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physalian · 3 months

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Plot Holes and How to Fill Them (Or, The Hidden Potential in Your Mistakes)

“But why didn’t they just do that earlier!”

“You can time travel – so time travel!”

“Doesn’t X have Y spell? Why aren’t they using it to escape?”

“You. Have. Telekinesis! How are you this stupid?”

Plot holes! The bane of every writer’s existence. You think you’ve polished your beautiful manuscript, you have it all sent out for the masses to consume and praise and shower with compliments and adoration… and then they start tugging at a thread that may or may not begin to unravel your entire story. You’ve read this thing top to bottom, forwards and backwards and upside down, so many times the letters are burned into your brain. You mumble your monologues in your sleep — how did you not see this? How do you fix this?

See this post about beginning the writing process that might help you avoid opening a plot hole entirely with a solid enough script and outline.

Types of Plot Holes

Your magic system’s established rules have just been broken for TeNSioN

Your Deus Ex Machina really did come out of nowhere and is quite out of character

Why doesn't Character just run away from a fight they can't win?

Characters forgetting they have superpowers, extreme intelligence, handy tools or weapons, survival skills, common sense, or crucial information to escape and/or solve a situation

Characters dying for the above mistakes when said death could have been avoided

The entire story could have been avoided had Character A just told Character B the truth

Character X should have known ___ all along given their profession/backstory/friend circle/education/personality

And variations of the above, I’m sure I’m missing a couple. Fixing plot holes generally come in two camps: Those you can fix by rewriting the existing manuscript that contains the hole, or those you have to work around from a previous manuscript that’s already been published.

Why Plot Holes Happen

Plot holes happen in reality. Expecting your first, second, or 15th draft to be completely foolproof is utter nonsense. Real people forget stuff they’re supposed to know all the time, tools that would be useful are left behind, GroupThink makes very bad decisions.

The difference is: You are writing fiction. Your goal is to be entertaining, not necessarily realistic. A character simply *forgetting* Macguffin X at the climax of the story does not make for an entertaining read, no matter how likely it might be to happen in the real world.

You’re making this entire world up as you go and that alone is an impressive feat millions of others can only dream about – cut yourself some slack, okay? Everything is fixable.

Plot holes also happen because we’re so engrossed in our own story that we forget it’s all made up. You’re 22 chapters into a 24 chapter novel and you’ve just realized your psychic hero would never have been caught unawares like this. “But that’s just how he is!”

No. Stop. That’s not just how he is. That’s just how you wrote him – and you can go back and un-write him. Any excuse you can dream up you can un-write, and unfortunately, you’ll likely have to do a fair bit of it if you still have the opportunity.

Plot holes generally open long after the inciting incident that causes them. If you’re going to fix it, duct-taping together a solution in that very same scene isn’t the way to do it. You have to figure out why it’s a hole at all, then go back and fix its foundations.

Finding Your Own Plot Holes

Sometimes you’re lucky enough to stumble upon them before it’s too late. A fair bit of the time, though, your audience has to tell you. Finding your own plot holes requires stepping back from your work and looking at it like you’re just a reader, not the author.

Read your plot out loud to yourself and keep asking questions like:

Does this make sense for the scene?

Does this only exist to look cool at the cost of logic?

Are these rules I wrote too easy to break or contradictory in any way?

Is there any other way for this character to escape this situation?

Is the only solution here too contrived?

That, and having an army of beta readers who should show you flaws you’ve overlooked. Even then, some things just aren’t obvious at all until someone too smart for their own good points out something no one else considered before.

It’s okay. It’s not the end of the world.

Filling Plot Holes

Fix your broken magic system

A “magic system” broadly describes any type of powers/abilities/supernatural entities that function in your world. They can be in high fantasy, urban fantasy, sci-fi, or any genre really. The Force is a magic system, as much as is bending in Last Airbender even if no one calls it “magic”.

For example: Force users are telekinetic… and yet don’t simply repeatedly spam the “chuck my enemies into a wall/off a cliff/anywhere that is away from me” button. It’s what you’d call a “soft” magic system, it doesn’t have explicit rules on how and when it can and should be used. It just *is*.

Fixing holes in your magic system first demands examining why you wrote it the way you did, why you gave it these specific rules, or why you didn’t, and all the ways characters should otherwise be able to use it when your story demands they get creative.

For soft magic systems — never let the magic system win the day. It invites far too much scrutiny. Gandalf from Lord of the Rings is a Wizard. He can do an undefined number of spells and has an unclear number of abilities and limit to his reach. Gandalf’s magic is never the saving grace of the Fellowship. So asking “why didn’t Gandalf just do X” isn’t ever a question people have because success never depends on Gandalf doing X.

Everyone hates on the time turner in Harry Potter, as they should. Time travel is essential to the plot of Prisoner of Azkaban, without it the heroes fail. And yet, because it is time travel, why it never existed earlier and why they never use it again to solve more massive plot problems is a valid question. As goes with many spells and abilities in the series.

For hard magic systems — remember that you wrote the rules, you can go back and change them at any time before it’s published. Bending in Last Airbender is rarely the focus of any conflict. Yes, two benders will fight each other, but it’s not “who’s the stronger bender,” it’s “who’s smarter with their element”. Who better uses their environment? Which one is racing against a clock before reinforcements arrive and overwhelm them? Which one runs the risk of exposing themselves if they start bending? Whose mental state is crippling their bending today?

These are all character-driven explanations for why certain abilities do or don’t manifest in a given scene… until the finale when it really is just a clash of red and blue aura lasers.

There is never a scene where a character is trapped when they shouldn’t be. Never a “why didn’t you just X” moment, because it’s never about the bending, it’s about the bender.

Turn plot-reasons into character-reasons

This means taking a “why don’t they just do X” and making the reason because one of the protagonists is morally against doing it, not because the hand of the author demands it.

In Last Airbender, Aang is vocally against simply killing the Fire Lord. It would be easier, it would risk far less casualties and carnage, it’s fastest. And yet. Aang doesn’t do it simply because he’s not strong enough or he doesn’t have some magical super weapon, or the stars have aligned and now he’s lost a very convenient ability – Aang doesn’t want to take the easy road because that’s who he is as a person.

He’s been raised as a monk to value the preservation of life above all else (ignoring any accidental casualties over the course of the series). Him being desperate to not simply kill Ozai is central to his character and even when he has the chance in the climax of the fight, he still doesn’t take it.

Now “why didn’t you do that earlier” does, still, concern the “energy bending” established out of nowhere just for the finale so Aang doesn’t have to compromise his morals to win… but the show is so damn good and Ozai’s just desserts so damn sweet it doesn’t really matter.

Making these plot decisions character decisions, so long as they are in-character, gives some juicy potential for schisms within Team Protagonist as fan favorites clash over ideals and morals and whether or not the greater good is worth them sacrificing something so central to their being.

This also applies to characters not sharing crucial information with each other. Make them distrustful of the others, or let them attempt it anyway and have some other consequence for the effort. Anything is better than a character sitting on valuable info simply to maintain the mystery.

Avoid Deus Ex Machinas

The “surprise reinforcement cavalry charge” is one of my favorite deus ex machinas in fantasy. Everybody cheers, it looks amazing, the music is swelling, our heroes on the battlefield realize they haven’t been forsaken by their friends, etc. In Lord of the Rings, yes, Theoden could have arrived 30 minutes earlier and saved even more lives, but we already knew he was on his way moving as fast as he could without exhausting his horses. Theoden’s army also took care of the bulk of the battle so when Aragorn arrives with the second surprise reinforcements, it’s less a decisive blow that comes out of nowhere and more the victory lap.

In “Battle of the Bastards,” Game of Thrones has its third surprise cavalry charge of the series, only this one much more explicitly comes to save the day. The difference between this scene and Theoden’s charge is: Audiences had no idea Littlefinger was on his way, and neither did Jon Snow. Had Sansa told him she had a plan, Jon could have waited. He wasn’t backed against a wall and forced to fight right then and there, he could have stalled an extra hour by just not showing up to the battlefield to wait for his cavalry. With Sansa inexplicably not telling him, she risked his life and the lives of his entire army because the hand of the writers wanted to keep it a surprise. Worst of all, when the battle is over, he compliments her decision, despite all the blood on her hands.

Surprise reinforcements, saviors, powers, and abilities always run the risk of “why didn’t they do that earlier” and you should be asking yourself the same question. If you can’t come up with an explanation other than “because it’ll look cool” go back to the drawing board.

Or, have your very own characters pissed that the savior didn’t just do that earlier. Have your characters ask where this special power was, have it mean something to them and the story at large. Had Jon been angry with Sansa, given their incredibly pyrrhic victory and the potentially avoidable death of their youngest brother, it might’ve made for some interesting character drama.

Give your saving graces deadly costs

“Why didn’t they just do X earlier?”

“Because doing X would have killed Character D, dummy.”

Giving your super special magic, mutant, super, or supernatural powers costs, drawbacks, and limitations forces the characters who use them to not resort to them every single chance they get. Their magic drains their physical stamina, or the demon they made a deal with camping in their brain threatens to overtake their psyche, or the sword is cursed and every time the hero raises it in battle, they lose a little piece of themselves. Or, using this creepy power strains their relationship with their friends or community.

Without risk and consequences, you cannot avoid “why didn’t they do that earlier,” because the only answer you have to give is “because I, the author, said so.” The only time a character is allowed to have selective amnesia about their superpowers is if it’s been established beforehand as a potential problem. Then it’s not “this came out of nowhere.” Then your audience is dreading the entire time waiting for that chekhov’s gun to fire.

Don’t compromise your story for sensationalism

I can complain about ~subverting expectations~ in another post, but what I mean here is this: Are you writing this scene purely for shock value, for the sake of a twist, because a story this grim demands at least one character death, or because it’s going to look epic?

In this post about pacing and this post about how to write tone, I talked about making your scenes pull double duty. You can write a scene for shock and awe, but if it’s at the expense of a character’s integrity or intelligence, come up with another way to make it spectacular.

You want the villain to monologue to give the heroes time to save the world? Then write a villain with an ego and personality that would monologue. You want the hero to be a one-man-army? Then write their personality as the lone wolf type and have it be a flaw of theirs that they keep striking out alone, consequences be damned.

You absolutely need the hero to not take the easy road and fight the bad guy without using their most effective weapon? Give them a reason to stall this fight. Maybe they really do need to simply run out a clock, or they don’t actually want to kill/subdue their opponent, or in doing so, the villain’s death is what causes the Bad Thing to happen.

If I write a character that can kill with just a look, every time I put them in a dangerous situation I need to then justify why they don’t do that over and over again, unless it’s by their own stubborn integrity that they choose not to.

If I write a villainous plan so devious and well thought out, the only thing standing in the way is living protagonists? I need a reason the villain doesn’t just murder the heroes every chance they get. Maybe they’re internally struggling over actually going through with it, or their ego demands the hero doesn’t get a quick or honorless death, or they do actually need a living hero for the plan to work.

Fixing Plot Holes in Sequels

All of the above is advice for issues within the same manuscript. What happens if you’ve already published and have the chance to address a known plot hole in the sequel?

About the worst thing you can do is slap in a throwaway line or hasty explanation to cover your ass. Everyone reading and watching will notice. Saying nothing is better than saying that.

See the duct-tape in Rise of Skywalker when the heroes explained that they couldn't just hypersspace-jump another ship into the enemy fleet because it worked so horribly effectively last time. Doesn't matter that they could have put it on autopilot or sacrificed a droid, or that, at any point in the history of Star Wars, someone else could have and should have done this desperate maneuver. For the sake of "looking cool" it opened an entire sinkhole.

Less a “hole” and more an inconsistency — the pegasus Blackjack in Percy Jackson is explicitly a mare, a female horse, in one book, and then inexplicably male in later books. Why? Well the author made a mistake, simple as that. He did *not* attempt to explain this error away or dig the hole deeper. It just is. Though I’m not sure why Blackjack couldn’t just stay a mare and how he didn’t reference the previous book when writing the sequel is a bit baffling.

If your heroes can no longer use the Deus Ex Machina they used before – have them attempt to use it, and then come up with a solid reason why it’s not possible. Maybe it was one-time use, or the savior simply doesn’t want to, or the cost/risk is too high to attempt it again, or it simply can’t be found and it’s very frustrating.

Have the heroes be morally opposed to doing what they did before, or overconfident, or skeptical that it will even work again only for that choice to bite them in the ass later. Have the magic item all used up, the recipe to recreate it lost to history. There’s a hundred better excuses than the hand of the author simply saying so.

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If you aren’t going to write a sequel and you accept living with the plot hole unfilled… chances are people are going to love the story despite its flaws. Harry Potter is the poster child of “why didn’t they use X spell to solve the problem” or “they have a spell for X, yet they don’t have a spell for Y?” and how many people love that story?

In the end, a plot hole can be tiny or massive and chances are the story you told is entertaining enough to make up for it. It’s just a story, it’s just fiction. Learn from your mistakes so the next piece you create is even better.

#writing advice #writing resources #writing tips #writing tools #writing a book #plot holes #magic system

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sakura-chan-25 · 5 months

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Dizzy Day (Rewrite)

Pairing: Lucifer x MC

Summary: MC feels dizzy, hates that feeling, so Lucifer stays with them until they're better.

Word Count: 620

Warning(s): dizziness, a small bit of swearing (literally ’fuck’ just once), pet names (honey), a lot of groaning in annoyance

"I'm dizzy", MC mumbled tiredly as they let their head drop onto the table with a quiet 'thud'. Lucifer looked up from his paper work, worry in his eyes. The human was in his office right now, sitting opposite him and doing some homework. They still hadn't moved their head and Lucifer was starting to think that they may have passed out, so just in case he called out their name.

"Mhm?", they responded with the same tiredness lacing their voice from before.

"Explain to me.", he said and MC groaned in annoyance, lifting their head again. MC just told him they were feeling dizzy! What is there to explain?!

They groaned again and almost yelled: "It's just so annoying! I don't pass out! I have to feel every single thing! I have to feel my heart pounding in my rib cage, I have to feel how air is so fucking hard to get into my lungs, I have to feel my hands shaking, I have to see the room spinning around, I have to feel the weakness of not being able to hold up my body! But does anyone listen? OF COURSE NOT!", the human smacked their head onto the table with a very loud 'thud' and a silent 'ow' leaving their lips. Lucifer was quiet the whole time and listened. He waited a moment before talking, waiting for them to say anything else, but he didn’t expect hearing the softest "sorry" he's ever heard leaving their mouth and his eyes widened. He whispered a little "okay" before standing up and walking to where MC sat.

"Why are you apologizing?", he asked softly as he sat down on the table and cradled their head in his lap. The human didn't answer and buried their head deeper into his lap, appreciating his hand playing with their hair. "There is no need for you to do so. I'd rather hear you yell than seeing you bottle up your emotions."

"Lucifer, honey. That's exactly what you're doing, too. Bottling up emotions, I mean. I don't want to hear you yell though!", they said, quickly snapping their head up and just as quickly lowering it again and closing their eyes while grabbing Lucifer's arm for stability.

"Are you alright?!", Lucifer asked uncharacteristically panicked, MC’s comment completely forgotten as if they never mentioned it to begin with. The human nodded and put their head into his lap again.

They didn't hear Lucifer's question the first time, so he had to ask them a second time. Only to realize that they couldn't really make out the words right now.

They were awfully pale and their eyes unfocused. Lucifer sighed, thinking about another way to ask them.

He poked at their shoulder until the human slightly moved their head and pointed at the couch. MC squinted their eyes, trying to figure out what that spot of blacks and reds (was there something bright/yellow-ish, too?) could be. It took them some time but they guessed that it had to be the couch with the window behind. (The colours wouldn't fit anywhere else in this room)

The demon still pointed and patiently waited for their answer. MC hummed in confirmation after a while, so Lucifer slowly picked them up and carried them over to the couch.

Once they laid there comfortably, he began to play with their hair again, making them feel even more drowsy than before. This time however it was because of sleepiness. Lucifer slowly put the spare blanket over their body as MC quietly whispered in slight confusion: "But... work?"

The only response the human got from him was a gentle kiss on the forehead, soothing them a bit until sleep finally took over them.

A/n: It's so funny to see how my symptoms developed with just reading my fics! When I wrote this the first time (I think pretty much a year ago) that was a pretty bad day, but nowadays I would consider that an okay day (not great, but also not bad). Anyways I hope you enjoyed and have a good day/night! :D

#obey me #obey me fanfiction #obey me fanfic #obey me comfort #obey me x reader #obey me x mc #obey me lucifer #obey me mc #obey me lucifer x mc #obey me lucifer x reader

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intimidating-fettuccine · 5 months

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can we have headcanons of BEN trying to ask the reader out?

I didn't realize I'd written this before (click here for the previously written one), but it's a rare time where I actually want to rewrite this one, so I hope you enjoy.

BEN, as much of a shocker as it might be, is pretty damn good at flirting. The issue that comes with that is that he flirts with pretty much everyone just as a natural reflex, and so when he starts flirting with you with the intention of trying to ask you out it doesn't really work because he's already been flirting with you and other people around you for so long. When he flirtatiously asks you out to dinner you accept, saying you'd love another friend date (considering he had been already flirtatiously asking you out as a friend for months). When he tries to compliment you in a flirty way, you just accept it and thank him because he has already been doing the same for so long. He had dug himself a grave with his flirting, and now he needed to get himself out.

The anxiety comes into play when he has to figure out how to actually get his feelings across to you without embarrassing himself or overestimating how much you might actually like him. He does end up asking around discreetly amongst the creeps if any of them think you like him (considering they were all WELL aware of his very obvious feelings for you), and when a few confirm that you have actually mentioned to them that you like him, he feels so pitiful about himself that you literally like him back and he still can't get you to realize he's in love with you. He tries to really buckle down and figure out the best way to confess his feelings in a way that will hopefully get it across to you that hey, he's not just goofing off, please go out with him, please, he wants to date you so bad please do not keep assuming these are friend dates or else he might cry--

I said in the original one I'm rewriting that he'd end up making a little game, and I think that he still would. He'd invite you to his room and have you sit down to play it while he hovers nervously behind you. Going into more detail, I think he'd have a maze lined up that you have to make your way out of. At every correct turn, however, he begins to show you the obvious meaning behind all of the things you've brushed off. It will have every single compliment or date request he's given to you that you thought was just him being friendly that was actually him trying to ask you out. The longer you play the game, the more he's blushing and the more flustered you're beginning to grow. When you finally reach the exit, you get a congratulations popup, telling you that you did well making it out of the maze, and asking you if you might consider going on an actual date with BEN this time.

When you turn around, a love-filled smile on your face, nodding your head and trying not to get emotional, BEN starts bouncing around in anxiety and excitement, before pulling you into a big hug. You apologize to him for your oblivious nature, and he says it's okay and that he'll flirt with people a lot less, and start to be way more direct when it comes to flirting with you. He tries to play it cool and act confident, but when you press a sweet kiss to his cheek and tell him you're looking forward to your real date, his face, and ears completely flush red and he feels as though there's steam shooting out of his ears from how flustered a simple thing makes him. He stutters out that he's looking forward to it too, and when you laugh at him, he gets the biggest smile on his face he's ever had. He truly loves you so much.

#creepypasta #creepypasta headcanons #creepypasta headcanon #creepypasta x reader #ben drowned #ben drowned headcanon #ben drowned headcanons #ben drowned x reader

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rupertsfangirl · 4 months

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Ron Weasley Imagine-Comforts you after a rough day at work (Smut)

Disclosure: Spanking, oral (female & male receiving), Probably missing sum but idk.

Summary: You have a long and rough day at work and your doting husband Ron takes care of you when you get home (IYKYK).

Word count:2.5k

Pairing: Fem!Reader x Ron Weasley

Note: HOLY HELL I APOLOGIZE! I know I released the original all fluff version like weeks ago but the holidays came around and then my birthday and a bunch of other things but anyway I’m back for now (hehe). I am starting school up again but I should have a bunch of free time due to most of my classes being extracurricular ones since I took college courses to do the other classes early (Yippee for me). Anyway I really hope you enjoy it. I know I had fun writing it even though it took me like a million years. I do plan on making a twins one but I kinda need to rewrite it cuz I accidentally set it in a time period making them underaged sooo yea gotta redo that, oopsies.

Ron stood in the doorway and let his blue eyes trace your figure.

“You look beautiful.” You blushed at his compliment.

“Well today is important.” He walked up next to you and took the necklace you planned to wear off the desk. He placed it around your neck while you lifted your hair allowing him to clasp it together.

“Perfect,” he whispered, placing his hands on your waist from behind. You smile as you put your matching earrings in.

“Alright, I'm ready.”

“Do you have everything prepared?”

“Yes, it's all in my organizer.”

“Well then don’t forget you are amazing and you’ve got this, go get’em.” You hug him feeling a surge of extra confidence from his words. You walk out of the room and down the stairs to the fireplace, Ron trailing behind you. He presses a kiss onto your forehead. While stepping into the fireplace you grab a palm full of floo powder,

“Ministry of Magic.” You watch as Ron disappears behind the flames and the ministry's black brick walls appear. You start towards the conference room feeling the sweat on your palms, you take a deep breath and reassure yourself.

“You got this.” You step into the room first, as you expected. You begin to set up your presentation; it was an important one because it would allow your department to expand and potentially lead to a promotion for yourself. Once everyone had arrived you began the presentation. You glided through with ease feeling quite cool and collected the whole time. Why had you been so nervous before, you thought of Ron’s words and smiled internally. After the presentation you were feeling pretty good about it. You left the room and started back toward your office however you heard a few of the wizards and witches who had been in the room talking badly about your presentation. It made you upset and questioned whether you had hallucinated that you were so calm while presenting. You tried to shake it off but remained in a funk the rest of the day. And add that you were behind on just about everything due to being understaffed, it was a combination of all the things that made you overwhelmed.

You had stayed about 3 hours overtime and got home later than you planned; but even still the second you got home Ron was there to greet you. He took your bag, giving you a kiss while grabbing it, and placed it on the couch.

“How was work?” You only groan in response. “That bad sweetheart?” You nod and place your head onto his shoulder letting out a big sigh. Ron tries comforting you by rubbing your back and holding your head.

“Why don’t you get out of those clothes and we can just relax.”

“Alright,” you say, grabbing your bag and heading upstairs to change into something comfy. You take your hair out of the tight bun it's been in all day and fling off the narrow pumps your feet were squished into; sitting down you take out your earrings and necklace.

Suddenly Ron shouts from downstairs, “I have a surprise for you!” You can’t help but feel excited using a spell to quickly and cleanly remove your makeup. You make your way back downstairs to see a table set with two plates of delicious looking food, candles, and glasses of the good stuff (nice wine). Ron looks pleased with himself and you can’t help but feel like you drooled a bit when you saw the food.

“Oh my goodness, what did I do to deserve you?” You give him a tight hug and you both sit to eat. You tell him all about the rough day you had and he shows all his emotions on his face like he usually did: anger when you told him about the people who talked bad about you, worry when you told him about all the work you have, and excitement when you told him that you still felt the presentation went well. Then he told you all about the day he had at work which was usually light hearted as he co-managed the joke emporium with his brother George. He always managed to make you laugh with something crazy that happened. You guys finished eating and took the plates to the kitchen placing them in the sink then Ron used a spell to start washing them.

“What do you feel up to, darling: a bath, a movie, or maybe me?” You giggled at his proposal and rubbed your finger on your chin pretending to think really hard.

“Hmm, what about a massage; my back and feet are killing me.”

“I can make that happen.” He had placed his hands on your shoulders and squeezed them lightly. “Go up to the room, I’ll meet you up there.”

“Okay.” You head up the stairs and into the room, you lie face down on the bed placing your head into your arms. Ron walks in a minute or so after with a bottle of oil.

“Well you have to take off your shirt,” he chuckled while giving you a knowing look. You roll your eyes at him making sure to face away from him while removing your shirt. You quickly lay back down on the bed and soon after Ron drips the warm oil onto your back instantly soothing you. He begins to glide his hands along the sides of your back to your shoulders where he puts pressure and squeezes causing you to let out soft moans.

“You have magic hands Ronnie,” you mumble jokingly. He chuckles quietly and continues to massage the knots out of your shoulders. He then slowly moves his hands down to your lower back and using his thumbs he presses into it and moves out slowly; you gasp lightly feeling loose and calm.

“Did that feel good?” You nod into the bed and he smiles feeling happy he can please you. Ron’s rough yet gentle hands rubbing from your neck, to your shoulders, to your tailbone. You feel as though you're on a cloud and you allow your mind to wonder. You sense his fingers slip into your pants, slowly pulling them down; you think about telling him off but it’s been awhile since you two had been sexually intimate, so you let him continue. His hands caressing your ass; starting from the bottom of your cheeks and squeezing while sliding up. He pulled the spandex waistband of your underwear letting it slap back down onto your waist and swiftly slapping your ass making you tremble. While sliding your pants off all the way, his hand came down a second time leaving you a shade redder.

He smirked at his ability to make you squirm and leaned down to whisper in your ear, “Ass up.” You bite your lip, abiding his demand, getting on your knees and arching your back to lift your backside into the air. He ran his thumb under the trim of your underwear, lifting it and planting another slap on your cheek; you jump, letting out a slight squeal.

A pleased grin spread on his face, “You’re so wet for me.” Placing the pad of his finger on the forming wet circle, beginning to rub it; the friction of the fabric against your entrance causing a moan to escape your lips. His fingers traced over your lips gradually moving inwards towards your more sensitive areas; slowly working up the pressure but keeping the same pace.

“Your hands really are magic.”

“That's not all that's magic,” a sly smile forming on lips. He roughly pulled off your underwear revealing just how wet you really were. His tongue gently skimming your thigh until slowly reaching your vagina. You softly call out his name as he draws circles and places kisses; soon after pushing his tongue into you. Sultry breaths and rough hands accompanied by a soft tongue brought a rising heat. Contrasting with the coldness of his fingertips as they explored your legs before placing another slap on your ass, pulling a whine from your throat. His mouth hovered just above your clit, placing gentle kisses around the hood and releasing light slow breaths onto it, making you ache for his tongue on your clit. Your hips seemed to take control attempting to move closer to his mouth; prompting Ron to plant another slap on your already rosy cheek.

“You have to be patient,” he tutted before treating your ass to several quick slaps. The sensations drawing out sounds you were unaware you could make.

“Please,” you whine.

He smirks into your skin and shakes his head, “But I love watching you beg.” His finger trailed from the top of your vulva to the bottom; his breath still seemingly rubbing your clitoral hood. As his finger was just to touch your clit he pulled away skipping over the area then continued down. Every time he did this you whined and squirmed, craving his finger pads on your deprived clit. Everything seemed to be in slow motion, the feeling of Ron’s muggy breath and his coarse hands that knew all the spots to make you scream.

“Ronnie, I-”

“You're close, I know.” His voice trailed as he put his tongue back to work making you moan at the sudden warm stimulation. He slowly licked up to your clit and finally allowed it some love. Your voice filled the room and you could feel your climax on the tip of your tongue as could he (literally). You felt as if you were filling up until it spilled over, spreading throughout your body making you shiver and moan Ron’s name. Your legs become wobbly and weak causing you to fall flat back onto the bed. Ron flipped you onto your back and wiped your watery eyes.

“How does my princess feel? Can she take another round?” his hands rubbing your cheeks and head. You felt all the warmth from his body next to yours. You turn your head to face him and biting your lip you nod. He smiles, “We can take a break.” Suddenly you feel a surge of energy from the very last remnants of your orgasm; quickly you straddle Ron who looks shocked but also extremely turned on. You slide his pants down slowly with his boxers in tow, revealing his hard cock.

“It's so perfect. Perfect for me.” You place a kiss on the head, Ron smiles as his cheeks turn a light red. You slide down his legs to make it easier for your mouth to reach. You reached for the oil on the floor and put a bit on your hand. Placing your hand he twitched at the temperature change. You gripped the center and began slowly moving up and down placing kisses along the side.

“Sorry it's cold.” He only mumbled under his breath in response. Your other hand made its way to his balls cupping them and beginning to massage them. Dragging your tongue across the head you heard Ron let out stifled moans, using his hand to cover his mouth. His eyes locked with yours, he seemed nervous but you maintained the contact seemingly making him more sensitive. You smile to yourself as you continue to navigate your tongue around his sensitive head, licking up a bit of precum in the process.

“Does that feel good?” You watched as he brought his hand to grab the back of your head; he lightly tugged your hair letting you know he liked what you were doing. “You need to use your words darling,” you whisper smugly. Using his arm to cover his eyes he mumbled, “Yes.”

“Yes what?”

“Yes it feels good.” His whines and reactions to your hand and tongue only tempting you to mess him up further; but you want to take your time teasing him until he can’t hold it. You start to quicken your pace as you feel Ron getting closer from his expressive voice and face as well as the abundance of precum flowing from him. His hand gripped to your hair hard pushing himself deeper into your mouth just as he came. You felt it slide down your throat as you swallowed, wiping some from the corner of your lip. You continued to run your hand up and down as he was feeling out the final traces of his climax. “If i’m magic you must be mythical,” he huffed catching his breath. You laughed a bit at his joke and crawled up to his chest laying your head on him.

“I guess I must be.” He stroked the back of your head while planting kisses. Your hand remained on his penis, idly rubbing it through which you felt it regain the stiffness it had just moments ago. You slid back down so that his penis was against your stomach.

“I thought you were tired. And yet here you are taking charge,” He chuckled while sliding a hand on your waist.

“You’ve invigorated me.” You practically beam with confidence; giving him a sly look, you sit up on your knees to guide his dick inside. Placing your hands on his chest you began to roll your hips, looking at his pleasure stained face. You leaned over pressing your lips to his. His fingers snaking to your hair and pulling you away from his lips leaving a trail of saliva. You had stopped moving, catching your breath from his sudden aggression. His hips started to entertain you with small thrusts making you moan. Releasing your hair, he sat up keeping you in his lap. Pressing your foreheads together you breathe heavily into him soon after your lips are locked with his once again. The kiss is deep and messy matching his hip movements; you can feel him getting closer. He quickly flips you onto your back, catching you by surprise. You look upon his face, admiring him: his heavy breath, the way he looks at you, it makes you squirm a little. You move your hand to stimulate your clit as Ron drags his tongue against your neck, making you shiver. Both yours and Ron’s bodies were nearing their limit. A warm and powerful sensation began to overtake your body until it suddenly burst and felt like a wave crashing and soon after dissipating back into the ocean. At the same time you could hear and see Ron climaxing with you. You felt him fill you up and then fall next to you both of you catching your breaths. Ron turns his head to face you, pushing your head to face him.

“Your brilliant-” you glare a bit, “-and beautiful” he whispers quickly as he caresses your cheek. You smile leaning into his hand, your whole face a bit red. Bringing yourself closer to him you lay your head on his chest, allowing you to hear his fast beating heart.

“I think I’ll take tomorrow off.” you chuckle. Looking up you give him a suggestive look, he seems to blush but it's hard to tell as his face is all a pinkish red.

“Y…yeah maybe you should.” He slides his hand down the back of your hair as he speaks, while trying to avoid eye contact.

“You're cute.”

“And you're perfect.”

#writing #fanfic #fanfiction #harry potter #ron weasley #fluff #i love him #my writing #rwi #blurb #rws #hp fanfic #ron weasly x reader #ron weasley smut #ron weasly imagine #ronald weasley #why we using his government name #lol

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huynun · 3 months

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So since I’m basically rewriting the show, I sort of know in general terms how I would want to lay out the first two seasons and part of the third

Season 1

- setting things up

- very episodic, you can watch most of them out of order (like a lot of shows seem to start)

- Chloe is the stereotypical mean girl

- setting up the friendships between Alya & marinette and adrien & Nino

- also setting up a friendship (and soon one sided crush) between adrien and marinette

- at some point, they have the hotel work study episode (with changes like the akuma won’t be quite the same and Chloe isn’t quite as obvious about giving the bad jobs to the people she doesn’t like) which is the beginning of marinette’s ties with jagged stone

- marinette also becomes class rep despite Chloe’s efforts

- some identity shenanigans but not too many since Lila is on the same school schedule as them

- Lila isn’t really a threat as a civilian but does make some comments and if you look closely, she does benefit a fair amount from the attacks, getting more effective as time passes

- don’t reveal who has the butterfly miraculous until the finale

- speaking of the finale

- adrien fully cuts off his friendship with Chloe after she does something horrible to his friends (after a season of them teaching him that it’s okay to set boundaries etc etc)

- obvs a more intense akuma

- marinette also gets a good win against Chloe when she lashes out about losing her friendship with adrien which does not help Chloe’s mood/vibes

Season 2:

- starts with Lila beginning to make herself a bigger name in the class and start trying to get an in with adrien

- she makes up lies that are somewhat out there but not easily provable

- however, she does say something that tips marinette off that she’s lying but has something to do with being ladybug so she can’t prove it

- Alya hears her say that this girl is lying and listens but doesn’t put much stock into it (like canon but actually hears her out and tries to alleviate some of her concerns even if not necessarily well)

- no one truly turns against marinette but they do brush her concerns off for the most part

- throughout the season, it’s still pretty episodic but things do escalate

- Chloe is still causing problems but fewer and less on purpose, beginning a redemption arc

- Lila makes more subtle digs at marinette and does things to try and isolate her (with varying amounts of success)

- Lila also becomes more blatant and cocky with her use of the butterfly miraculous

- meanwhile, Gabriel and Nathalie have been investigating the use of the miraculi, they can’t just figure it out because there are glamours over them but they can figure out that the butterfly holder is from the school since lila has been getting over confident and cocky about her use of it, thus they can survey the school and catch her

- when they see lila transform, it’s the second to last episode

- ladybug and chat noir have been investigating as best they can too in spite of their many responsibilities

- in the last episode, they figure out lila (not sure how yet) and try to set up a plan to catch her and take the butterfly miraculous

- they end up being just too late, seeing lila upset on the floor and Gabriel transformed into Hawkmoth leaving

Season 3

- starts with stoneheart

- when lila had it, she was bound to the children’s limits and only ever really did akumas with mind control and other things that didn’t result in property damage or real injury

- immediately, Hawkmoth comes in hard with something big that affects the city instead of just a small area

- ladybug only had the lucky charm power and since lila was on limits (and just didn’t know she could) they never had to actually catch the akuma after breaking the object

- though both ladybug and chat noir gain new powers (haven’t yet decided what I want chat’s second power to be) they don’t know how to use them yet (ladybug needs to capture the akuma and use the energy she gets from purifying it along with her own to cast miraculous ladybug) so things go similarly to canon stoneheart

- since it ramped up so suddenly and combined with the failure to get the butterfly from lila before, marinette really feels like she needs to give up, that she can’t do this, and tries (and fails) to give her miraculous to Alya

- an episode or two later, ladybug and chat noir are really struggling to face the butterfly without limits so fu releases the fox and turtle

- even with the help, marinette begins to buckle under the pressure of her responsibilities

That’s all I got for now

#you can add or question or critique if you want #these are just the main ideas I’ve come up with #probably will add more later #anew au #mlb #mlb au #miraculous ladybug #lila rossi #gabriel agreste #marinette dupain cheng #adrien agreste #chloe bourgeois #alya cesaire #nino lahiffe

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clarythericebot · 4 months

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How to Rewrite Wish

I made a chart! :) I'm not great at chart-making yet, but I wanted to make a visual description on the major decisions people who decide to rewrite Wish usually have to make and what those individual decisions connote. Mostly because I'm also thinking of making a Wish rewrite^^

Explanation of chart under the cut:

I think the most significant decision you make about a Wish rewrite is how happy the Kingdom of Rosas is at the beginning of the film, because that in turn limits the choices you have of the dynamic between Asha and Magnifico.

Here are the options:

The Kingdom of Rosas is genuinely happy - Asha is misguided and must correct her worldview - King Magnifico is a sympathetic antagonist. This would frame Magnifico's actions in the film as actually good (and there can be an argument about that - you're essentially trading your ambition for a lifetime of security and a *chance* to get your wish granted - even if you disagree with it) or, you'd have to shift the nature of wishes and Magnifico taking them to be less sinister in the film. This choice lowers the stakes and may paint Asha in a pretty bad light, considering that it'll be her actions that disturb the peace. However, this storyline arguably gives the most room for internal growth, and the stakes can be heightened in different ways (for example, the kingdom is happy, but the people dearest to Asha aren't). You can also make full use of Magnifico's tragic backstory here and what led up to the building of the city of Rosas in the first place.

The Kingdom of Rosas is a secret dystopia - Asha is correct and must find a way to correct other people's worldview - King Magnifico is a sympathetic antagonist. This is essentially the original's set-up, though it failed in its execution by never quite committing to its premise. I suggest, then, that people who select this choice double-down on it to avoid Disney's mistake. Make Rosas' dystopia-ness a secret, and not something someone could figure out if they thought about the kingdom's wish-granting system for more than ten minutes. Probably make it more sinister while you're at it--for example, one YouTuber added that taking away wishes drained your life force. Have Asha be determined to free all the wishes from the get-go, and to get people to rally behind her despite her doubts. And have King Magnifico follow through on his redeemable qualities (maybe pairing his need for control with his chaotic past). Also, Asha still needs to grow somehow. I think this is a good reason why many people seem to like making her personality shyer in their rewrites--her goal is to rally the people, and she just doesn't have the charisma of Magnifico. That's one example of a good internal and external obstacle for this plot line.

The Kingdom of Rosas is a secret dystopia - Asha is correct and must find a way to correct other people's worldview - King Magnifico is completely evil. The above, only this time, you make Magnifico an all-out villain who knows exactly what he's doing. The best way to do this is probably to cut out his implied tragic backstory, or to reveal later that he was lying about it the whole time. That way, you could lean into Magnifico's malevolence in a fun, classic Disney way without being hindered by the thought that he might actually have a point. You also now have the opportunity throw evil Amaya and their cat into the mix.

The Kingdom of Rosas is blatantly sad - Asha is correct and must find a way to correct other people's worldview - King Magnifico is completely evil. In this version, there is no chipper 'Kingdom of Rosas'--the sadness exists here without a facade, as a powerful sorcerer king forces everyone to give their wishes over by the age of eighteen to fuel his power and there's nothing anyone can do about it. It's a much sadder beginning, and you have Asha start in a position more similar to Cinderella and Snow White, but on a larger level. However, that could show her holding on to hope no matter what, and trying to save both herself and her people. I would also argue this is the version where having the Star Boy iteration of Star would make the most sense. While he's a definite possibility in all versions, in the other ones, the conflict is mostly focused on Asha and Magnifico. Because Magnifico in this case is a more flat character (in this case, all he has to do is be fun, like Ursula! Not much depth required in that) Star Boy can function as the character that challenges Asha the most--for example, how this Tumblr user suggests that Asha could've ultimately been pessimistic despite being desperate enough to wish on a star, and Star Boy coaxes hopefulness out of her. It would then be matter of working together to take down Magnifico.

I hope this helps somehow, if you're thinking of doing a Wish rewrite! I'm definitely not saying these are the only options--I just put this together as what I think would be the most logical conclusions depending on which Rosas you pick.

And if you're curious--

The iteration that appeals most to me is #1, mostly because At All Costs sold me on how Magnifico ultimately has good intentions (and the movie never takes that nor his tragic backstory back). I'd have his Asha be his and Amaya's daughter--who sees that the vibrant peace and prosperity of Rosas, the way people willingly give their burdens and their wishes to her father, and thinks, I want to do that. She, unfortunately, is not nearly as powerful as Magnifico (that's where Star Boy comes in). I'd have Asha and Magnifico then have twin desires for power, both with the best of intentions, and twin tendencies to be a touch arrogant. I'd also have Magnifico and Amaya be 100% devoted to each other--I know everyone is wishing for a Disney villain couple, but I for one would adore a good!couple that are in love years into their marriage. The book still plays a role in turning Magnfico evil, though it wouldn't be as permanent as the film. And I'd want the theme to be more blatantly the difference between wishing for yourself vs wishing collectively with others.

#clary scribbles #Wish #Wish rewrite #Magnifico #Asha #Princess Asha #Amaya #Star #Star Boy

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loststarphounix · 3 months

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imagine the chaos (and angst) in a danganronpa roleswap au if Gundham takes up the role of being a candidate for the Kamukura project (he's also a reserve course student) and Kazuichi being the Chiaki in this situation—

the possibilities...

Yo! There was a fanfic being made with this exact concept except it was Kazuichi that was a Reserve Course and Gundham was very Nagito like teasing him about it lol Their tumblr is still on here I believe, they stated they were rewriting it but there is some art! I’ll try to find it and private message it to you.

But Gundham being apart of the Kamakura project and being the Reserve Course student is interesting! I’m gonna take it a step further and have it be that he and Hajime as still apart of the project and made into pseudo twins. Like the academy probably realized that putting every single talent known to mankind could lead to disastrous results and even worse - not willing to assist them in their goals. So it was decided to have a set of two ideal candidates that can take the burden of possessing so many talents as well as probably being more susceptible to help.

Gundham wasn’t scouted for Hope’s Peak for an unknown reason, but I like to think it’s because his dad somehow interfered. Instead, he is sent to RC so that his dad can still brag to his friends. There he meets Hajime, whose family was going bankrupt to keep up appearances. And though his parents love him, he sympathizes with Gundham and forged a friendship with him.

They meet Kazuichi by chance - I like to think that their meeting in the NWP is a little true. So imagine Gundham and Hajime are sneaking onto the main campus (Gundham making Hajime do bad things let’s go! Lol jk Hajime also makes him bad things 🤣) and they see a gaint, half made machine with legs kicking in the air. They obviously think the persons in trouble and use to help. The guy in the machine isn’t some regular guy, but the ultimate mechanic, who is freaking out that RC’s are on main campus. They promise they aren’t doing anything, just looking around and decide to go back, but Kazuichi doesn’t let them.

He was actually stuck in the machine lol - had been for a whole hour when Nagito was supposed to help him the traitor. As thanks for getting him out, he shows them around. This begins are weird friendship, with the RC’s -mainly Gundham- sneaking in the main course’s campus to visit Kazuichi. Over time, they meet the others and there’s an incident where Kazuichi is jealous of Sonia for getting close to the goth, who’s jealous of Hajime for being so close to Chiaki when it took her almost their whole first year, who is just trying to figure out how to not get overwhelmed by these amazing people and also his stalker “bully” Nagito.

When they’re approached about the Kamakura Project, they do think about refusing at first. Gundham didn’t see the point of having a talent that wasn’t originally his own and Hajime was struggling between accepting he wasn’t exceptional and the what ifs if he was.

But ultimately, Hajime accepts first. Gundham take a while, but he finally agrees because he realizes that wouldn’t be able to see Kazuichi or Sonia again after Hope’s Peak; they’d be out there, making the world better and brighter. And he’d be alone, in the dark shadow of his father. It also didn’t help that Nagito spilled the beans that Kazuichi was not only thinking of leaving because of his cruel father, but that some teen boy from his neighborhood was harassing him within the academy as a late transfer.

If he agreed to the project, then they both would be allowed on the grounds and be apart of classes. They were even offered money. He can keep Kazuichi safe. Their disappearance affects the class, but mainly Kazuichi amd Nagito. The two felt they were the closest to the RC’s, Kazuichi especially. He was finally gonna tell Gundham how he really felt about him, but all he got was a vague text message one morning and nothing else since. Both their phone numbers were unusable and no one heard from them since. Meanwhile, he’s feeling stress by his dads threats and his middle school ex-friend trying to force his way into his life again to get close to his friends - particularly Sonia and Fuyuhiko. It’s been depressing and he cries in his dorm room thinking he scared his only two best friends away.

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thecluelessdoctor · 6 months

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How would you write/rewrite Exes and Oohs? Aka. episode that exposes Moxxie's mafia backstory.

OH HELL YES OK

First let's start with what's wrong with the episode.

My major problem was that again, tone was terrible. It wanted a imitating tone anytime crimson was in screen, but it made him a fucking joke.

Chaz also felt lazy, like I don't mind a character that only cares about dicking down, its hell after all, but chaz felt like a terrible plot element for drama, especially because they made him be the ex of both Moxxie and Millie, which is just crappy. And how would Millie and Chaz meet?? We have no evidence Millie left wrath before joining IMP, same with Chaz. Chaz in general just didn't need to exist

So, how would I fix the episode?

It's not a bad episode, but it isn't good either. And for once backstory doesn't feel forced because Moxxie has been shown to be incredibly good with weapons, and know alot about them, so it kinda makes sense we was once apart of a mob.

Anyway

Rewriting the episode

The episode will begin the same, I.M.P getting a call to go to greed. Moxxie seems uncomfortable with the idea, but they go anyway.

They end up at crimson's place, crimson not being there, but they are instead greeted by someone of the mob who only refers to crimson as Boss. Moxxie recognizes the place instantly, and attempts to back down. Blitz being blitz, makes him go anyway.

The mob person brings them to a meeting room, with very little lighting other than the green light through the cracks though the curtain, a dark figure sitting behind a desk, a plume of smoke making it even harder to see who it was.

Moxxie seems almost scared as the trio is shoved in, and the door shuts behind them. Crimson, the figure behind the desk talks to them about why they are really there. He's very blunt and says he wants Moxxie.

Blitz objects, saying mox is one of his best employees. Crimson obviously isn't happy with this answer, and with a snap both Blitz and Millie are dragged out, leaving Moxxie in the room with Crimson.

The curtains are opened, allowing Moxxie to see crimson.

Crimson talks about what Moxxie cost the mob when he got caught, and then completely left the Mob for some cheap job. The mob was on Mammon's wanted his, and Moxxie was going to pay. Moxxie retaliates, threatening crimson. Crimson is unamused, and has Moxxie dragged away, and locked into a room separated from Millie and Blitz

Cut to Millie and blitz, who are in two separate rooms, stripped of any and all weapons. Blitz is trying to think of a way out. They couldn't get through the door, with it being locked and plenty of gangsters outside, that wasn't a option. The window wasn't a option from them either seeing how they were on the 2nd or 3rd story. Millie is in despair, desperately trying to break out.

Cut back to moxxie, who's on a first floor room, locked in, without any weapons. Luckily the person who through him in there didn't check for the window being locked or barred.

Moxxie escaped through the window, sneaking around outside. Luckily not to many gangsters were out. He had to find a way to get Millie and blitz out

Que him being caught, and completely bad ass fight scene because he deserves it. He takes the weapons off the Hellborne gangster. Now he had a way.

He had two guns, both full, and four mags, and a knife. He found another unlocked window that didn't lead to a room, and he broke back in, checking as many doors as he could.

He manages to find Blitz's room, and shoots the lock, alerting gangsters in the building. He gives a gun to blitz, as well as a mag. Que bad ass fighting scene

They manage to find Millie in the fit of battle. Moxxie tosses Millie the knife and more fighting.

They make their way out of the mansion, but not with our a encounter with crimson, who shoots Moxxie in the arm and horn. Very painful

Crimson claims he will get his revenge, planning to shoot Moxxie fatally, before blitz shoots him. Not accurately, but good enough to wound crimson enough to retreat. They steal a car, and attempt to get to the nearest hospital.

The episode ends with moxxie in a hospital with Millie beside him, asleep.

outro

THE END

Naming this episode 'Close Call'

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onewomancitadel · 3 months

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A smattering of general updates:

I played Tears of the Kingdom. I didn't really enjoy it. I understand why it was popular though; I'm just not the demographic for these types of video games anymore. I didn't find it creatively rewarding and after a time I sat there thinking 'I would rather be writing right now', and since then I have learnt that writing is made easier by doing things which are not writing, because it makes me miss it. My dad also doesn't really like it but for some reason has played hundreds of hours in it. I don't know either - I think he will take anything called Zelda at this point.

I spectated the Doctor Who David Tennant Special and watched some clips of the new season. I'm not a fan of RTD, and not a DW fan anymore (not for a long time), but it was an interesting study in how studios try to attract old and new fans.

I read a lot of books, and that lie people tell you about all books being good for you is a lie, because a cyberpunk anthology of short stories made me so angry I got heartburn. I think people who say that are saying so because they wish that they could read a lot, in which case I say, yes I think reading is a gift and we should engage with it, however, sometimes I get so physically angry from something stupid/bad I've read because bad writers exist that it gives me actual pain. I am reading Howl's Moving Castle right now and it's very joyful; I am very surprised by the liberties the animated film took! However so far I do think both experiences are worthwhile, and if you enjoyed the Ghibli film, I very much recommend checking out the original book if you want to revisit that world again. The prose is straightforward but a little whimsical, and Howl is very, very funny. I have laughed aloud a few times.

Well, you know I rewatched Dark, and it's funny that during my exile I said 'this is like if RWBY got the ending it deserves' and then, er, I found out it's not renewed yet, and that's still up in the air, which for the entirety of RWBY I have only had one true moment of doubt of such a thing, and that was a while ago.

On that topic, yes, I still ship Jaune/Cinder, believe Cinder's redemption is likely, etc., although there are some more external concerns I would wager now than before. Before I thought it very possible to do without any commercial influence, and it depends what compromises they do or don't end up making or having already made. My analysis of Jaune's arc in V9 may not hold water as much (e.g. if you lean towards the view there were rewrites to cater to growing the audience, or perhaps it's two ideas married? I'm not sure) so I'm going to think about it more, and there always has been a tension in RWBY between what is being expected/baited and what is foreshadowed/said/actually happens.

I figured out how to write again and what was blocking me, so there's that. To talk about it a bit more, since my break I have worked every single day on writing. My key takeaways are that you need a delicate balance of delusion and self-doubt to get anything done - you don't know you can do something until you actually do it - and every excuse I invented for not writing was not the reason I was not writing. I can write with a migraine beginning to set in on an uncomfortable desk where I can't even rest my elbows properly on the end of a bed with no back support without aircon in the middle of summer before I've even taken my hair out from bedtime plaits in my pyjamas. I didn't even expect to get my fic done right before midnight, actually I was like 'well lol that's not going to happen, I'll write anyway though, fuck New Year's' because I wasn't doing anything, and then I finished and looked at the time and was like ooooh. I actually completed my goal! So I'm very proud of that. Anyway writing is breathing, to me, I go crazy if I don't do it, no matter what it is, and every single piece of nonsense advice of productivity was not helpful, ever, but I did figure it out. Also admittedly I got a fire burning under me again because I found out I was actually right about Raven, in which case I took that as a sign from heaven I was on the right track. One should hope.

I am excited about Dune Part Two, yes, although I am trying to avoid Villeneuve talking about the film because I know all the marketing is basically directed at people who aren't Dune fans, and I have to see it for myself to see what it's worth. I enjoyed the first film, and Villeneuve seems excited to direct Dune Messiah, in which case I am willing to do whatever possible to make that happen. Because that's about as complete a story you're going to get in a major motion picture adaptation and it would be So Fucking Good.

#seraphina party hour

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darkestprompts · 8 months

Text

DD2 Shrine Rewrites Part 4: Boudica did nothing wrong

So why is that a bad thing?

If you have seen this post pop up before, worry not, it's just tumblr mobile being an entire garbage can and posting it while it was still a draft. So let me just get to our favorite rabid redhead. Her case of woobification is a lot more transparent than Audrey's, at any rate.

Boudica as we knew her

The comic explains her relationship to outsiders as well. It's no surprise that her barks show a distaste and even contempt for "city-folk". Her cultural values do not allign with the ones of the ruling majority, there's active conflict between them and her people, and she lives among them not by choice, but only because she was rejected by her own.

The original Hellion comic is straightforward yet impactful. An army that looks very familiar to what we are used to in the game crosses a forested area. A group of rugged warriors in furs and blue paint await to ambush them. A single figure stands back in aprehension: we recognize Boudica. She has good reason to do so. Although her fellow warriors have the element of surprise, the army is better equipped, perhaps more numerous and is able to easily regroup and strike back. The attackers are slaughtered. Boudica does nothing, she can do nothing... but hide and live in shame. The aftermath is confirmed by her CC set. She possesses a Mark of the Outcast and her quote mentions a subsequent expulsion from her clan.

It's a curious thing, how Boudica's comic self contrasts with her in-game presentation. In the game she's bloodthirsty, eager to fight, boastful, brave, disdainful of cowardice. In the comic she's fearful from the very start, like she never wanted to be there to begin with. But given how this event must have impacted her, there's no contradiction. Boudica is compensating for her past weakness with brawn and bravado.

On the gameplay side, the Hellion's kit is all about sudden bursts of power. She can dish out massive damage and painful bleeds, but those will debuff her considerably unless you can use Adrenaline Rush to get her back in the fray. She's a berserker unburdened by tactics, relying on the strength of her rage to get her through battle.

She's very concerned about spirits and ancestors, often remarking their role on the changing tides of battle. It's possible that for Boudica's people a Hellion's battle trance is a form of possession ("A primal spirit has overtaken me. I am... MORE."). It would fit well with their apparent penchant for revelry. Though it's interesting to note that while she's religious in her own way, she can also tell the gods to get bent to strengthen her own conviction ("Reject the Gods"). Is this something accepted in her culture, the idea that a warrior may break taboos or even challenge the gods in the heat of battle? Or did Boudica become a bit of a heretic when she was cast out by her people? She's full of ambiguities and I love her for it.

In conclusion, the Hellion is, on one side, a harsh, violent opponent that delights in battle and, on the other, an exile punished for her fear and unwillingness to fight. She's faithful and blasphemous, proud and ashamed, strong and weak. An unsustainable contradiction, a deathseeker afraid to die.

The outcast

Fury and shame

DD2 introduces a crucial change to the original backstory. While in the comic we saw Boudica as she is in the present, the new game shows her as very young at the time of the fatal battle. In fact, she was only allowed to join the war party at her own insistence and by proving her strength repeatedly! Not a drop of hesitation here. She's eventually accepted into the war party, spends a drunken night with her buddies and off to murder generic soldier models she goes.

We know she's doomed to fail, but here the second change hits us: Boudica tries. She joins the fray and, the way the game plays out, we get the impression that she's first in line, advancing, rallying her companions when they begin to falter, doing her best against overwhelming odds. A world of difference from the comic, where she didn't even dare approach a single enemy soldier. A part of me simply files this under DD2 making every character look better, cooler, faster, stronger, buffer; another part wonders if they were afraid of making the warrior chick a coward. Which would be ironic, considering DD1 Boudica gets one of the most badass Come Into Your Maker quotes, while a most of the girls only get to be terrified or ambivalent (and one day I WILL get to that, just you wait). There was nothing to fix there, either way. Yet here we are.

The rest of the shrines are all dedicated to what comes after her "failure", namely, retreating only when odds were overwhelmingly bad and not dying like an idiot. She wakes up alone to the carrion birds preying on her dead kin that she DID try to save but realistically couldn't. She returns to her clan to the jeers and literal mudslinging of widows. She's cast out. And she's still a kid that should never been sent into battle. It's the Boudica conga line of suffering.

Red Hook, look at me. We get it. Things are tragic and sad. You are starved for space to unfold a narrative due to the constraints of gameplay, there's no need to overstate a point as obvious as "she was shamed and exiled after watching her people get slaughtered--And That Is Bad".

Besides, you already carefully stripped Boudica of guilt by making her young and not actually abandoning her fellows, the more you simply show a sequence of tragedies happening to her the more it sounds like you are desperate to make the audience like the character. That we already liked. In DD1.

Now, I will be the first one to tell you that any successful army has the need to enforce cohesion and discipline. The natural human response to a charge is to break and run for your life, but that is also what gets you and your buddies slaughtered. That's why desertion is punished. At the same time, precisely because you are beating down a person's survival instincts, it's easy to sympathize with the deserter, and for that reason many people hold the position that there's absolutely no moral reason or manner to force an individual to stand their ground and fight. Regardless of your position here, it's not hard to understand that there's a tension between the individual and the collective that makes it a complicated issue.

Comic Boudica abandoned her clansmen, she refused to engage in battle from the very beginning. It makes sense that they held her as a traitor and a coward, especially since it's heavily suggested their culture holds notions of honor and bravery as important. You may agree or not, to different degrees. But I don't think even her harshest critic would deny she had strong reasons for what she did, even if we have no access to her thoughts (did she realize the enemy was too powerful? was she pressured to be there to begin with? were there failed skirmishes before this one?).

So it boggles my mind that they felt the need to make her more justified and blameless. She's young and inexperienced. She shouldn't be there to begin with, even by her clan's estimation. She doesn't avoid the battle. She's on the frontlines. She only retreats after it becomes evident that they'll be crushed. The question we are left with isn't "should Boudica have left her people to save herself?", it's "why is the dumbass kid you didn't want to be there rallying older warriors and leading the charge?". Making her less responsible for her actions has the side-effect of making her clan seem stupid and unreasonable. Speaking of which, it's not enough for her to be ritually banished, as implied by the Mark of the Outcast. She has to be publicly humiliated by an army of angry widows.

I'm not saying that culture isn't a powerful thing and their actions couldn't make sense within their own framework, but here's the thing: we know very little about Boudica's culture. The audience is left to judge by its own standards. And by these standards, Boudica's story is much more clear-cut in her own favor. Again I find myself grasping for a motive. Didn't they trust their audience to still love these characters? Yes, DD2 is meant to be more positive, but the thing about redemption is that there needs to be an action to be redeemed. If you hold characters accountable you need to make them responsible for their mistakes first. Otherwise you end up with horrible unintended readings such as "Audrey is to blame for her own abuse". That, or you undermine your own narrative and the tale about rising from your lowest point turns into just another sad backstory.

Prove yourself

Boudica's shrines illustrate how the devil is in the details. The damage done to her character is disproportionate to what was changed. All you'd need, for the most part, is to give her an adult model and make her fight about avoiding damage. There are certainly less knobs to turn than Audrey's. Still, I'm going to provide an alternative version that is closer to my own vision. Besides, I find the pacing a bit awkward as it stands. You have three shrines dealing with the aftermath of the battle, that's a lot of narrative space going over how she was sad and miserable and guilty and yadda yadda.

The game likes different models for the backstories, so let us starts with a young Boudica too, only younger than the one shown to us. She's playing war or sparring with her peers. She revels on thoughts of bravery and glory. The spirits are said to favor her and it's expected that she will be a great warrior one day. The "battle" is laughably easy. The second shrine is much the same as the Eve of Glory in canon, except Boudica is an adult and perhaps already showing some aprehension. These strangers are coming in large numbers, their armor is heavy, they fight with trickery. The previous encounters haven't gone well for her people.

Then, the moment we were waiting for: Boudica discovers war is not a game. Her knees are locked in place as the warband advances to the ambush. In a blink of an eye there are already so many of her clansmen dead. The "battle" is anything but: all you can do is avoid getting slaughtered. You get skills like "hide", "run", "ignore their cries". Boudica escapes alive, but her pride is broken. The next shrine deals with the aftermath. She returns to her clan and confesses to cowardice. The elders judge and shun her quickly, she is handed the dreaded Mark of the Outcast as a reminder of her failure. She's no longer worthy of her heritage, her destiny. The last shrine describes how she becomes a suicidal wanderer shunned by death.

As I hope you can see, giving the character autonomy and flaws doesn't diminish the potential for audience sympathy. For my part, I find myself unable to care as much if I feel that the writer is pushing someone as a poor moeblob victimized by the narrative. Darkest Dungeon, the original, was proof of how terrible people can still elicit love and pity in the audience. Did they forget that? I honestly can't tell.

Up next, we might move to Alhazred or Bonnie. They illustrate different problems, Bonnie is very unique in that we have no basis of comparison for her past, but I will still take a crack at her.

#darkest dungeon #dd2 shrine rewrites #dd boudica #dd hellion #NOW YOU CAN READ IT #fckin tungle

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lovewithoutresin · 2 months

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Here’s my take, if you don’t mind my sharing it. It’s not that I’m looking to strip TGW of its original meaning. It’s that when it came out, I was like, “okay. Another song where Taylor is entirely at fault.” That’s not to say it’s a bad song, but that the theme is everywhere - Afterglow, peace, TGW, even Anti-Hero if you think about it all depicted Joe as this perfect figure who had to put up with Taylor’s many problems. It bothered me then and it bothers me now. That’s not to say TGW isn’t telling the truth, but that I wonder if there’s more to the story. A war takes two people. And I do think “maybe it was her” is probably the only time in her discography pre-YLM that she’s ever been like “maybe you did something too” about Joe. The rest of the song is about how he wanted her to trust him, how he was broken and blue, looking at her with honor and truth, and how she nearly lost him because of her poison.

Idk, maybe it’s just because I was never particularly interested in Joe so I found it to be missing some part of the story from the beginning. And we won’t know anything for sure until TTPD. But I don’t think questioning its larger narrative, narrated by someone very much unreliable due to her bias against herself and toward him, especially after Joever, is necessarily rewriting it or an attempt to ruin it.

No this is fair. And I do get how it would be a bit difficult to swallow that Joe was never really considered the villain in any of these songs. Obviously it takes two for a relationship to have friction and she obviously rewrote things in her head to blame herself a lot.

I think my thing is that like. A lot of Taylor's writing abt that relationship has been about her struggle with paranoia. And for a LOT of people (I don't know if you posted abt TGW or anything recently but if so I promise my post wasn't an indirect just ftr) it seems like Joever negates this character trait of hers in some way, because oh! She was right! Something was wrong!

And maybe that is the case, and we won't know more until TTPD, but like... as someone w BPD (here's where the personal bias kicks in), Taylor's openness about her paranoia and flight risk tendencies has been one of the things I've connected to the most over the years. So I guess it's a bit off putting to see some of the suggestions that this is suddenly not something that's genuinely a flaw of hers that she grapples with, and that it was just her lying to herself all along, because it's sort of like... first off painting paranoia/jealousy issues that she portrayed herself as working on getting over as something to demonize, ig? That's a specific tone I've only seen in a couple of posts/other people's asks though, not a broad thing. But then it also feels like it negates the idea that she may have been honest about dealing with this in herself, and it feels like people are just too eager to jump on that train.

I do like what Jaime said sometime in the last 24 hours abt it being something she genuinely dealt with that was then weaponized against her, though. And I think it's possible a more nuanced take is in order where she does deal with this, but it was made to feel like this horrible aspect of her instead of a problem they could face together, or he used it against her to paint her as overreacting when she DID see problems for what they were, or... any number of things, honestly. We can't know for sure yet! I'm just not so quick to jump on the train that she's never been afraid and wrong before, which is the tone I do see a lot of.

#also kathryn i will NEVER mind you sharing your take ilysm #you are welcome any time #rambles #answered asks #amfinallyclean

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bonefall · 1 year

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so im curious, is ashfur in the dark forest (pre-the broken code)? does he still have the weird little control-possession powers over df cats? is he still possessing bramble, doing wacky shit in thunderclan?

also mildly unrelated. but what does mapleshade think of ashfur

Ashfur is no longer in the Dark Forest! But... I had to get rid of something that I love a lot to justify it; he no longer plots with Hawkfrost to kill Firestar. As a Hawkash lover it pained me but, it was for the best.

Ashfur is still a jealous, possessive ball of spite like in canon, but significantly more honorable. Enough to legitimately trick StarClan. Gooood-BYE "He Only Loved Too Much," you are NOT missed.

Bonefall Po3 (Specifically Cruel Season)

At the end of Bonefall Po3, he attacks the Three half out of jealousy, and half out of fear. He catches wind of the two prophecies; Fire and Tiger from TNP, and Kin of your Kin revealed near the end of Po3. He attacks Squirrelflight, telling her that if they had been his, they wouldn't have to die now.

She reveals the secret to throw him off guard; That her kittens with Brambleclaw are already dead (miscarriage) and the three are not his.

Also then she kicks him into the tree and knocks it over so the Three can escape the fire because it's my rewrite and I get to decide the anime battle choreography bullshit

Hollyleaf then kills him later, having already lost her mentor Brackenfur to the Eclipse battle and abandoning peace as an option. If she had not killed him, he would have been exiled for his attempted murder. Or, he may even still end up being exiled, and Hollyleaf does not think it's punishment enough. Still undecided.

Either way, this marks the beginning of the end of Bonefall Po3, which was relaxed and slice-of-life before this point. In my head I'm calling this "Plot Thickening" period 'Cruel Season', the name for the last book of canon Po3 that was cut by the publisher.

Bonefall TBC

Yep, he is still the Impostor... and he is brutal. Worse than canon. He actually cares about both possessing Squirrelflight AND legitimately enforcing the code.

Bristlefrost dies twice in this redux. Once during a horrific public execution to kick the arc off in earnest, and again to kill him for good. I initially planned for her to drown in a similar way to canon, but then I had a really cool idea that instead of drowning, this time she body checks him out of heaven.

So she burns up with him like a shooting star. Idk wouldn't it be fucking awesome if like once a year you could see Bristlefrost's Comet, or there was actually an impact crater somewhere on the map from this point on?

But anyway. Ashfur will have some control over ghosts, but I'm hoping to make it less than canon. I don't like how he was able to conjure up nameless rogues so you don't feel bad about the Warriors murdering random people :/

He won't be able to manipulate feelings that aren't already there. Hidden resentment, anger, despair, so on. Love being the antidote in ALITM was excellent you will pry Love and Friendship from my cold dead hands

Though I am also unironically considering giving Ashfur a Boss Form. I know it is silly. But multi-eyed, winged angel Ashfur would be cool man idk i like it when i get to smash my action figures against big monster

#Ashfur #Bonefall Rewrite #Bonefall Po3 #Bonefall Cruel Season #Bonefall OotS #i just think it's cool #I simply think it would be more fun if Ashfur like broke the bridge between the Dark Forest and StarClan #Like there was once a Place Where Stars Die or some sort of purgatory area but it's now a big floating shattered plain #With only Ashfur's Tunnel connecting the Dark Forest and StarClan #Like a suspension bridge of sorts. A woven bramble tunnel.#I am TORN and TORMENTED by things I think would be neat #Also instead of the rising black water in the Dark Forest it would be neat if like Ashfur was absorbing unfortunate victims #Like slurping their essence into him or something

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littlenighttales · 8 months

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If you’ve been here for a minute, you know the drill. Spoilers for chapter 4 of The Sounds of Nightmares, writing my thoughts as I listen to it for the first time (+ some extra edits in the parenthesis for extra thoughts on it after a few extra listens.)

Here we go. E4. Go. Go listen to this before reading this.

The Sounds of Nightmares

Two of a Kind

Yeah… so this one gets a bit philosophical at the beginning. Going on about duality and whatnot. Also have I mentioned how the main theme for this series absolutely slaps? Because it’s very good.

So Noone’s outside a reunion, but she can’t go in. It’s a bunch of happy kids outside playing and laughing. Otto gets Noone cake from it though (:

Apparently the room has a two way mirror, so they can look out but not in. Creepy. Otto spills the beans on the creepy disappearance. I’ll go ahead and mention I’m glad I don’t have to rewrite my happy ending story.

Obviously Noone starts freaking out about just straight up getting yeeted into what I’d dare compare to hell on Earth. She thought before they were just nightmares. But… nope.

Noone hates being alone, Otto reassures her a bit. He’s not seeming like a bad guy here lately. Just… having a bit of selfish-selfless motives. Doing sort of bad things for someone himself, but more for someone he knows. Does that make sense?

Wherever Noone was, there were happy kids! Carnival. LN3 teasers? But this is Little Nightmares, so I’m fully expecting the poop/fan collision within seconds.

The kids start talking more like teenagers, a bit weird. Suspecting we’ll see the “I don’t want to grow up” bit from Noone again. A kid named Rusty takes Noone for a ride- Ferris wheel. Also sky boats.

Rusty and his friends aren’t fans of being there. They’re basically slaves. Figures the bad news would come. Happy time lasted longer than expected.

Rebellion is planned. Noone gets assigned to lookout.

What the frick. Rusty sounding like he’s plotting his own death.

They stop talking about the “nightmare” to talk about going to the Nowhere. He opens up a little bit about CiCi. Noone figures out why Otto has been working with her like this. Finds out about his motives. She’s uncomfortable. But. He. Keeps. Pushing.

Noone mentions that the people of this world have distorted faces. Carnival guests a lot like the Maw guests. Definitely near or at the Carnival of LN3, I think

Magic show made Noone forget she’s a lookout. Mentions it’s like she’s under a spell. Ferryman is back?

Nope. It’s the carnival owner? He’s got no eyes. And a dummy made of a kid(?), maybe an adult? Noone says it looks like a smaller man. It sounds like it could be a Chuckie moment.

Noone tries so hard to warn the other kids.

And that dummy is definitely a possessed one. Dang, Chuckie moment.

Noone has a panic attack, some serious PTSD, sounds like ):

Someone hug the poor kid. Get that child a fluffy goat kid to hug!

Otto mentions the Ferryman by that name rather than Candleman. He’s all the more determined to go to the Nowhere. I know this is the same length as the other episodes, but it feels so much shorter!! Argh! It’s gonna be a long wait for next week! (Hey, future me here! Yeah, so I wrote this on the spot the day it was released, and yeah… still a long wait as of Saturday lol)

Good episode, but E3 is still the best so far imo.

We’ll probably see Noone get reverse-raptured (for lack of a better term) again next episode, maybe Otto finds his way to follow her.

#little nightmares spoilers #ln spoilers #the sounds of nightmares #tson #spoilers #episode four #two of a kind #little nightmares 3

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postsforposting · 5 months

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Colors in GO

Dec 23: updated purple

Dec 25: fixed blue, forgot to rewrite it before posting

I think the symbolism of blue and green are wrong? They don't mean heaven and hell. They can be associated with heaven and hell, but they don't solely mean that. Orange and white also seem to overlap, being associated with god, but so is blue which has been said to be divinity. I realized these were all entangled when writing various meta and trying to figure out what was going on in several scenes. Surely they do not all mean the same thing! Lo and behold, they do not.

Now that we all art here, let us recount the deeds of the dyes:

Brown: choice, free will/fate

White: playing by the rules

Black: Deceit

Blue: life/death

Gold: God's presence/watching

Green: god's game, the ineffable plan

Orange: agents of god's will

Red: passion

Yellow: defiance

Purple: power

Note: The shade of each color can mean something different. For example, say pink means love, then bright pink means love, and dark red would be absence of love or a negative/bad connotation. The way colors are combined also matters for context, what's on top or the placement on clothing vs how much of a color there is, what's the "core" color, etc. I am not sure, but I think in scenes where a tint is dominating the other colors, and makes a color look different, then the changed color is supposed to look different: so if in shadow gray looks black, then I think it's meant to be read as black.

There are other things that colors can stand for too, such as red being for blood or love. Those are the traditional symbolism, not the *main* usage in GO. I think some colors also aren't commenting on what is happening in a scene itself, but are foreshadowing future actions or telling us about hidden intent.

Also, I have been wrong about the colors before, this is merely the latest iteration on what I think they mean. I belabored it this time though, so I am pretty confident in these.

Opening montage=very beginning of s1e1 before Eden; intro=sequence we see with the theme music every episode.

Brown: choice, freewill vs fate

Basket the antichrist was delivered in, Hastur's and Aziraphale's clothes. Sandalphon's clothes. Obviously the ground and Adam's forest, seats in the bentley in s1 are dark brown. Lots of dark wood at the satanic hospital. Metatron's clothes. Jesus on the cross symbol, the cross itself. Furnishings and draperies at the Ritz are tan/cream. Desert of War's sword delivery, War's sword has dark brown on it, and half the clothing of the woman who demands to sign first. The summoner's clothes and every box he delivers. The witchfinders who burn Agnes wear dark brown, as does Agnes and the villagers. Floor of modern Anathema's house and the box holding the prophecy cards are dark brown, plus the cards themselves are tan/cream.

It can't be just earth alignment because Sandalphon isn't.

Brown is choice; light brown is free will and darker is more fate. It's associated with humanity but it's not solely humanity. Darker brown is less of a choice, pressured choice, and/or fate, like Anathema's family had with the prophecies: you don't have much of a choice when the world is on the line. They could have chosen not to follow the book though. Sandalphon has latitude in how he conducts himself and treats humans: he does not have to act as he does. Aziraphale's waistcoat gets lighter and worn as he develops his own beliefs rather than rigidly relying on heaven's demands, as he makes his own choices. He adds more lighter brown over time as he makes his own choices instead of being railroaded by fate.

Particularly, humanity was cut off from the light sandy desert while walled into Eden. When Crowley stops time, they all stand on light sand. The bentley having dark brown seats means it's got choice, but not much of one since it's tied to Crowley; also it was part of fate. Creating the antichrist was a choice, was also possibly a forced choice on Satan's part.

When Azi is discorporated to heaven and we meet the heavenly soldiers, he is dressed in a white shirt and tan coat and pants: he's got a choice to make, to go to war or not. The soldiers too all are making a choice to go to war, only pushed along a little bit by fate: the darker brown in their kilts. Except Azi has a white shirt, while the soldiers are button up fully in their choice, with white earpieces.

White: playing by the rules

White can't be specifically heaven or god, since we see it on Adam and we see bits of it on Crowley at some points. Aziraphale is not all white when he's discorporated in heaven as he defies heaven and talks to Crowley as a ghost: he's a white shirt and tan pants and coat. The outfit Adam has for s1, changing only the coat:

That is not heavenly, he's the antichrist. Can't be heaven's watching either.

Can't be strictly heavenly, because when Satan gives Crowley instructions it's white mist. It can't be autonomy, because that isn't the angels, isn't heaven, and Crowley would have some white as a demon. There has to be a reason why it's on Adam's core instead of on the surface like the coat. Playing by the rules? Yes--just like the "shades of gray", there's multiple ways to bend that just like god does, and you can play by the rules for your own ends, which fits why it's associated with heaven and god, and also why black is all over Crowley because he makes his own rules. Crowley also plays by the rules in the arrangement sometimes, respecting Aziraphale and the system, so that could be why it shows up on him sometimes. The new "ye saga continues" that Anathema burns at the end of s1 is cream, ie true but somewhat obscure as prophecies are wont to be.

The first time we see white is in the opening montage, where it's the color of the correct statements. That would appear to be truth, but it's god's truth, and Adam certainly isn't in line with that. And that truth here is malleable, because Adam's truth isn't the world's truth, he can remake it as he wants. So this isn't so much "truth" or reality as it is playing by the rules: what god says is true, but god can also lie, and those correct statements are backed with black. If white is playing by the rules, then black is lawlessness and deceit, so god's lying. This is why angels used to be white, and why Azi was white as an angel but in modern times is gaining light brown as his waistcoat wears out: he's gaining not "clarity" or truth but choice, freewill as he develops his own beliefs. This would explain why it's Adam's core, and why Azi gets a whole shirt of it which allows him to make a different choice than everyone else in heaven, who only get helmets and earpieces of white aka it's pounded into their heads: everything Azi does while in heaven is playing by the rules, the Metatron said he could finish what he was doing and that's what he's claiming to do.

Interestingly, the lightning used by both heaven and hell is white. White tends to be associated with heaven, but it's not exclusive. Pollution is smokey/champagne, so white can't be truth--but pollution is playing by the rules, as they themselves say. White can be truth, a filter, to remove deceit, but it's not strictly truth.

This is part of the parody: white is usually truth, but here it's a twisted version of "being in the light" that makes god look like a double dealing salesman.

Black: deceit, duplicity

Opposite to white, it's deceit, as when Aziraphale wears black to do his magic act: all the rules are out the window, nothing is as it seems. It's associated with hell, but not solely satanic, cf the angels' suits again. This also means that Satan and Beez were hiding things all the way back from s1.

Interestingly, the Ritz is white marble with tan/cream fabric. Sleeve on the dealer in the baby swap card game. The opening montage shades between navy and black for the color of "space": god's lying.

Silver is between black and white, and it depends on context: the angels lose their white robes over time, which matters because they are moving away from strict rule abiding to double talking for many of them to get away with things they shouldn't--or possibly so the system doesn't catch their disapproval of it. This is shades of gray used in a negative way as opposed to the way Crowley and Aziraphale use "shades of gray" to do things better. Same reason why Crowley's wings as an angel started darkening in before the beginning when he found out his stars were going to be destroyed, because he was going to do whatever it took to save them, rules and authority be damned. Here is where the parody of traditional apocalypse fiction comes in: black is traditionally bad, but here it's not necessarily because you can use deceit to do good when in a corrupt system, as Crowley and Aziraphale do, and using it to do bad is negative. Puts Satan's black in a whole new light, eh?

The difference between playing by the book and outright deceit is whether what you're doing is acceptable: Adam's "you are not my father" took the latitude he was given, while the archangels gleefully move line markers and lie about it.

The silver chain Crowley loses in s2 represents hell's authority over him: hell is lawless as the sham trial Crowley got shows, but its denizens are expected to follow the rules. Silver chain of hell, silver suits for heaven: not so different after all.

Blue: life/death

This doesn't mean heaven. I think people got this idea because of the light blue blanket in the baby swap alongside the white and red one that people took to mean hell, but that's not what that means: red doesn't mean hell; only one of the two babies is Jesus, and we don't know which one yet.

The first blue we see is the navy on the TV screen in the opening scene, I think space might be navy and obviously the earth's blue water that shows up thrice. A large neon blue and black eye as god tells us the fossilized dinosaurs are a joke the scientists haven't caught on to yet. Black means deceit, so god's lying about the dinosaurs. The libra symbol is white and light blue. Water in the middle of Eden is dark blue and possibly dark green, the sky is light blue. Jesus in s2 is shown with a neon blue sash.

Light blue is life, dark blue is death.

Leaving Eden was leaving death to seek life: leaving dark blue water to enter light blue sky and sand.

Warlock and Mr Dowling wear light blue shirts, Adam has a faded blue jean jacket. Light blue and white lights on the ambulance that brings the Dowlings to the hospital. Aziraphale wears a light bluegreen shirt, but often it does appear white or light blue. Water in the park, where the ineffables know they're being watched, is actually dark green, not blue. Some of the accessories of the people where War gets her sword delivery are navy, including light blue bulletproof vests, who all die. Outside of the coffee shop is dark blue with a light blue awning and patio fence in s1: life, death and liberty are intertwined, but we never go in to get any liberty ie coffee.

The first time we see the Ritz as they discuss the apocalypse in s1e1, there's a light blue set of windows and a white chandelier framed in the center between the ineffables: life is restricted by the rules, keeping them apart. Aziraphale's tie is light blue and white as the gardener. Light blue lights in Warlock's room, plus a light blue globe. Dark blue water on globe in heaven: heaven is death. The clothing shop next to the bookshop is dark blue. S1e2 starts in the light blue sky with white clouds and dark blue river: life by the rules inevitably leads to death. Light blue pool at Anathema's house and she's in a light blue dress. Newt's car is neon blue. Dark blue recycle bin at Newt's work, the witchfinder ad is circled in dark blue.

Tracey's bra is bright neon blue under a neon orange slip.

The other boys in Them have blue jeans, and Pepper has blue overalls. Adam has one outfit and two/three coats; one is blue, one is the green/blue shown above. Bright blue paint on Aziraphale at the paintball mansion, and light blue paint used by the yellow team, who are wearing white and one of whom has pearls on.

Light blue shirt on the staff at the cafe after the paintball fight. When Aziraphale makes Tracy's scooter fly, the miracle power is light blue: perhaps Aziraphale has the power of life.

Youngs have light blue, some dark blue stripes, when they're in bed. Adam has navy stripes with white on pjs. Light blue fractured lit windows around Azi's head when he finds Agnes's book in the car: the book has given him the ability to preserve life.

Blue in Azi's Shakespeare costume. Juliet, selling oranges, may have a blue costume? Single navy stripe in France's executioner's costume and the center of the flower decoration, which becomes Azi's costume. Beginning of 1941 memory tinted navy outside, so is inside the church, except the nazi space which is yellow. Crowley's dark blue 1941 shirt in both seasons. Adam's aura is yellow outside, then green/blue, red, white. The couple on the bench have a blue aura. Witchfinder manual is blue. Blue and white curtain behind Arthur Young as Adam reads witch magazine. Bandstand top is faded blue. Delivery man's bedsheets are faded blue. Witchfinder candle is light blue. The lights in the electrons Crowley runs through with Hastur are red, light blue, white, and gold. Blue ribbons on Beez s1, navy and light blue.

Neon blue is the last color in the memory tunnel Gabriel experiences getting his memories back, and blue is the tint of the graveyard scene in the last memory he meets Beez to look at his statue.

Gold: god's presence/watching

Gold is not yellow. I am not sure if brass is meant to be gold. I think the antenna on Beez's s1 hat may be copper/rose gold? Dark gold? Not sure. Could be glitter orange.

The first gold we see is a the 14 billion number as the age of the earth, gold shading to white. Then a gravity drawing around the planets to the sun, there are planets in gold, cards, and dealer's hands as god explains her game is like a dealer in a dark room. The libra earth horoscope is gold. Crowley's snake eye appears to be light gold--the show can do yellow, it would look yellow if that's what they meant. Dark gold/brown lion that tries to kill Adam and Eve.

This was extremely difficult to figure out, but I am pretty sure it's god's presence. I don't think there is a "dark" meaning for gold (though gold can be combined with other colors), because there is brass on the witchfinders that burn Agnes, and Agnes's daughter and husband are surrounded by what appears to be a lot of brass instruments. I don't think that scene would make sense if brass meant god's absence or disapproval. Brass could mean dark yellow though, or yellow and black, in which case that scene belongs to another color and not here. I also don't think gold denotes god's approval.

There are what seem to be gold chandeliers in the satanic hospital as they discuss the instructions for the baby swap.

The decoration on some of the angels' faces, and their rings. But when they're threatening Aziraphale in s1, they no longer have the face paint--does this mean the angels know what the paint does, or does the paint move on its own? This absence is why I think missing gold where it ought to be may mean "not ordained", because traditionally people would claim things like that in god's name. Sandalphon may still have the silver upper tooth decoration but he does not have the gold bottom ones in that scene. Michael has the gold when presenting the earth files on Crowley and when tattling to hell. The angels also cover their rings a lot--given they're in silver suits, this would fit a "hiding from god's sight" type of thing. The gold on their faces does not come back until they try to execute the ineffables, both Uriel and Micheal have it again.

I'm not sure if Michael has silver and orange or gold and orange paint the first time we see them in s1e1. I can't tell if there's gold or silver when they present the earth observation files. Given how obviously gold the gold on Uriel is, I think it's likely silver.

This would make sense why there is more gold in the s2 Job flashback: god is nosing in to see what happens with Job. Perhaps the robes change by will of god, they aren't something the angels choose to change, ditto the face paint.

Tracey's room is decorated in a lot of gold. Crowley's thrones and some other furniture. Edges of angel clothing before modern times. Aziraphale's desk chair. Number 4 delivery room, the Dowlings', in the satanic hospital was glowing gold or maybe yellow/orange, ditto #3 room. Cuff of the dealer in baby swap card game. Some decorative edging on the marble walls at the Ritz. Decoration on the sheathe of War's sword. Decoration on Agnes's book and gilt edging on pages. The color of the miracle dust when Crowley checks if it worked. Gold items on Aziraphale's desk and throughout the shop, the ring on Nanny's umbrella. Aziraphale's fob watch on his waistcoat, his waistcoat during his magic act in s1, and the merry go round at Warlock's bday in s1. Pepper's crown she's holding when the hellhound shows up. Aziraphale's mail slot on the shop. Brass buttons on Adultery Pulsifer and his "assistant"? Several medals on Shadwell's coat when we meet him preaching on the street. Gold on the edge of the red witchfinder patch.

All the prophecies in gold lettering on the screen as Azi reads them. Holy bible title in gold letter above the cocoa that doth grow cold. Buttons on the sleeve cuff of the sweater Azi wears to read Agnes's book.

Gold chain in the bartender's hair in Rome, her gold shoulder accessories, Azi's too. Gold on the columns at the Globe, in Shakespeare's costume, and on Hamlet's: god's watching Shakespeare. Gold on the top of Crowley's cane in 1862. Candle holders on left side in nazi church are gold. Gold closures on the bookbag Crowley saves. Gold rims on Crowley's 1967 glasses. Gold around the striptease sign. Gold ring visible as Azi calls Shadwell, and Shadwell's shoulder emblem is gold. Famine's companion is dressed in gold bolero, thick gold chain in diner scene and tons of gold accessories. Atlantean people have tons of gold. Gold street performer statue in the park. The lights in the electrons Crowley runs through with Hastur are red, blue, white, and gold. Newt's socks are red and gold during armageddon, gold shirt. Mostly gold/red credenza blocking off Azi's desk during Metatron summoning, gold candle holders. Gold all around Metatron head in s1, and Shadwell uses gold key to pick bookshop lock. Gold on the heavenly quartermaster and soldiers.

God's been around a lot of Crowley and Azi's dates. Really fascinated with the strippers too, though that's biblical.

Green: god's game/ineffable plan

NOT HELL, not evil. In s2 green is all over hell like a toxic gas. But in s1, green is not in hell except to tint hell's escalator. I don't think it's supposed to mean "just hell" in s2 either.

The first large "green" thing in s1 is the dark green chalkboards with the dates on them, and then a huge black and neon green CORRECT stamp in the montage talking about James Ussher's theories on the creation of the universe. This green is a neon version of the green we see in s2 hell and on s1 hell's escalator. Then we have a large dinosaur arm in the same "hell" neon shot with black, just as god is telling us about the dinosaurs being a joke people haven't understood yet. Black is deceit, so god is lying about the dinosaurs. We are already playing her game.

This is followed by a bunch of decorative looking things, astrology and writing of various greens, the giant eye starts out that neon green before going navy, along with dark green poker chips and neon green math. As in, a game. The s1 intro is almost completely hell green, and specifically there's a dark green street sign. One person in the Jesus scene has some dark green on. In the dealer's baby swap game, the third child isn't blue, he's dark green: this is the baby with the light blue blanket, Warlock. Satan's game is the baby swap, that's what he planned; God's game is the dealer's card game, we know because there's gold on the dealer's cuff. The backdrop to Satan's card game in the baby swap is dark green, and both hospital beds have bright green blankets over white.

Eden is tons of greens that look dark from far away, and dark blue water. Adam and Eve's clothes are dark green. The Youngs' clothes are heavily if not always greens, as are their bedding--again, they aren't agents of chaos themselves. The hospital itself has dark green and white alternating walls. Water in the spy park is actually not blue but dark green.

The forest Adam plays in is green and brown, and there's lots of the parks shown in the show. Anathema's coats are dark green and black or green and purple, and her house is surrounded by bushes and trees, a lot of her clothes are dark green. Tracey's clothing is various greens. The head of the cane/umbrella Crowley uses as Nanny is bright green. Agnes's book is dark green and gold. Crowley's plants are dark green. Ennon's clothes are darker green, he turns into an orange gecko.

The green gas choking Soho during the demon attack in s2, and the lights turning the same green in the bookshop during the demon attack. When Beez disappears to tattle to Satan at the end of s1, the color of the pop smoke is bright green, the same color as hell green, and I would assume all demons have the same color. The angel phones glow the same green of s2 hell. The statue of liberty figure in the coffee shop in s2 is the same green--but Eden was green too so it can't be liberty or freedom, or chaos.

I think the Great Plan is something all the angels were told and was recorded/was written, but the ineffable plan is god's game, and that is what green represents. Change IS the game, so darker green is more change, like Agnes's book, like Adam and Eve's clothes.

These are not agents of god's will as they act independently. This means Agnes and her book was part of god's game; the baby swap was part of the plan and the game. Eden was both plan and game: will they take the apple; Adam and Eve became part of the game once they did.

In s2, the blue and dark green coffee shop whose coffee represents liberty has dark brown chairs outside, and blue and the green of hell inside. I think this can be interpreted as this is a piece of god's game, life and death are a choice within which is god's game, and discovering that leads to freedom.

If there is a plan and a game, then bright green is more "plan" than game. Darker is less part of the plan. That's why the the CORRECT stamp in the montage is neon, because you are supposed to know that's wrong, and why Nanny's cane is bright green and s1 demon pops are bright green, but Agnes's book is dark green. Demon pops in s1 are bright green, I think because the fall was planned, just as the baby swaps and births were planned. The pops change in s2 to purple, perhaps because everything we see is interfering with their own kind rather than humans.

Are the angel phones green because they connect to hell? I don't think so, because the phones must do things besides that. Every time the phones were used they were green, so at the least talking to hell generates change in heaven. I think they have the phones turn off by blowing on them so that they don't have to touch them, because touching would be "dirty" and contaminating--can't be having angels get infected with hell, can't have the angels directly touching "change".

Anathema's shirt is light blue checking in to the UK, her bike is aqua--the bike appears to match Azi's shirt. Aqua, I think, is blue plus green: life plus game aka gambling with life. Anathema and Azi are pieces in the game of life. In s2e1, Aziraphale is a shooting star that's blue, and they're on a background of black and dark green. God's been gaming since, well, always. I think Azi's blue shooting star also means he was the one who made people, and perhaps the earth.

Orange: agent of god/god's will

The first orange we see is, I think, in the opening montage on some of the monks who got the dates of the creation of the earth wrong--they're in a ROYG rainbow. Then on James Ussher's clothing, the guy who got the creation of the earth slightly wrong, who is red, black and light orange (shades from gold to orange, I think) with a roman numeral clock behind him, various oranges. Dealer hands go from gold to orange as god explains her game.

Sash on Beelzebub in s1. Shakespeare's columns are red/orange. Tracey's hair/clothing is bright orange and Crowley's snake belly is dark, his hair looks dark orange too in s1. The fire Agnes Nutter burned in, and the candle flame in her house. Maude's shirt, the wife of the delivery man of the four horsemen. Holy fire on Aziraphale's sword, hellfire, fire that announces demonic arrival. Number 3 delivery room, the Youngs', glowed orange on fire, but it may have yellow/gold in it too. Job's and Jemimah's clothes, columns in his house, most of the color of the TV show that Hastur and Ligur take over to talk to Crowley. The record shop and accessories Maggie wears. The Jesus picture in Crowley's flat is entirely light orange and white. Juliet in the Shakespeare flashback is selling oranges. Orange and white cone in the paintball manor. Dark orange seat belts in the summoner's delivery truck.

Not all fire is orange. Some is yellow or white.

Originally I had this as god's presence, but I think gold fits more with that. This one thus is agents of god--god isn't there, but these are acting out god's will.

Crowley's hair throughout time:

Bright orange: BTB, Job, Tracey, Edinburgh, 1967

Dark orange: s1 present, 2008, nanny, noah?, jesus, rome, shakespeare, paris is brown?, 1862,

dark red: 1941, s2,

I think bright orange is agents for positive change, and dark orange are agents of "negatives". Crowley may not do much negatives himself, but Beez has that dark orange sash. Negative can also mean "throw a wrench in the works" like stopping the apocalypse.

Jemimah has orange clothes and becomes a neon blue gecko.

Red: passion

I think brighter reds are negative, and darker is positive/love. I think pink is fake negative, fake threat: we see it on Mrs Sandwich and in Tracey's bedroom.

Dark red bookshop, dark red backing on the thundergun: Azi loves his shop and Shadwell loves hunting witches. Tracey's apartment is dark red with aqua in the outer room: she helps people, and helps Shadwell a lot, and has knowledge of god's plan.

The big black and neon red "incorrect" stamp in the montage as god says some creationists are wrong, and the black and red "WARning": fake warning, god's lying about the dates, and god feels angry about it. Telephone Crowley calls from to tell Az about apocalypse: fear and anger. Shakespeare in dark red and gold outfit: god's in the audience, he loves his work and so does god. I'm not actually sure if Satan himself is dark red or bright red, he appears to be both, which is fascinating. Several buses shown are bright red while the ineffables are working out how to find the lost antichrist. There are several more buses when Crowley's racing to the bookshop after Aziraphale drops the phone when Shadwell breaks in, and more bright red firetrucks at the shop while it's on fire. Crowley's table he uses to plan running away is dark red; he loves his stars. Pepper's shoes are bright red and her raincoat is dark red: she's got anger but mostly motivated by love. Anathema's pencil when she's hunting for Adam is bright red, she's frustrated. The voicemail counter on Crowley's player that traps Hastur is red, as is the holy water bucket.

The apple in Eden is both bright and dark red, topped with yellow: love isn't possible without anger and fear, and in fact the point of the tree wasn't damnation but a test since it's covered in dark green and dark brown too? Shax's dress is dark red, as is her battle corset: she loves her job, and possibly Crowley too. It's the color of the bottom of the antichrist's baby basket and blanket; the baby itself can't really be passion or devotion, but it does inspire fear and it's a threat. Adam wears a red/brown/white checked coat during the witch hunting game, and has a dark red popsicle later. his eyes turn a core of bright red, ringed in dark red, edged in black: his intentions are to fix the world, but he's doing it through destruction and anger.

Crowley also gets contacts through his car radio, which is bright red.

Crowley's hair in s2 is also dark red. In 1941, his hair is also dark red.

Tracey's bedroom is pink, gold, and red; the flogger is pink and silver. I think this lines up with her "intimate relaxation for the discerning gentleman": she's a fake threat in the bedroom. And god's watching. Her slip as she thinks Newt wants an appointment is orange.

Red has some clear examples of other meanings than "passion": in s1 there's a large red drape of fabric in the Jesus scene, it also stands for blood, though technically war and negative emotion would tend to drag blood in with it; in s2 the tomatoes as Gabriel walks to the bookshop are both invoking the apocalypse (spilled blood) that Gabriel nixed and perhaps also the passion of Christ, as Jim is also a Christ figure.

Yellow: defiance

Not the same as gold. This has been proposed to be fear, which does fit a lot of the appearances of yellow, but then Gabriel lights his own statue with yellow light in s2e6 and the bar he meets Beez in right after is bright yellow. I don't think they're fearful there.

The first time we see yellow is the opening montage, in the text shot with black addressed to kids to not attempt armageddon at home. Which we see the Adam doing. As god says if the universe "didn't just start, unofficially", and we see a red explosion with yellow in the middle. The people claiming it's 14B are shaded in bright yellow, as is the incorrect age of the earth. One of the parade of rainbow wrong monks is yellow. Lots of the latter montage comes out of the yellow sun. Adam and Eve leave Eden into the light yellow sun: more evidence that the apple business wasn't exactly a sin, so where did the angels and heaven get that idea? Did god tell them a lie as she lied to us all through the opening montage? Light yellow lights in sushi place: eating as an angel is frowned upon but not massively disapproved of.

Aziraphale's hair is sometimes blonde, and it seems to do that when he's under stress--both the good and bad kinds, which fits with defiance as that would cause him stress. Job's basement is dirty yellow walls: deceit plus defiance at their orders. Crowley's eyes are yellow, except his snake eyes which seem more gold. The back room of the bookshop is a bright yellow, but most of the front shop is a dark yellow or brown, I think? A lot of the sores on hell's denizens are light yellow. I think brass counts for yellow, it's dark yellow, or maybe it belongs with gold. Perhaps the confusion is deliberate. One of the paintball teams is denoted by yellow flags, and we know that scene is meant to be an echo of the war in heaven (obviously I don't agree with the color analysis in there). The yellow team uses blue paint, the red team uses red paint.

The bentley's headlights when they hit Anathema are yellow: neither of them are supposed to help her because she's working against armageddon. Az's halo is yellow and white when he throws it.

Saturated yellow is defiance, and faded/lighter shades are less so. That lighter shades are more white is deliberate: white is playing by the rules, conformity.

Thaddeus Dowling isn't with his wife while she's giving birth, and his video screen is framed with the yellow and red of the ambulance: he's defying her demands to be there, and it's painted as being out of fear or anger. She is in super dark red jacket over a peach dress, with a bright orange object above her head and pearls on her neck: she's in love and the ambulance is god's rep on earth, but all colors paint her baby as Jesus, wrapped in the white blanket of playing by the rules.

Purple: power

Gabriel's tie, which he does not have during s1e6 armageddon, and the purple color of his eyes which he loses for most of s2. Interestingly, his tie gets super purple in heaven and more dull on earth; I think his eyes do too but that's harder to see. See this post for analysis of Gabriel's eyes, which mean omnipresence, the "power of sight".

Very purple tie when we see him on earth in s1e2, as he flexes his position over Aziraphale. The color of the miracle plume in s2, the color of angelic dust left behind when they pop away as when Gabriel leaves to tattle to Satan after the notapocalypse, and in s2 the color of everyone's arrival and departure pop dust. RP Tyler's weenie has a dark purple aura. Famine's companion has a lavender air bubble appetizer in the fancy restaurant that is framed as snobbery. One of Anathema's coats is purple and green. There are purple math equations in the opening narration: science is explicitly framed by god as humans thinking they know better, when really god is lying and science is the path to learning and mastering god's game.

It's the color of the words "miracle blocker" and a splash of color from it when Furfur engages the card. Keziah's clothes are purple, maroon, and gold, and she becomes a dark brown or yellow gecko with black spots.

This is power. More saturated/neon shades are more power; duller or lighter shades are less power. Where the purple is can denote what kind of power, as with Gabriel's eyes.

The reason only an archangel could have made that plume in s2 is because they're the ones with that level of power. What color were miracles for everyone else? In s1, Azirahpale's were blue. Though if everyone now has purple pop dust, and that's retroactive through history, could anyone do it? Does everyone have archangel power now after Adam's reboot? If so, why was the dust Crowley poked gold?

#good omens #color analysis

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musicfeedsmysoul12 · 1 year

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So… how would YOU rewrite MHA?

Well, a lot of the things @doodlegirl1998 said are true and are what I would do if I did rewrite MHA, but as @anastasian-dreamer says I do think that the death of Midnight and Eri's stuff are good for the story. Midnight dying alone and off screen is a moment that can really emphasis with the audience that death is a common thing in this world for heroes, and while she gets remembered it becomes just another headline affect a week.

Of what I would change though is:

1) I would want Bakugou to be removed from heroics after the final exam. I would have a build-up that really emphasizes both 'big fish from the small pond moving to the ocean' and the emphasis on flashy quirks alongside discrimination. By this I mean I'd dig out my fav headcanon: Aizawa thinks Bakugou was a bully victim from his peers and his attitude is a reflection of it. Bakugou still gets a strike his first day for nearlya attacking Izuku but it's somewhat brushed off because at the time I think Aizawa has read a basic file on his students but doesn't know everything.

Which is actually something I would have be the norm rather then just Aizawa. The hero teachers all have a test the first day to actually get a feel for their students and to judge them if they're good for heroics. There's another tract at UA called 'Secondary Heroics' where students are put if A) they missed the cut off for heroics, B) they failed the entrance exam BUT have a useful Quirk or C) they were part of the heroics program and removed due to a lack of ability, reliance on their Quirk or a general attitude. Something like my Red Flag program. Aizawa doesn't expel the kids, he sends them to secondary heroics in order to shape up. However often times the kids don't make it out of secondary heroics because they end up washing out. It's never held against them because being a hero is HARD. You can move back to the heroics program if you prove yourself or if you place high in the sports festival compared to a hero student.

Izuku and Bakugou stay in regular heroics because Aizawa in this AU does think both deserve the regular hero course. He sees how Izuku figures it out and goes: Oh, bad teaching and again he thinks Bakugou probably just needs to learn he doesn't need to protect himself. Still, he gets a strike as a warning and because they can't have students hurting each other.

After this, Aizawa gets the full files and learns Izuku is a late bloomer. He still thinks Bakugou is a victim because it's full of teacher praises, so he goes: ah, his peers thought him villainous though. We get todl this, we get shown this. And then it slowly is torn apart for Aizawa as he sees signs that point towards bullying. As Bakugou shows it's all about him facing actual consequences he's upset about, not that his peers don't like him. Then, I would have the final exam. I think in this one, they would know better then to put him and Izuku together, so instead I'd switch Izuku and Todoroki. Bakugou fails his final exam after getting mad Todoroki wouldn't listen, assaulting him ala how he punched Izuku. Bakugou is removed from the program as this is his third strike AND he failed his exam. Meanwhile, the other students who failed got a note that they will take the exam again before the next semester after summer school. If they fail, they get moved to secondary heroics.

How is this discrimination showing? Mostly it's because of Aizawa's assumption and we would see evidence that this happens frequently.

2) As an addition to the above, I would have the class reject Bakugou after some time due to his attitude. I would have a few hold outs who assume the same as Aizawa but they would eventually reject him to. They would band around Izuku, and frankly lay out how awful Bakugou is and Izuku shouldn't keep trying to be his friend. So Izuku gets dragged away from Bakugou and slowly begins seeing what was wrong with how he was treated by society, with flashbacks. Which then leads me to Inko.

3) Give Inko her own character. She's just a plot device in canon, and I would love to explore her as a character to give us more. Right now, as a lot of people agree, she reads as a neglectful mother who never supported her son because we BARELY see her unless she's freaking out about something her son did. Either play into that or have her be different.

4) Endeavour and Dabi time. I said before that I prefer Endeavour's redemption to Bakugou's and I stick to it. But I would also kind of... hmm... okay so Endeavour is convinced he was in the right. However because he gets to be number one, he ends up going: Oh I didn't need to do that, so I'm sad now, you have to forgive me. I then want Shouto and Natsuo to go: No we don't. Fuyumi and Rei... I'll admit I like the idea of Fuyumi being very much: yes we do and we can be a family again!! I also though want this ideal broken for her and her to understand her brother's don't have to forgive their dad.

As for Rei, I said before that we don't know the full story with her and while Horikoshi is scrambling to make Endeavour less bad I do find that the idea Rei wasn't completely innocent is an interesting idea. Rei's pushing for more kids is something I would want to keep, tying it into their marriage and having her want Shouto to be like: hey so it worked, I didn't suffer this for nothing. I would also though have her be slightly neglectful of her elder kids. Not intentionally though. Her mental health is something I would also focus on. Staying years in a mental hospital isn't as far fetched as some think, and I would really have it be adressed. Which then has Shouto being confronted with how society messed up his family because his rosy view of his mother and her protecting him gets shattered by Natsuo. I want Shouto to have to face the fact there was a lot going on because in reality that's what abuse is like.

This would then tie into Dabi who I'd keep mostly the same. I want Dabi to know he's in the wrong and not care. I want him to want revenge KNOWING it's fucked up but wanting it anyway. Because I love just a complete dick and the idea of it being Dabi is fun because I want him to have a sympathetic past but be unsympathetic. I would then though also focus on the idea of him being a villain and I would show his victims so we're aware of it. His arson cases would be discussed from the first chapter as a 'hey so this guy is shady'.

5) which brings us to all the LOV. Give us reasons they're villains and show us their crimes. Show Toga stalking and killing, show Spinner being shunned and resorting to crime, give us them as criminals. I'm firmly no redemption if only because I think it's more interesting but I still want to see more. (Also Magne needs to live).

6) Overhaul should have been in the news and his drugs should have been known to be a thing. It builds him up and then we get a gut punch when we learn Eri is the one whom the drugs come from.

7) Iida and Uraraka needed more spotlight as Izuku's friends and I would have Todoroki stay a friendly rival to Izuku. Shiggy is his big rival though.

And... that's what I would do that's different i guess.

#bnha

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