visualize your baby Jay, dead in a metal table cover by a sheet. And you didn't sit, either.

“I will talk to him, I'm sure his anger is gonna pass soon enough” you said, trying again to pass him on.

“Is not that” Bruce says, his voice as dead as before. This time you tried to take him away from him, which caused him to trade to hold your wrists for you to look at him, but you didn't. You were looking to the hall behind him, the one that while taking you to the secret door to the bat-cave and to Jason. He was physically stronger than you, but you didn't stop, and you will find the mark of his fingerprints in your skin the next day. “He is not mad” he says, his voice breaking out as he saw you fight him.

“Bruce, let me go” you said while fighting still, outraged by his triad of getting away from you boy. “Bruce, stop” your voice crack at the despair.

“Love” he says, as you tried to kick him in desperation, and he took advantage of it. Bruce turns you around facing the other side of the hall, holding your hands over your chest and hugging you in your place. Didn't stop you from trying desperately to get away from him.

He needed to let you go, so you could see Jason. You have to see him. 

“He's gone” Bruce finally whispers to you to hear, with his eyes full of tears, but you didn’t see it, you just keep struggling.

“¿What?. Bruce, what – JASON!!” you couldn't process it. So you call for him. “Bruce, stop. ¡¡Jason!!” you call while mange to take one of your wrists out of his hold and turn around to watch the end of the hall. Empty. No son of yours was there. Jason wasn't listening to you. “Bruce, let me go” you beg, almost trying to climb over him, but Bruce held you again.

“He's gone, the Joker-” Bruce was thankful and heartbroken when you didn't let him finish the explanation. Thankful because he didn't know how to tell this to you. 

¿How will he explain that your son was dead because of him?

¿How does he say that Jason was not coming back because his choice of leaving him and Sheila alone, all open to danger, and that It cost them both their life?. 

And heartbroken, because your mind finally fell into the right conclusion of what was happening.

“STOP IT. LET ME GO, BRUCE” you scream, finally breaking. You start to cry and shake into awful sobs, “JASON” you called him.

Bruce had to hold you until you stopped fighting. You scratched him, begged him, screamed and kicked. But he didn't let you go, and Jason never came up from the cave that night. It Felt like hours, but Alfred told him it had been less than ten minutes before you fell into his arms just crying, all the fight out of your body. The crying didn't stop, though.

You cry for your son all night. Bruce cries with you in silence. All night you rolled in your shared bed, like a wounded animal, crying and calling for your son. Every so often, you sleep and wake up. You would ask for Jason and when he didn't show up he would cry again. You didn't do anything else.

Likewise, you don't know when Bruce left or when Clark showed up. But your friend couldn't help but watch with the same impotence as your husband. 

You understood, later, that it was Alfred who called him, to see if the word of Superman, the only other man who also knew you as Bruce did, could finally convince your husband. 

“Bruce, please” Alfred begged him. The three men stood behind the closed door of the room where you had fallen asleep again after being comforted by Clark, as best he could. Alfred didn't want to be too harsh to Bruce, how waste better that you. “You have to let her see him” the butler repeat himself  “Is the only thing to do” 

Clark looked at both of them in silence. 

He couldn't believe it either. Jason was dead. That boy so full of life and attitude, gone forever, leaving two parents totally inconsolable. He could see that nobody else with Bruce was doing what he was doing at that moment. Something that didn't happen often, but he was thankful for years of having been able to read Bruce so easily that day. When he most needs him. The man he had seen take down opponents stronger, more powerful than him, and even some otherworldly, all with no power of his own other than his stubbornness. Now he was lying against one of the walls of the mansion hall, with red eyes and leaning forward. As if it was difficult for him to breathe. Unable to stand upright under the weight of his child's life, the one he had and the one he would never live now.

He understood. 

So, Clark spoke before Alfred could say more.

“I'll take her.” he said, and it was like everything froze in time for a second “I'll take her, you don't have to do it Bruce. She will not resent you for not doing it, but she will never believe it if she doesn't see him” he made sure to not make any sudden movement to raise his voice too much. Bruce didn't look at him. He stood there in silence for just a minute. Then he nodded his head.

You wake up with the movement. It was Clark. He passed his arms under your knees and around your back, picking you up from the bed. He didn't trust that you would be able to walk all the way to the elevator on your feet. 

“¿Where are we going?” you ask, your voice scratchy from so much shouting and crying.

“To see Jason” he responded gently, as he stood at his full height with you in his arms, you felt like a broken doll. You were a dead weight that wasn't really a weight, but you felt like dead in his arms. Selfishly, Clark thought that he prayed to the universe never to find himself in that situation, and immediately felt bad, so he settled closer to him.

“Really?” you asked, out of breath. Your voice trembled, filled with a mixture of hope and fear. A part of you still didn't believe it, he saw it crystal clear, and he knew he never fully would. There was no going back, he would do this. For you, who was like his sister. And for Bruce, who was his best friend and partner.

“Yes, really” he confirmed. 

You let your head fall over his chest as you two leave the room. Your body felt too heavy and your conscience too light. You didn't notice when they went out into the hallway or got into the elevator. 

The sound it made when it reached the cave floor was what brought you back. Your first instinct was to grab onto Clark, wanting to start asking him back. You have changed your mind. You wanted to stay upstairs, where there was still a chance your son would come back. But you wanted to see your baby and if you came back you would never see him again. You would wait forever for Jason, and you would never leave that place. You knew it.

Not only that, but you couldn't do that to Bruce. Neither to Alfred. Or to your sweet Dick.

Clark takes you up the stairs to the platform at the edge of the cave, where there was a metal table where Bruce used to carry any artifact or mysterious substance, where he usually stayed until he finished identifying or disarming them. He put you down slowly. Resting your legs on the ground first and holding you until you felt strong enough to let go of his shirt. He looked at you, wondering if he wanted him to leave, but you didn't look at him. You could only see that table.

The sheet had no blood. Jason had stopped bleeding hours ago. Behind you, Clark felt the need to throw up or run, whichever came first. The thought of having to see that boy — his nephew, now dead on a table, horrified him, but he kept himself firm behind you. And when he saw that you didn't move, he delicately pushed your sword without lifting his hand until you took the first step on your own towards the body.

People said that the dead seem asleep. But he didn't. When you pulled out the sheet, your son seemed dead. 

Jason Todd was dead. Your son. Gone forever.

“My baby” you whispered, starting to cry, while you touched her cold face and broke by the blows “My baby” you repeated over and over again “My baby. My baby. My baby” you didn't scream, you just clung to his body until Bruce appeared again and pulled you out of him.

You whispered crying, while you touched her cold face. Clark would remember that cry for the rest of his life. Bruce would never recover if he hadn't been the one to take you to see Jason one last time.

And Alfred thus saw the start of a series of events that would end with you breaking yourself, leading everyone to a safe place where Jason had come back from the cave that night. In the end, that was what it took so that they could all end that dark chapter in everyone's life once and for all.

Or at least that's what they thought until Red Hood appeared on the scene, to which Bruce thanked again for that natural protection of the mind that both he and Jason possessed. It was keeping you safe.

𝐓𝐚𝐠 𝐋𝐢𝐬𝐭: @some-lovely-day @simonsbluee @yuki-chan23 @miyakana @myst3batz @otchae @d3m0n8ch1ld @marsenbie @mynameisnotlaura @andieperrie18 @totallynotme420 @igotmessymind @amarawayne @calsjack @kodzukenmaaa @mellowdiy @noah-uhhh-what @blarba-girl @dead-sane-stuff @huhuhhuhh

#all for us #jason todd x batmom #batfamily x reader #batmom #batmom!reader #batfam x reader #tim drake x batmom #dick grayson x batmom #scarletwitch!batmom!reader #scarletwitch!reader

[crooked-wasteland]

Okay, but like, what even is this writing?

Vivienne Madrano has the dreaded affliction of having too many characters, followed by too many ideas. And the logical narrative to link everything together to actually tell a story doesn't seem to be a high priority for her.

For starters, the main plot of the story is supposed to be the relationship between Stolas and Blitz, but every decision that has been made throughout the show has worked to decrease the interest in this plot and relationship. Let's just start at the beginning. The major interest was Blitz being an Imp while Stolas is a prince of the Ars Goetia.

The status discrepancy and how these two individuals came to be in contact was a long-standing source of intrigue that the show seemed very aware of. The first episode (actually the pilot) established a hostile relationship between the two, mainly on Blitz's side, as he was the one who obviously had the weaker position in the deal. If he refuses to sleep with Stolas, he loses the book. He loses the book. He loses his entire business. The pilot also estaished that the business was Blitz's chosen family and thus was an emotional point for his character.

Regardless of the problematic blackmail-ish pretense to the whole thing, it's a good launch pad. It would be interesting watching Stolas fall into true feelings for Blitz, or for Blitz to become aware of his own soft power within the dynamic and how much control he actually has over Stolas through his emotions. However, we never see Stolas fall in love. From LooLoo Land to Ozzie's, the relationship just is changed every time we see it. Even with the suggestions made in the bad trip sequence of Truth Seekers, we never have any actual understanding of how Blitz feels on the relationship. Is he afraid? Trapped? Does he ever realize his own strength in the dynamic? Is he resentful? It never actually settles in what the relationship actually is.

Instead, Madrano does what I think has to be the worst form of storytelling I have ever seen. Rather than watching the characters grow and become more complex, we are sent back in time to justify the relationship by contrivance. Somehow, being friends for a day over two decades prior is all the justification we need. It rewrites the earlier dynamic of Stolas using Blitz because he can to having it be that Blitz was Stolas' childhood crush. That this crush was so strong it persevered through deception, distance, and time for Stolas to immediately beg Blitz to have his way with him at his wedding anniversary party.

The complexity and intrigue on how this relationship was supposed to work was stripped of all depth and relevance. There is no journey for this relationship to take actually because they got along so well that one day, a quarter of a century ago, that their compatibility is all but assured to the viewers. There is nowhere for the relationship to actually go now, making it unnecessary to the plot while also being the primary focus of the plot.

It is a beyond fascinating faux pas that hasn't just derailed the main plot, but appears repeatedly as microcosms of everything wrong with the shows past, present, and future.

The upcoming episode has been rather highly anticipated on Twitter. However, there is an inevitable looming disappointment that hangs over the episode and thus the show at large. As it has yet to be released, this is solely speculation, but I am fairly confident in this assessment due to the trends thus far.

To be frank, this episode exists on the foundation of misunderstanding the narrative purpose of a character, namely Fizzarolli. Madrano suffers from the amateur affliction of over-creation mixed with under-exploration. While not every character needs an explicit purpose outside of expanding the world, a character to closely entwined with your main lead needs a very clear reason to being involved with the plot.

And that's where I feel this episode will crash and burn. There is no purpose to the existence of Fizzarolli. He did not need to exist for Blitz to have an unsuccessful performance career or his resentment to those who have success and fame. It adds nothing to the main character or their life.

Narratively speaking, it would make sense if Fizzarolli existed as a former or slighted love interest to Blitz who then can be used, not as a foil, but as a mirror for Blitz to be forced to contend. Because the point would then be to have Fizzarolli be the living embodiment of all of Blitz's past mistakes that he must reconcile before he and Stolas can be happy and grow their relationship.

Except, as previously mentioned, that is not a factor in the plot. The childhood friends trope between Blitz and Stolas makes this narrative unnecessary. Blitz and Stolas just are, and their conflicts are external threats (Octavia, Stella, Striker), not internal reflections of their worst tendencies. They are not at odds within themselves so much as they just seem to level up and change after every major emotional beat.

Less an MMO where you need to work for that next number through time and dedication to the world and character and more akin to those click bait ads where the most mundane change can completely alter their present self. It's unfulfilled.

Additionally, instead of focusing on the main cast, Madrano insists on reaching above her ability. To treat a minor side character as a main character is an event that is earned by first proving you understand your main characters, which has not been achieved. So, instead of experiencing the same story from the alternative perspective, it feels like a wholly new beginning unrelated to the previous concept. It feels unfinished on a narrative standpoint because the question remains, why is this story important to tell.

That's a very lean way of structuring any story, but lean is worlds better than what we are currently being fed. Bones and fat do not a hearty meal make. Learn to stand before we walk. Madrano hasn't learned quite how to crawl narratively speaking.

In Seeing Stars, the conflict between Stolas and Octavia is identical to Season 1's LooLoo Land. The one way it attempts to make up for the spiritual rerun is by trying to add a parallel secondary plot between Blitz and Loona. However, the problem between Stolas and Octavia is resolved with a simple "Whoops, I forgot" while Blitz and Loona never share a word about their problems. Rather, the episode justifies Loona's abuse of Blitz and misbehavior in general by basically saying "She's had a hard childhood". Showing a brief glimpse into said childhood for Blitz to feel guilty for attempting to set any kind of boundary and claim ownership of being the problem when, in reality he isn't the one in the wrong.

Loona is never given the opportunity to talk about herself either. Instead, she is the preaching mouthpiece for Madrano and Co to talk about how great these characters are without actually seeing any of them do those great things. Loona never speaks on herself and how insecure she feels or how she can't help but need to push Blitz's envelope constantly to feel any kind of security, waiting for him to abandon her like everyone else.

None of this is explored, instead implying that this understanding of the characters should be derived from engaging with their pasts rather than their present selves. We are not encouraged to want our characters to actively change, but to instead "remember the good times." We are not challenged to grow and adapt with age and experience, but instead should be allowed to remain the same and not be responsible for how our actions affect others.

The entire approach to character growth and complexity is antithetical to the mere definition of "Maturity".

#helluva boss critical #helluva boss criticism #helluva boss critique #vivienne medrano #vivziepop #this isnt how writing works #characters need growth

[littlefeltsparrow]

You know what? I’m still mad about Papa Archeron getting a portrait while Nesta didn’t.

Nothing stokes my rage like that poor excuse of a parent being glorified in death while his eldest daughter is lambasted for not parenting his children for him. Despite the fact that he was the Archeron sister’s only living parent, the responsibility of parenting more often than not seemed to be placed on Nesta. Strange isn’t it? That the child was deemed more culpable for failing to parent than her LITERAL FATHER who mind you, fucked off to who knows where in the middle of a conflict only to return and be tragically murdered by the big bad villain.

But that’s not all. Papa Archeron dying saves SJM some major brain gymnastics. Because he died suddenly and tragically, he never has to answer for his failures as a parent. He’ll never have to face his daughters and make the effort to fight his wrongs because he conveniently was able to take the easy way out. Because of this, the lion’s share of culpability gets placed on Nesta’s shoulders (and don’t get me wrong, Nesta has failed her sisters before but not to the degree that their father did) where she is then left to suffer the consequences of her Father’s negligence.

Listen, I’m not about to claim that Nesta wasn’t bitchy and ungrateful towards Feyre during ACOTAR and a few more instances throughout the series. Objectively Nesta has been cruel and unkind to her younger sister when it was completely uncalled for. But I take issue with the fact that Nesta is held responsible for things that were ultimately her father’s fault and he.d to a much higher standard than many of the male characters in the series.

Nesta was far from perfect as an older sister, but she still made efforts to mend her relationship with Feyre during ACOTAR and ACOMAF before becoming the main scapegoat of the inner circle. You know what I never see? Rhysand or any members of the IC speaking ill of papa Archeron or expressing any anger whatsoever that he failed his daughters during an extremely vulnerable period of their lives. But you know what I do see? Every IC member judging Nesta so harshly and treating her so callously for her failure to protect and nurture Feyre while they were living in poverty. And yet, who is blamed for Feyre’s illiteracy? Who is blamed for Feyre’s decision to hunt in the woods when their father was RIGHT THERE?

Let’s be real here, Nesta receives more in-text and out of text criticism than Papa Archeron for two reasons. Firstly, Nesta is an actual character while Papa Archeron is a plot device used to explain why the sisters are in such a poor situation. HE DOESN’T EVEN HAVE A FIRST NAME! So how can I possibly engage with his character in a meaningful way when his characterization has as much substance as a pile of cobwebs.

Secondly, Nesta is assumed to be more culpable in the neglect of Feyre’s safety and education because it was expected that she take up all the maternal duties to compensate for her Father’s absence. Even though Papa Archeron was there physically, there is little evidence that he contributed to any community building in their family or made any attempts at mediating conflicts between his daughters. As a father, there isn’t much expectation on him as a parent while for Nesta there is. Nesta’s refusal to be parentified was a subversion of the expectation that she would become a sacrificial parental figure to her sisters (despite only being a few years older than them). As such, Nesta’s refusal was viewed as more offensive and wrong than Papa Archeron because it was a resistance to rigid gendered expectations being forced upon her.

And then we come to the ultimate conclusion of Nesta’s lack of a portrait. Papa Archeron gets to die a hero and have his daughters honour his memory while Nesta has to live with the consequences. Nesta is the one who was there and yet she’s punished tenfold on a much larger scale by a clique of immortal fairies with no sense of proportionality when it comes to wrongdoings.

#anti sjm #pro nesta #anti nessian #anti ic #anti rhysand #sjm critical #acosf thoughts #acotar #nesta deserves better #nesta archeron

[arliedraws]

I find it many things weird in Harry Potter, in general the plot holes are everywhere and things when you think about them just don't make much sense, even in storytelling perspective, and consistency.

One thing that I find appalling is how Sirius didn't notice the scarring on Harry's hand, from Umbridges lines. It's established canonically they're lasting scars. Sirius already had to watch from the literal shadows how Harry was enrolled in that tournament, already fearing for his godsons life bc he suspected Voldemort was involved. How couldn't any responsible guardian, not notice Harry was physically abused, again, under Dumbledores nose, but away from Sirius direct influence to be able to do anything. Then on top of that, Snape is gonna to do the occlumensy lessons, and while Sirius knew that was necessary, I mean, he was outraged when he heared Snape stopped it, but ok, he let it all slide? If I were Sirius I would have pulled Harry out myself for that year, enough is enough. If Dumbledores presence didn't prevent Harry's suffering, in fact his choices add to Harry's real physical abuse (Dursleys, certain teachers). Sirius could educate Harry theoretical until Umbridge was gone. Harrry was save enough in Grimmauld during christmas and the summer so why not.

Its like those I mustn't tell lies scars only are there when needed and then forgotten during times of the plot supporting characters might have reacted to them, like Sirius or whomever. Sirius is a genius wizard but can't turn into an unassuming anonymous figure to go outside, like Hermione did to Ron's features with just her wand and spells in b7, negating need for polyjuice, it's his dog form or permanent housearrest (which leads to disintegration of his mind /character and then he dies)

At some point I'm really suspect this is character driven anymore and just JKs incompetence to consistently implement Sirius's character. Like you already said somewhere here, he is a miracle character. Too clever, too bright, too loyal to continue in the story JK wanted to tell like you said somewhere before. I have a feeling JK didn't know what to do with Sirius, denigrated him and his character and then killed him off. His best role at the end to fulfill is to reinforce Harry's suffering and loneliness it seems, while Sirius actually was the main hope of Harry in the heart of the series. So meaningless!

While I love character metas, I think JK is a meanspirited woman, I always had that notion bc she reacted in some ways, even before the whole modern eh, shenanigans. And that meanness, pettiness and inconclusive attitude reflect in hps worldbuilding.

I agree with several points here!

If Sirius had been in a better mental space, I agree that he would have noticed the scars from the blood quill. However, we could also interpret this as Sirius being exceptionally depressed. Now, I’m not defending JKR here, but one thing we do have to remember is that Sirius was a convicted murderer and Harry’s legal guardians were the Dursleys. Sirius literally has no say in what Harry does. Sirius is not a person with rights—in the eyes of the law, he is due to have his soul sucked out. Anytime Sirius makes a decision on Harry’s behalf, it’s a courtesy thing, not a legal guardian thing. Unfortunately. It’s gross to say, but legally, Molly has the same rights as Sirius to tell Harry what to do—which is, gross.

Also, sure, Sirius could go out of number 12 in disguise but he’s in hiding because he knows he can’t risk his own safety for Harry’s sake. Dumbledore has made it very clear that Sirius is not to leave, and frankly, by the way Harry believed he had to rescue Sirius, this was actually probably the right call. Sirius is the most important person to Harry (and likewise), and if Sirius were taken captive by either the Ministry or Voldemort, Harry would done something unwise (which…he did). I’m not arguing that this is how it should have gone down, but theoretically (if you ignore the importance of mental health and stability lol), this should have been the right call.

But the point is, Voldemort’s ability to manipulate people and destroy friendships is what killed Sirius. Voldemort manipulated Dumbledore who thought he was smarter than Voldemort; Dumbledore prioritized keeping Harry alive but sacrificed Sirius in the end. I do think JKR punishes Sirius for being smart and attractive (lol), calling him rash when he’s really…not, but I think it’s important to recognize that even the smartest, most caring people can make mistakes and overlook the pain of the people they love most.

I think Sirius is partially in denial about some of Harry’s struggles. As a man of action, Sirius’s inclination is to fix things, and when he cannot fix in the way he believes is necessary, he shuts down. He comes alive at the end of OotP when he is able to help in the way he wants—and then JKR kills him for it lol.

Anyway, just some thoughts. I don’t actually think Sirius was behaving out-of-character, but I think JKR was unmerciful in putting this fictional character into situations that brought out the worst in him because it served the plot. Just my two cents though!

#sirius black #asks #hp meta

[nikachansstuff]

Can I share a personal story that I couldn’t not relate to this fandom obsession in advocating for characters that are clearly villains?

So I was at my first term in college, the class was British Literature to 1660. We were having a lecture about Book One of Paradise Lost, that tells us the first act of disobedience of human kind, Adam and Eve expulsion from Paradise. And it also tells about Satan’s rebellion. One of its the most famous quotes: “Better to reign in Hell than serve in Heaven."

The teacher was telling how this statement shows the pride, ambition, and bad intentions of Satan. And then, he open the discussion for the whole class to participate and boy, oh boy, that’s when things got interesting.

There were actual students defending Satan’s actions. And telling “Hey, we don’t know the full story, what if he had struggle in Paradise?” Some said they could relate with the desire for freedom, to be able to make their own decisions. There was one student that actually said Eve should have known better than to trust the Serpent.

The teacher, a middle-age man, was stunned in silence. He then just asked: “You do know you are defending the devil? The ultimate villain of humankind’s history?” One fellow student replied with: “But we are studying literature, we have to think about all possibilities and have empathy to all characters!”

And the poor teacher, still baffled, said in final tone: “We are talking about the Devil! I’m pretty sure we should not empathize or try to justify Satan’s actions! We are talking about Satan here, people!”

I couldn’t not remember this lecture when I read essays about Amarantha’s reasons or how King Hybern could have suffered a heartbreak and that’s why wanted to control de world. Sometimes… in Literature… authors just writes villains because they need a character to antagonize the main character and drive the plot forward. We don’t need to empathize, try to understand an interior and mysterious motivation. And I would bet some coins that even the author themselves didn’t lost a lot of time thinking about an ultimate reasoning that if reveled, it would absolve the villain of his sins.

Sometimes, both in Literature and in life, evil is just rooted in evil.

Why are you defending the devil?

#crazy thoughts #acotar #literature #sjm books

[slugtranslation-hypmic]

I really liked reading your thoughts on hypmic and gender roles!! I would like to add some things about hypmic & female characters :]

I like the way Otome is meant to have a delicate (?) image, but it doesn't make her weak (I remember when her solo Just do it released and people talked about how before they had this idea that Otome was more like ruler who gives orders to her soldiers in the background, but after the song it was clear that Otome is actually in the front lines, leading her army)

And Ichijiku, who is sometimes cruel, with this strong image, this is framed not as a good thing, but a front she puts up to cope with her suffering (not that it's wrong for a woman to have traits usually associated with masculinity, but it's bad when you are doing it for the sake of looking "stronger", someone is not weaker for being feminine, as it seems to be something she internalized for herself/she doesn't seem to project that into others so it's just an unhealthy coping mechanism that hurts only herself), we can see from the drama tracks that before traumatic events her voice was much more high pitched (her natural one), and now she uses this lower, stronger tone, to not be perceived as weak (which I think kinda parallels Ramuda speaking in a higher pitch when his natural tone is lower). Basically a lot of the times when trying to write strong women, authors will take away their feminity from the idea that "you need to be masculine to be strong", that wouldn't apply to any of our female cast, even to Ichijiku who does put up a front to not be seem as weak, this is not a good thing & she still has hobbies/likes things usually associated with feminity (but as an exemple of masculine women also being treated well, we have Asunaro Bojo, she is a tomboy but that's not bad at all!!! Good for her, and there is also Iris from rhyme anima, that I could say is not particularly fem??? Also good for her and her cool motorbike)

And Honobono, I think it's really interesting that, in a society that demonizes feminity, she uses that on her favor, her feminity being her main weapon. Also I like her existence as a contraposition to Hypmic's main themes about bonds/relying on others, the power of words to resolve conflict as an alternative to violence / she wants to break bonds, uses her words as a way to do that, showing how powerful words can be when used for evil

As for them making bad decisions, I agree there were times when it was for the sake of plot moving, I also think some decisions are due to them being flawed characters, just like the rest of the cast is (Otome is impulsive and has a very "now or never" mindset, but so does Dice, Ichijiku blindly follows Otome even on her worst decisions, but that's because of her trauma and it's something she has to work on changing, etc)

And I do think a shifting is happening btw them being antagonistic side characters to them being integrated as part of the main cast in recent times!! That being said I'm very excited for the upcoming stage play focused on the girls only & with 2 new original women, I will love to see what they have ready for them

Thanks for reading and sharing your thoughts!

I totally agree with your opinion about Otome. Her "coldness" (like, personality-wise) is a good contrast to Ichijiku's hot temper, but neither are in any way weak or frail. And as you point out with Ichijku, this too seems like her way of pushing away her own feelings in order to process them better. (True gender equality is everyone failing to process emotions in a healthy way? lol)

I also get what you mean about Ichijiku and writing strong female characters. (I'm immediately reminded of this comic. In terms of concept art, Ichijiku could fit right in with them lol.) She's an interesting example of a trope I see a lot. In Japanese, it feels like "cute" (可愛い) and "beautiful" (綺麗) exist as two opposite ends of a spectrum, where the latter is associated with maturity and elegance and the former with youth and innocence. Fictional taller girls or girls with more developed bodies often lament that they're pushed into the "beautiful" role even when they identify more strongly with being "cute." On the flipside, shorter girls sometimes wish that they could be taken more seriously if they were closer to the "beautiful" side of the spectrum. Ichijiku is pretty firmly in the "beautiful" camp but seems to desire "cuteness" (see how she reacts to tea parties with Nemu, who is more stereotypically "cute", and cultivates a hairbow collection). Yet she reacts with embarrassment when anything "cute" is brought up, likely because she recognizes she won't be viewed with as much authority if she presents herself in a "cute" fashion. That ties into what you're talking about with the pitch of her voice and her desire to appear strong. It's funny how there are expected societal roles ("cute"/"beautiful") nested within larger expected societal roles (womanhood). If all the female characters were like Ichijku, I'd be a lot more "eh :/" about Hypmic, but as you say, there's a wide variety of presentations, none of which are presented as "weaker" or more invalid. Like Nemu--she's definitely a "cute" character but is written to have an enormous amount of emotional strength following her decision to join Chuuouku. This suggests, then, that Ichijiku is incorrect in thinking she can't be strong and "cute." Likewise, the female characters as a whole can be strong and feminine or strong and more masculine-presenting. It'd be fun to see more female characters who lean into the latter (I'm not going to pretend that Hypmic is bursting with canonical masc female characters) but that seems a bit more progressive than Hypmic is willing to go. If it's still at the stage of "femininity != bad"... I'll take what I can get, haha.

I love everything you said about Honobono!

And I also agree that some flawed decisions Otome and Ichijiku make are due to them being ordinary, flawed individuals. Which is a good, humanizing writing choice! When I said that in the original post, I was referring to the sort of decisions that exist purely to set up the main conceit of Hypmic. The "Hmm yes I think I shall spend our man!tax dollars on constructing a huge, expensive stadium as a trial run for a future government-sponsored sport. Let's kidnap two children in order to convince one of the trial participants to rap against his friend, which is the most effective way to prevent a coup" kind of decisions. Team Rocket-ass decisions. I'm not knocking this concept as a whole, because goofy villainy and contrived plots can be fun. Even in semi-serious works, there can still be a place for contrived plot nonsense; the audience is capable of suspending disbelief when the silliness is not the main object in focus. But when we're later asked to examine some of Otome's decisions and thought processes in a more realistic and sympathetic light, I have trouble reconciling the two concepts in my head. In my opinion, Otome can either be the shadowy figure behind the Team Rocket desk or a real person with complex thoughts and feelings, but asking her to be both is not a great writing choice.

Finally, I can't wait for the stage plays either. I hope I get a chance to check them out! The Hypstages are always super, super fun.

#not a translation #asks #hypmic asks

[paraliveimaginesblog]

!!! your writing is soo adorable omg !!! if its not too much do you mind writing watching either horror or romance movies w/ dongha, kenta, and hajun !! tysm nd i appreciate your works sm !!

(this was a cute message thank u so much!! I'm glad you enjoy my writing dear~)

Dongha Yeon:

Dongha thinks love without stipulation is silly. He wanted to watch movies that just had romance as a background, or not at all, but since that’s not what you wanted he had to find at least something to satisfy you. He thinks some of the more upscale romances, ones where the characters aren’t throwing themselves at each other but slowly build up into the types of people who are so close they’ll undeniably support each other whether they’re dating or not, are more tolerable but they’re certainly not a preference.

He always enjoyed watching other people suffering more than him, but horror still isn’t a preference. He’d like films that had a little more ‘what ifs’ to them, mostly because it’s what’s expected of him, to like movies that made him use his brain. But Dongha wanted some thoughtless fun too, maybe something that was a silly little slasher so he could watch foolish teens without feeling guilty because they had it coming. You can see the quiet contemplation in his eyes when he watches horrors, how he winced when there were killers whose background consisted of an abusive family, but rather than bring it up you tried to soothingly stroke the back of his hand with your thumb, pretending you needed the comforting instead.

Hajun Yeon:

Hajun is a man with unfiltered opinions so you’re wary about bringing favorite movies of any kind in front of him. Romance seems to get the harsher of the two, especially when there are big betrayals that are tied up by the end; when they leave a trillion loose ends, Hajun can’t help but wonder aloud how they can truly trust each other after that. He also rather there be an exciting plot to surround the romance, nothing too ‘slice of life’ as it wasn’t interesting to watch the life he was living. You would take offense but you can tell when he makes certain comments he’s trying to get a rise out of you, but it’s not the only time he speaks up. He seemed to be paying close attention to the actions of the leads, seeing the kinds of things you liked and thought were cute to jot down for later.

Horror is a genre Hajun seemed to enjoy a little more. He might not say they were his favorite but you can see the amusement in his eyes at seeing stupid people suffering for their decisions, especially when the bad guy ultimately wins in the end. He tells you that it feels more realistic but when there were main characters who went through nothing but trauma, good people who confronted the bad things they had done, who end up winning in the end despite what the film might foreshadow… He’d breathe a notable sigh of relief. You don’t tease him for this but you do put your head on his shoulder, trying to keep yourself still so he can’t tell that you’re giggling at his investment.

Kenta Mikoshiba:

Some horror movies make Kenta a little jumpier than others. Living his life in a locked down home, or even just in his regular cell at the prison, made it so he felt at least safely contained. But watching a supernatural movie where steel bars won’t protect him, nor will his beefy roommates, makes him a little on edge. He acted tough and when there were movies with cool killers with a schtick he always got a laugh, but anything that digs deep beneath the surface makes him antsy. You think he’s cute when he inched a little closer to you when you watched them together, though he always pretended it was for your sake (and you let him, since you were still getting prime hand-holding time with him).

Romance movies make Kenta roll his eyes. He’s filled with all kinds of criticisms for every conflict that comes up, mentioning that love made people stupid and he couldn’t stand it (ignoring the irony of the situation since he was watching said moves with you). You didn’t take much of his opinions to heart because it was clear he held up a wall when you watched them together, and you wondered how he’d feel if he watched one when it was just him. You can see him getting invested when there’s a star-crossed lovers type of situation, and he looked even more miserable if the romance was one that included distance as the stories main obstacle to overcome.

#Paradox Live #Paralive #Paradox Live Imagines #Paralive Imagines #Paradox Live x Reader #Paralive x Reader #Dongha Yeon #Dongha Yeon x Reader #Kenta Mikoshiba x Reader #Hajun Yeon #Kenta Mikoshiba #Hajun Yeon x Reader

[sapphic-agent]

I know this probably sounds egotistical and arrogant and perhaps hypocritical because I am a believer that fans shouldn’t dictate how a story should be made, it should be up to the writer and author of the story how it is written.

But after the hurricane of shit that we’ve gotten to where Bakugou is just now being forced down our throats and the story and focused being ripped Izuku and instead bequeathed to this overrated dick, I don’t care anymore.

I say we should petition that, after MHA has initially died down in popularity, we get new writers to reboot the show to where the main focus is on IZUKU, he gets treated the respect he deserves, and Bakugou isn’t the glorified asshole that gets shoved in our faces and told again and again he went through significant “ChArAcTeR dEvElOpMeNt”. Because I am so goddamn sick and disappointed in Horikoshi right now.

Absolutely! When Isayama was getting all the hate when he ended the AOT manga, I was one of his firm defenders. Even though Gege has broken my heart quite a few times in JJK, I still respect their decisions. I absolutely loved how Shirai ended The Promised Neverland manga even though a lot of people didn't. I'm all for writers making doing what they want for their own stories because usually I can understand why they made the decision. Even if it's one I disagree with, I can comprehend why they took that particular course because it usually makes sense in one way or another.

But what Horikoshi did to MHA is appalling.

He reworked an entire series to focus around one character (who was not the main character and wasn't even originally set up to be the deuteragonist). It was bad enough that Bakugou's development wasn't that good anyway, but why did all the other characters have to suffer? Why did Izuku's character have to suffer in his own series?

Not to mention the plot. There were so many aspects to the world Horikoshi created that could have been explored. This was a story about people not being born equal and had so many facets of this society it could have expanded on: quirkless people, mutation quirks, weak quirks, villainous quirks, exploitation of young female students (Kendo and Yaoyorozu), quirk marriages, child assassins (Hawks and Lady Nagant), corrupt government, etc. But nah, let's focus on and pander to the rich privileged brat who was born at the top of society with a powerful quirk and was literally quirkist.

Not to mention, the story literally forgot Izuku was quirkless. All that time he spent miserable and everything he went through (even outside of Bakugou) just down the drain. He never mentions it and hardly even thinks about it. It just... Doesn't matter. A vital aspect to his character gone just like that. Because if we acknowledged it that would just make Bakugou look bad.

Izuku deserved better as a main character. Izuku's real friends deserved to be the ones at his side, not Bakugou who only just started to not be a dick. I'm sick. And when I'm not sick, I'm tired.

I vote that a ton of fanfiction writers work on rewriting MHA together. Because if they release an official manga that treat their precious Kacchan (barf) as anything less than a martyr, there will be riots

#mha critical #bnha critical #anti bakugou katsuki #anon ask

[duskymrel]

Bbygirl, you got show the rest of the list pls🙏🏼🙏🏼🙏🏼

I wanna see how awful it can be.

Of course babygirl <3

Didn't feel like taking screenshots so I copied and pasted have fun suffering 😇

May I present, this stupid ass article of most popular TWST character, ranked:

"Disney Twisted Wonderland is a popular multimedia project created by Disney Interactive and Square Enix. It is set in a parallel world known as the “Nightmare World,” where various characters inspired by classic Disney villains are reinterpreted as students of prestigious magic schools. The project includes a mobile game, an anime series, and various merchandise.

One of the key elements of the project’s success is its cast of captivating and unique characters, each with their own distinct personalities, backgrounds, and powers. Fans have developed a deep attachment to these characters and have come to have their own personal favorites. Whether it’s because of their charming personalities, intriguing backstories, or impressive abilities, the characters of Disney Twisted Wonderland have become beloved by fans around the world.

1. Yuu:

Disney Twisted Wonderland is a Japanese mobile game and anime series with “Yuu” as its main character. In Japan, the game was released in 2020, and the anime adaptation followed in January of 2021.

In “Disney Twisted Wonderland,” a human named Yuu is propelled into a parallel universe populated by Disney villains. He studies magic at the Night Raven College in this world, where he meets various Disney villains while honing his magical skills. Yuu is portrayed as a determined and compassionate person who is determined to learn the truth about how he came to be in this alternate world and to aid those in need.

The series’ viewers have responded favorably to the character, praising his upbeat demeanor and continual development.

2. Riddle Rosehearts:

“Riddle Rosehearts” is a character from the Disney franchise’s mobile game “Disney Twisted Wonderland.”. In “Disney Twisted Wonderland,” a dark fantasy role-playing game, players can explore the magical world and go on adventures with well-known Disney villains by their sides.

One of the game’s characters, Riddle Rosehearts, is portrayed as resembling the Mad Hatter. He is well-known for his mischievous, unpredictable personality, love of tea, and knack for riddles. He is a member of the Night Raven College, one of the main educational institutions that players can enroll in, and he works as a professor there.

Players in the game can engage in dialogue with Riddle-like characters, go on missions, go to school, and fight. The game has a complex narrative where players can make decisions that influence the course of the plot and forge bonds with the characters.

You might find “Disney Twisted Wonderland” to be a fun experience if you like dark fantasy, Disney Villains, or mobile RPG games.

3. Leona Kingscholar:

The Disney mobile game “Twisted Wonderland,” a dark fantasy role-playing game that is a part of the Disney Villains series, features the character “Leona Kingscholar.”. In Japan and a few other countries, the game has been available since its release in 2020.

Players take on the role of students at Night Raven College where they interact with Disney villains who have been reimagined as characters. One of the students, Leona Kingscholar, is a self-assured, endearing person with a quick wit. She is a playable character with a distinct backstory that players can investigate.

In the role-playing game Twisted Wonderland, players can customize their characters and engage in battles. Players have praised it for its captivating plot, endearing characters, and exciting battles. This game might appeal to you if you like Disney and dark fantasy.

4. Azul Ashengrotto:

Character named “Azul Ashengrotto” appears in the Disney “Darkened Kingdom” video game series called “Twisted Wonderland” for mobile devices. The game, a narrative-driven role-playing game with characters modeled after vintage Disney villains, was released in Japan in 2020.

In “Twisted Wonderland,” players experience the journey of a transfer student who is suddenly thrust into the Darkened Kingdom, where they are required to enroll in the prestigious Night Raven College and unravel its mysteries. One of the seven main characters in the game is Azul Ashengrotto, also referred to as the “Dormouse” of the Spade dorm. He has a sharp tongue, a sarcastic sense of humor, and a sweet tooth.

You can find more details about “Twisted Wonderland” and its characters on the show’s official website or on fan-run wikis and forums.

5. Kalim Al-Asim:

The anime and mobile game “Twisted Wonderland,” which is a part of the Disney series of games, have a connection to “Kalim Al-Asim” and “Disney Twisted Wonderland.”.

The multimedia project “Twisted Wonderland” consists of an anime and a smartphone game. The main character, a transfer student, enrolls in the prestigious Night Raven College, a school for apprentice villains, after being transported to an alternate dimension known as the “Wonder Land” in the anime adaptation, which follows the game’s plot.

In “Twisted Wonderland,” Kalim Al-Asim appears as one of the characters. He can control fire and is a part of Night Raven College’s Torch Division. He frequently smokes a hookah and has a self-assured, flirtatious personality.

Both the video game and the anime have a cast of Disney villains-inspired characters, each with their own distinct personality and set of skills. Players can advance through the story, interact with the characters, and engage in combat by collecting cards that feature the characters.

Overall, “Disney Twisted Wonderland” is a humorous and imaginative take on the traditional Disney Villains that is geared toward anime and mobile game fans."

Here's the link if anyone's curious

#Twisted wonderland #Twst crack #twst shitpost #this brought me physical pain to read #Twst yuu #Twst riddle #Twst kalim #Twst azul #Twst Leona #riddle rosehearts #leona kingscholar #azul ashengrotto #kalim al asim #twst yuuken