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creatingblackcharacters · 2 months

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“That One Hairstyle? RETIRE IT!” Black Hair is an Art (pt.1)

(This is part one of two lessons, with this one focusing on how our hair itself! The next lesson will encompass how to incorporate its existence into your writing. It'd be a massively long post otherwise.)

So! Black hair. Black hair is a CENTRAL, ESSENTIAL part of our culture and identity. Writing and drawing it means understanding the vulnerability and trust that comes with access to it, and yes, it is racist to suggest that ‘it’s just hair’ when our hair serves such an important role in our history and art. I already wrote a mini-lesson and ask on the topic, but being aware of what our hair looks like, and what means to us, will help you to understand why we care that you put in the effort to get it right.

Hair Textures

We are not a genetic monolith! However, for the sake of this series, we are focusing on 3C-4C, because 1) it's most likely to be seen in life and 2) least likely to be seen in popular art! When you are creating your characters, consider the style and care for THESE textures. I will get more into this next lesson.

Let's get into SOME of the hairstyles!

Afros (36 Afro Hairstyles)

“So, what’s the phenomenon behind the Afro? Well, it’s our hair in its most natural form, but that’s only part of the phenomenon. It’s a way to fight the status quo without saying a word.”

-Ebony Magazine, The History of the Afro

When nonBlack society hears ‘afro’, they think completely picked out, Black power imagery, political statement. And it was, and is! But in actuality, afros are just the natural hair growing out of a Black person's head. The same way your hair grows out of your head. Our texture. Even my hair is not allowed to be ‘hair’, it has to ‘assign’ my Blackness; my distance from whiteness. Imagine, the hair growing out of your head being automatically associated with how you should be perceived. Just by existing, it is making a statement in a Eurocentric society.

Braids (31 Braid Styles)

There are SO MANY TYPES of braids and ways to wear them. If you can imagine a design, I bet there's a Black braider that can do it!

CORNROWS ARE NOT AUTOMATICALLY BRAIDS! Internalize this! They may be used in the same style, but they are NOT INTERCHANGEABLE TERMS!

Braids are considered a protective style; that is, a hairstyle designed to let our hair 'rest' and grow without having to manipulate it. If you have a Black character that's constantly on the go and/or doesn't have time to focus on their hair, and you want an accurate, more true-to-life experience for them, braids can be a crucial part of character design.

Locs

(Yes, while that link has plenty of examples, it was also self-indulgent. Locs are gorgeous, Black men with locs are gorgeous!)

"Locs vs Dreads": As someone in the loc community, there’s been a push to refer to the style as ‘locs’, rather than ‘dreadlocks’. Some people with the style will not care, but others take it very seriously, so it’s something to keep in mind. There’s a societal stigma behind having locs, that they’re ‘dirty’ or ‘unkempt’ or ‘lazy’ and that is NOT true. Locs are beautiful, and they take far more effort than people seem to want to believe lmao.

Locs, though there is currently a positive revival, are still highly discriminated against. Kids have been expelled from school and even have had their hair forcibly cut off to be allowed to participate in sports. Many places won't hire you if they think your hair is 'unprofessional' or 'dirty', especially if you're a Black woman. To consider yet another example of the hair that grows out of my head 'dirty' is extremely racist.

LOCS ARE NOT BRAIDS!!!!

Locs are also a protective style, albeit a much more permanent one, and one that comes with a long history and culture behind it. Many Black people consider the biblical story of Samson to be a man with locs, and that our locs hold power within them. That not just anyone should be allowed to touch your locs. So, if you're interested in mythology and powers, that might be an intriguing way to go, that would be possible if you had a Black character with locs!

In Professional Media

The lack of awareness and concern about our hair isn't just a fan or amateur creator experience. It is ubiquitous in the professional media world. Black actors, actresses, and models have discussed having to do their own hair when working, because no one would properly care for it on set if it wasn't familiarly white. It’s admittedly grown better- however! After decades of not having options other than ‘stereotypical afro’, ‘box cut’, and ‘white people hair’, it is LONG PAST TIME to stop settling for the bare minimum in Black character design. We can tell when "one of us" (with some sense, at least) wasn't in the room to make decisions in popular media.

If you were curious about the lesson title, here's a current example of what I'm talking about in video games. Tell me if you see a pattern:

This style? The Killmonger? We seent it!!!! It has become the “hairstyle to show I understand the exaggerated swagger of a young Black teen” option, the "I know the Black people!" go-to, and frankly, we are all tired of it. Okay it was cute on Ekko. The Black Delegation DEMANDS the professional video game industry pick something else! We have SO MANY DIFFERENT HAIRSTYLES!

I'll give you an example on the other end (not trying at all; refer to Lesson 1) from one of my favorite games, Hades:

This is my blorbo. My favoritest guy. I’ll fight for Patroclus being Black til the day I die. While I begrudgingly settled in my excitement, I can tell you no one Black with any voting power was in the room at Supergiant when they approved this design. Why? His texture! Locs were such an easy option if they wanted long hair! Locs existed BEFORE Ancient Greece! The man did not have a flat iron while fighting in a war! A good Black designer would have considered that!

To give him a more accurate design, some artists (myself included) lean into giving him locs (one of my favorites is @karshmallow 's Pat; a phenomenal example in caring about your Black characters). It’s something Black fans find themselves doing- redesigning Black characters. That's not something we should have to do at all, especially in media we pay for!

But if you REALLY want your Black character to have straight hair, that leads into the last style of this lesson:

Straight Hair

We do have straight hair. But it’s not straight because it grew out that way! It will still look and be thicker! It might be a wig or a sew-in (human or synthetic), it might be flat-ironed (while relaxed? While natural?) It takes effort to get and maintain straight hair.

'I think it looks better good this way!'

If you catch yourself thinking this, this is a racist statement. Whether you’re aware of it our not, there is a bias towards Eurocentric/white features in our society, and that includes in our media. When you think “I only drew [this Eurocentric hair texture and style] because I think it looks good on them!” I want you to PAUSE and think about the WHY. WHY do you think that this Black person’s natural features are unattractive in comparison to the white hair texture you gave them? And how hurt might a Black peer of yours would feel hearing that you find their natural features not worth drawing because they’re “not attractive”. It requires approaching your own internal biases, recognizing them, and then working to unlearn them. And that means practice! Using references to draw our hair and styles, and growing used to using OUR features on US!

Doing it in Art

Me personally, I think if you think drawing thinner hair textures is easy, thicker hair textures should be a BREEZE. I was curious, so I challenged myself and-

(it took me about thirteen minutes total to do ol boy's hair and it's still not right. I'm sick fr y'all don't even know 🤢)

@ackee has a really good art lesson on the how-tos of drawing Black hairstyles. I highly recommend checking it out, as well as following and supporting a fellow Black artist (who is far better than I!)

Hair Brushes

Finally, an option you can use for painting is downloading Black hair brushes! Vegalia has an amazing array of brushes with different types of curls, locs, and braids at her Etsy store! You can also follow her on social media to see how she applies them, and support yet another amazing Black creative!

I know this was a long one, but you made it! Just keep going. Remember, it's the thought that counts, but the action that delivers!

#creatingblackcharacters #black art #black characters #character design #black hair #black history #black culture

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a-town-called-hometown · 1 month

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yippee! apologies if my takes are horrendously bad

my personal take on the matter is that i definitely think the dark worlds can work as a metaphor for escapism without undermining the darkners' personhood. it can be more than one thing, yknow? the darkners are important, their lives matter. and the lightners do go to the dark world as an escape from the problems they face in their own life. but that's not the darkners' whole PURPOSE, yknow? i mean. according to the laws of the universe of deltarune yes darkners' "purpose" is to serve the lightners but like it's not their whole purpose in the STORY.

it's sort of like how, in UNDERTALE, LOVE represents how distant you've become, how easy it is for you to hurt people. but it also literally gives you the power to destroy the world.

i think the biggest reason i believe escapism is at least a part of deltarune's narrative is queen.

queen's whole speech in both of her fights is about how she intends to provide escapism for the lightners (so that they will worship her but also so that they will he happy). she wants to turn the whole world into a dark world, so that everyone can live in bliss and not have to worry about the woes of the light world. she mentions "Staring, Tapping, To Receive Joy. Staring, Tapping, To Avoid Pain." which is like pretty much the definition of escapism

she wants to help Noelle with the problems she faces in the light world ("Noelle. Who Will Be There To Help Her? Her Strange And Sad Searches" and "My One Idea To Help Noelle, Failed") by just... shoving it away for a blissful fantasy world ("Wake? No, She Has Already Awakened Too Much. Let Her Close Her Eyes And Sleep Away, Into A Darker, Darker Dream.")

...i forgot the rest of what i wanted to say!

well first off, thank you for your ask! I'm going to get extremely in depth in my answer, so bear with me here. sorry it took several weeks to write this. the escapism reading of deltarune is pretty deeply entrenched in fandom, and to refute it, I felt it required a full-length essay to completely explain my viewpoint.

yes, "the lightners desire escapism" does not automatically translate to that being the darkners' actual narrative purpose. escapism can be a theme without dehumanizing those who are used in order to escape - in fact, I've read a number of stories that use someone's desire to escape to HIGHLIGHT how they're hurting others in pursuit of that. I believe that toby fox is definitely capable of telling a story about kids having a valid desire to escape, and about them grappling with having inadvertently created a world of real, living people as a result.

(I'll reiterate again that this is not the story arc that generally shows up in fanon. the common consensus is that the game will end in an omori-esque "growing out of" the dark worlds. it's why I have a huge dislike of the fanon escapism reading, given that the darkners are shown as people whose lack of agency parallels kris' own. it would feel cheap if the resolution to that plot was that the darkners were actually never meant to be agents in their own fates. but this is a digression.)

the reason why i DON'T believe that this is a story that toby fox is telling is because of the way the world, themes, and characters are written. put simply, it just doesn't come across as congruent with the story being told.

deltarune's main themes are agency, fate, identity, and control. this is a conflict that shows up in nearly every major character, is baked into the worldbuilding, and is the central struggle involving us, the player. the protagonist of deltarune is literally possessed by us against their will. the darkners are objects that have no choice but to serve and be discarded. over and over again, there is emphasis on roles that characters play - and crucially, roles that are imposed on them.

what would escapism mean, in this thematic context? in real life, escapism can represent any number of things, but in a story, a major narrative theme generally has to dovetail with other major narrative themes in the work. I would argue that escapism in deltarune would likely mean going to a place where characters are able to choose for themselves what roles they embody, or even to discard the notion of roles altogether. a fantasy of control is the only way to escape a reality where you have no agency. and honestly, it's hard to imagine that something could count as an escapist fantasy if you don't even get to choose whether or not you participate in it.

let's talk about kris.

I see a lot of discussions around kris that say that kris goes into the dark worlds to escape. the dark worlds are posited as kris' fantasy of heroism. it's a world where they can seem heroic and cool, a world where they can have friends. this theory makes a decent amount of sense on the surface level, but only until you consider that kris is being controlled in order to go into the dark worlds. and it is not a control that they appear to welcome.

if those worlds represent kris' fantasy, then why don't they get to choose what happens in those fantasies? why are they being controlled by an external force, one that they actively push back against? if it's really an escape, then why does everything about this world reflect their lack of agency? if they really think this world is just a pure fantasy, then why do they care if spamton falls when his strings are cut?

because they're being deliberately obscured to the player, it is hard to say how kris actually feels about many subjects... but I do seriously doubt that they view the dark worlds as an escape. they don't act in a way that is consistent with that. they resist their lack of agency, and what little we do see of their reactions to darkner characters doesn't suggest that they view those characters as part of a disposable fantasy, either. they seem to have complicated feelings on ralsei. and of course, one of their biggest emotional reactions in the game is to the spamton fight. I would argue that that suggests they have empathy for spamton, which is a hard emotional reaction to have if you believe he's just part of a fantasy. not impossible, mind you, but it seems unlikely that kris believes that all this is simply fantasy.

also, considering that snowgrave both actively discredits the idea that the dark worlds are mere fantasy and is actively traumatic for kris... I seriously doubt they'd open another dark world in chapter 3 on a snowgrave run if their motive was purely to escape. on that route, they've seen the damage we can cause in a dark world. they know that berdly has sustained lasting damage due to our actions, assuming he's not outright dead. why would they want to try and "escape" to a place like that again now that they know what can happen?

the only answer is that they have a motive that isn't escapist.

now, as for ralsei... what part does he have to play in all this?

ralsei does play a lot to the fun, fantastical elements of the dark worlds. he delivers the prophecy that kickstarts the adventure. he flatters both kris and susie endlessly when they act appropriately heroic. he welcomes them into the castle and even makes nice rooms for them. he initially seems tailor-made to enable a fantastical experience where no real issues can ever complicate anything, and where the pain of reality can successfully be hidden from. but there's a lot of complications to the idea that he might represent an escapist fantasy.

the first, and what honestly seems the most important to me, is that he doesn't encourage kris and susie to remain in the dark worlds. he is welcoming and kind, but once the adventure is over, he prompts them to return to the light world. he wants them to deal with their more "real" problems like homework. that doesn't feel like he is trying to facilitate escapism in them. a real fantasy would encourage you to stay in it, wouldn't it?

and while ralsei is definitely invested in making sure the lightners are happy, there are always cracks that show. he isn't able to make kris ignore what happened in the spamton fight. he isn't able to convince susie to be peaceful and kind. and in his very essence, he represents a number of uncomfortable ideas. very importantly, he represents a number of uncomfortable ideas to kris.

this probably ain't your first fandom rodeo, so I'm not going to explain all the different ways that ralsei interacts with kris' personal issues. there's plenty of posts on it out there. what i will point out is, once again, it feels odd that a character who seems tailor made to bring up kris' most uncomfortable associations with their lack of agency and their outsider status in their own family would be part of a fantasy of escapism to them. you'd think that they'd prefer something that didn't have an inbuilt hierarchy, a prophecy that denied them autonomy, or especially a person that reminded them how little they fit into hometown.

that doesn't mean kris doesn't care about him at all - it seems very likely that they do. what I mean to say here is that he just seems ill-suited to an escapism reading, both behaviorally and on a conceptual level. it doesn't seem like that's at all part of his servitude towards the lightners.

of course, there is another non-lightner entity that ralsei seems diegetically engineered to serve. but I'll discuss that later.

now as for susie...

yes, susie definitely views the dark worlds as more fun than the light world. and why wouldn't she? the light world sucks for her, and she doesn't seem very aware of the fact that the dark world can also suck. you could definitely make the argument that she views the dark worlds as a fantastical escape from reality... were it not for the fact that she treats her darkner friends with just as much importance as she does kris and noelle.

can someone treat components of an escapist fantasy as real and important? of course. but given deltarune's themes of agency and control, as well as the fact that darkners exist in servitude to the lightners, I feel like you'd have to make escapism tie into forcing others into a lack of agency if you wanted the theme to feel coherent with the rest of the work. this would require susie to be limiting the agency of the darkners around her. and obviously, she doesn't do that. her presence around them might be inherently limiting, just by simple virtue of being a lightner, but she isn't aware of it, and clearly is uncomfortable with the idea of limiting anyone's agency. she encourages ralsei to make choices. and she supports lancer in basically anything he wants to do. her treatment of lancer is integral to chapter 1's narrative, and it seems like that treatment of ralsei is integral to the ongoing narrative as well!

her preference for the dark world feels very rooted in her engagement with it as its own reality. rather than trying to avoid her real-life problems by engaging in a pretense, she seems to simply want to spend time with her friends in a place that isn't cruel to her. she isn't ignoring any of the dark world's problems in service of that, either. she notices when things don't line up. if she thought of it as a fantasy, wouldn't she be inclined to ignore issues that impede the fantasy?

and critically - like kris, she does not intentionally choose her imposed role in the prophecy at first. she steps into the role of bad guy to resist it, but that role is limiting too, and she eventually acquiesces to being a hero. it's never something she's completely on board with, though. she actively pushes back the limitations that the role places on her. I find this important to reiterate when we are discussing the notion of the characters viewing the dark worlds as fantasy.

noelle has a complicated relationship to the dark worlds. susie tells her that it's a dream to make her accept the strange reality she finds herself in, which works well on her. she continues to think of it as a strange dream throughout the chapter. (though, like the others, it is not a 'dream' she entered of her own volition!)

it is also a markedly unpleasant 'dream' at times. she has her agency restricted, is kidnapped, has to evade a controlling monarch, and is even tied up in a weird evangelion cross thing on the hand of a giant robot. it's not purely fun. noelle does like scary things, and while it might be healthy for her to have an experience where she stands up to a controlling adult figure... again, the circumstances make it difficult for me to assume that this is a fantasy she would choose for herself. not impossible, mind you, but it's not the first reading of the situation that comes to mind.

and while she does say she wishes she could dream like this every day in the normal route, that does happen specifically because she was talking to the girl she likes. it makes sense she'd find that pleasant. I don't think that necessarily equates to her finding the dark worlds escapist.

and importantly, this isn't the sentiment that she expresses in every route.

again, there's a lot of analysis on snowgrave, so I won't bother regurgitating it much here. but it's nightmarish for both kris and noelle, and very likely fatal for berdly. noelle needs to believe that the event is a dream, for her own psychological safety, but one of the most important parts of snowgrave...

...is that its events, and the world it took place in, are very, very real.

noelle wants to have the strength to face her problems, both in the regular route and in the snowgrave route. rather than escaping from them, she views the "dream" as a chance to practice dealing with her day-to-day issues. it's just that in the regular route she finds that strength authentically, and in the snowgrave route, that desire is manipulated and pushed until she is forced to kill berdly. she doesn't interpret snowgrave as an escape gone wrong. she views it as a dream that became a nightmare. and those are two extremely different things.

but i haven't even gotten to the biggest thing that undermines the concept that the dark worlds are a metaphor for escapism! which is: this fucking guy is dead wrong about everything.

so full disclaimer - I really love berdly. I think he's slept on a lot in the fandom because he's annoying and weird. which is fair, I suppose, but I think ignoring him hinders a lot of people's understanding of deltarune's overall narrative. because berdly often illustrates a lot of concepts in the game, but his narrative framing as a joke (usually...) prevents the player from taking it completely seriously. he has things to say and ideas to show off, it's just that he's often very loud and kind of dumb in his expression of them. which is kind of the point!

ralsei brings up the idea that the darkners are meant to serve the lightners very seriously in chapter one. by extension, and by way of the literal mechanics involved in a dark world's creation, we can infer that this logic is probably something that also applies to the dark worlds themselves. they are allegedly worlds and characters that only are supposed to fulfill a dream of the lightners. but due to narrative framing and deltarune's themes, we know that that's not the full truth. however dark worlds and darkners are created, they deserve to have their own agency. they can't just exist to fulfill a higher being's wishes.

you know who else undermines that view of the dark worlds? berdly! berdly does!!!!

because berdly is the only lightner in the game so far who does take the dark worlds to be an escapist adventure! he wants to turn cyber world into smartopia. he views this as a chance to be a cool hero. he believes he's going to get the girl, he's going to shape this world to his own liking, and maybe also he's going to get queen to acknowledge him or something so he stops being a forgettable little bluebird. and not only does none of this happen, his steadfast belief that it will happen is continually a joke within the narrative!!

berdly's wishes for uncomplicated escapist fantasy are flat-out denied by the dark worlds themselves. as a lightner, those worlds should be serving him. he should have the power to do whatever he wants within the bounds of an escapist fantasy. these npcs should be singing his praises!

but he doesn't have the power. and this world doesn't sing his praise. because it just isn't an escapist fantasy. he isn't right to view it that way. his wishes for heroism are always going to be thwarted.

so now that I've gotten all that out of the way, let's swing back over to the subject of your original ask. queen.

because, like berdly, queen's entire character arc is about how she's completely wrong about what the lightners actually want.

queen would in fact like nothing more to place the lightners into an escapist fantasy. she believes that that's the best way to serve them and make them happy forever. as a darkner, queen has very much internalized the idea that a lack of control is what actually makes people happy. since darkners have no choice in their destinies and are supposed to be happy in it, and since she personally finds her role as a darkner fulfilling, she believes that that's true of all people everywhere. if you want to make people happy, you just have to remove that pesky personal agency!

so she spends the story trying to force the lightners and particularly noelle into situations where she controls them in order to make them ostensibly happier. she does genuinely believe that this is the right thing to do, but as she finds out eventually, she's just wrong. noelle doesn't want that. queen believes that escapism is why the lightners use the internet... but that's totally wrong too.

while there are other searches mixed in, noelle is trying to use the internet to find her sister. instead of trying to hide from whatever happened, noelle wants to figure it out. queen's thesis about noelle and the lightners is proven wrong even before she personally encounters noelle in the dark world. it's just that queen doesn't realize it due to her limited perspective.

the concept of escapism being brought up with both queen and berdly is not there to say that the dark world is escapist. rather, it's there to say that it isn't. despite the dark worlds being a fantastical place, they are extremely real. to view them as a means of escape is foolhardy at best. you cannot act as though you are above consequences within them.

themes and ideas exist within the story for a sake of an audience. so let's get into the final character I need to discuss here. hopefully this will tie my thesis of deltarune together neatly.

that character is of course us. the player.

when creating a piece of fiction, an astute author will often identify and anticipate an audience's reactions to certain things in their work, and write things in such a way that they elicit the desired reactions. in essence, a writer is directing the "character" of the audience. how we feel and how we are anticipated to react to things is an integral part of nearly every fiction.

that effect is far more overt when dealing with metanarrative fiction that diegetically involves the audience. since the fiction is saying a lot of things about the general 'you,' the audience in aggregate, your reactions to certain things in the story have to be finely cued and anticipated by the author, so that the author can thus commentate on the reactions that you have to the story. the "character" you are assumed to inhabit is posited by the author to have certain traits.

to explain what I mean in plainer terms, I'll use the player of undertale's no mercy route as an example. because undertale is commenting on the way rpgs generally work. the player's behaviors in no mercy are attributed by characters in the story to be the result of us acting like a typical gamer. we kill the characters in the game because we want exp. and more than that, it's because we want to see everything the game has to offer. the role we inhabit in this role-playing game is that of a completionist. you could say that that's assumed to be our "character" in no mercy.

deltarune also posits that certain things are true of its audience. by being written to evoke certain cultural ideas, rpg tropes, and references to undertale, it guarantees that its audience will probably have certain traits, and spends a large amount of its conceptual focus commenting on those traits. one of those traits is nostalgia, which is probably an idea that I'll expound upon in a further essay because it's quite integral to my reading of deltarune. but the main one I mean to discuss here, and why I went off on this tangent about how audiences are dealt with in metafiction, is that we are posited as someone who believes in the logic of certain narratives.

deltarune's writing evokes a lot of portal fantasy narratives. alice in wonderland, narnia, pretty much every story where it's revealed at the end to be all a dream... the story of deltarune superficially resembles a lot of those. this, I think, is responsible for the popularity of the escapism theory. because those stories are often at their end about a child learning to put away fantasy and grow up, people tend to believe that deltarune must be about the same thing. but I truly don't think that deltarune is trying to do anything with that aspect of portal fantasy narratives, at least not directly. its main characters aren't involved in that exact type of coming-of-age arc.

instead, deltarune is very concerned with what happens to characters in fantasy, and specifically fantasy rpgs. if your world is deemed to not matter because it's a dream, what does that mean for you, who has no choice but to live in it? if you are an npc whose role has been predetermined for you via script, then can you ever decide for yourself what you want? what if you want to matter? what if you want to be your own person?

as the major controlling force of deltarune, we are initially cued to believe that deltarune is like a dream. it superficially fulfills so much of what we want from undertale fanon. hometown seems like it's a perfect idyllic town, at least until you start noticing the obvious cracks. and remember what I said about ralsei earlier? he is so reminiscent of asriel, and extremely eager to help us. it's not a stretch to say that making us specifically view deltarune as dreamlike and idyllic is probably part of his purpose in the game.

I would not say that we are posited as escapist. but the idea of escapism as brought up with queen and berdly is meant to strike at the heart of a much deeper idea that deltarune is trying to deconstruct. because if we view deltarune as a dream, escapist or otherwise, then we are inclined to write the internal realities of the characters inside off. the dark world can disappear without it mattering. we can control kris without it mattering. if it's all a dream, what does it matter? why should we care to let its characters go free? aren't we supposed to be in control?

if deltarune is an rpg... what is the significance of us interacting with it?

#deltarune #deltarune analysis #BIG big thanks to tvlandofficiall for being my sounding board and providing the flavor images for this essay #this one gets into some big overarching analysis of deltarunes construction and what it deconstructs. hope u enjoy

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grandline-fics · 6 months

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hellooo!!! i really liked your unconscious protector story so i wanted to ask if you could make a story about luffy and zoro in which the reader has the most beautiful smile ever and they would do anything just to see them smile

i think it would be really cute and fluffy😭😭

DESCRIPTION: Your smile is all they want to see

WARNINGS: fluff central, established relationships this time

CHARACTERS: Luffy, Zoro

WORDS: 1,030

A/N: Thank you so much for the request. I'm still sick so I hope this turned out to your liking! I decided to do it a little differently for these guys but hopefully it still works

*REQUESTS ARE OPEN*

MASTERLIST

———————

LUFFY

The first time Luffy saw you smile was the sole motivation he had to try and convince you to join his crew. It was as simple as that. Sure you were a good fighter and someone he was willing to help when you first met but he had been more than happy to just leave things there when he and the rest of the Straw Hats were ready to move on but then you just had to smile. Finally able to express just how grateful you were to him and the others you broke out into the biggest, warmest smile and wished him a safe journey. Only it caught you and everyone else by surprise when Luffy’s hands latched onto yours and he stared intensely at you begging you to come with them. While you were thrown briefly you couldn’t deny the urge to see the world and seeing how sincere Luffy was you could only say yes and follow him loyally.

Since then he made it his own personal mission to get you to smile at him at least once a day. It was almost like it was as necessary as his meals, sleeping, and water. If he didn’t get a dose of your smile he wasn’t his usual bouncy self. The only time it came close to a full on disaster was when the crew split up into two groups on an island and didn’t regroup until late that night. When you returned you were startled by Luffy tackling you to the ground, shouting your name. Since you were used to your Captain’s impulsive and energetic nature you could only reason his actions were fuelled by excitement. So you could only grin at him and greet him with a warm “I missed you too, Luffy.” After seeing that which he’d been deprived from all day his shoulder’s visibly relaxed and he pulled you into a tight hug. Those in the group that had to suffer their Captain’s foul mood made an unanimous decision to never go with Luffy again unless you were joining them.

After you and Luffy became an item, he found it so much better because then he could see you smile all the time. You were both practically inseparable and while it was easy to get you to smile before by just pointing out things that excited him he found that being a couple brought new ways to see the thing about you that just warmed him and sustained him so completely. Getting to sit side by side with you on the Sunny with his arm around you and talking about anything and everything always brought a smile to your face, unable to believe how lucky you were. Even when you asked him why it was you he wanted, Luffy could only tickle your sides lightly until you broke out into a laugh and bright grin. “That’s why. It’s my favourite thing in the world.”

ZORO

“Ugh he’s in a bad mood again.” Usopp sighed and you looked across the Sunny to see your boyfriend doing pushups. Silently you looked at the focused determination on his face that the others would mistake to be one of his ‘come near me and I’ll cut you’ moments. However this wasn’t one of those moments. You bit back the smile fighting to creep across your features and you nodded slowly, lightly tapping the sniper’s arm you gave him a convincing reassuring smile and as you walked away you promised “I’ll speak with him.” You knew Zoro was just too focused on his training but you just didn’t want anyone else to bother him. In moments like these when the other’s were giving your boyfriend a wide berth you liked to take advantage of it and have some alone time with him.

Just as his body was close to the deck you lay over him abruptly, knowing that your added weight wouldn’t faze him. You grinned when he paused his workout, body locked in the position. Draping your arm over his shoulder you lay your cheek against his head and grinned. “Apparently you’re in a bad mood.” You told him when he resumed his pushups and made a small uninterested huff.“And you’re risking yourself by being in my very presence?” he asked in a low voice, knowing you were the only one that could hear him and with the perception that he was in a bad mood, no one would be looking his way which meant he could smile a little more openly.

“Oh don’t worry about me,” you mused. “I know how to defeat you, Demon Pirate Hunter in one move.” Now Zoro chuckled, his workout promptly forgotten and you could tell by his posture that he was done. With a knowing hum you got off of him to let him stand and reach for a towel to wipe his face.

“One move huh?” Zoro asked, throwing his towel across his shoulders, finding he was already missing the warmth of your brief, distracting embrace. Now he’d just have to settle with you standing in front of him, relaxed and playfully regarding him with your best imitation of his usually stoic expression. “Care to demonstrate?”

“I don’t know…it is pretty powerful. Promise you can handle it?” Zoro rolled his good eye, indulging you. Slowly he folded his arms across his chest and made a single gesture with his finger, signalling you to hit him with this so called powerful move. Unsurprisingly you accepted the challenge.

Stepping forward you placed your hands on Zoro’s arms and peered up at him making sure his gaze was focussed on your face. Then you beamed up at him with a bright smile that only grew when you felt him tense immediately. “You’re bounty went up again! Congrats, babe!” You cheered, watching in satisfaction when Zoro quickly lowered his head to press it against your shoulder, his arms pulling you close. “Damn that smile of yours.” He grumbled lightly. As much as he hated the idea of being vulnerable in most aspects of his life, he couldn’t hate this.

“You know you love it.” You grinned. He did, he really did.

#one piece #one piece x reader #one piece x you #one piece fic #luffy x reader #luffy x you #monkey d luffy x reader #monkey d luffy x you #zoro roronoa x reader #zoro roronoa x you #roronoa zoro #one piece scenario #one piece fanfiction #one piece imagines #luffy #one piece luffy #one piece fluff

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pinktom · 4 months

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i was smeared on twitter! xD

This morning, I was delighted with a series of fascinating screenshots.

I'm being smeared on Twitter! By someone I don't know, who hasn't even read Lover's Spit, because I do not want to spoil aspects of my own fic.

And it didn't stop there, friends!

Obviously you can tell by the "18 Likes" there were at least 19 people outing themselves as haters. 😔

Let's be clear: if you're twiggered 👉👈 by seeing Tom Riddle bottom, block me and move on

Not because I'm out here publishing smut left and right (I'm not even a smut writer), but because there is absolutely no way you could possibly enjoy my content if you're a fixed shipper.

Is it about who tops and who bottoms? I don't know. Really, at least half of the time, I prefer top!Tom. My enjoyment of a fic is not contingent on whether one character or the other gets dicked down. Of my top favorite fanfics that I can think of offhand, Tom doesn't even bottom in any of them.

That said—I am drawn to stories where Tom Riddle is in a central role, and nobody fixated on bottom!Harry could ever possibly deliver. So yeah please go ahead and block me. ಠ_ಠ

Also, the accusation that I "want engagement" is goofy

If I was driven by engagement, the fic would be straightforwardly on the Top Tom tag, feature a lot of smut, and probably have twice as many hits.

I don't write for engagement; of the 6 fics I have published, 2 are rated G and only half of them even have ship tags at all.

And regarding Lover's Spit specifically, it would absolutely spoil the story if I went on Tumblr rambling about how they're going to fuck. I have more respect for the lovely people who read the story as it is than random potential readers who feel they cannot engage with a story on the off chance their t/b preferences aren't met after 150K of non-smut content.

Yes, fixed shipping preferences can be sexist and homophobic

If your preferences are informed by your belief that Tom Riddle is "too powerful" to ever bottom (!!!) and "submit" to Harry, you're embarrassing and regressive.

You're tacitly admitting that women—that people without penises—are fixed in a state of submission; and you're also insinuating the same of gay men who prefer to bottom.

Sex is a lot of things - not just a power exchange. Sex, as I see it, is about intimacy, vulnerability, and expressing love. That is how I write it, and why I do not want to share "spoilers" about how sex will play out in my fic.

Ultimately this slander is just the product of entitlement

Though Lover's Spit has a lovely, inspiring, and engaged bevy of readers, it is by no means a popular fic. It's a wee little niche fic.

I can see no reason why someone would bother publicly slandering me except that they're just deeply entitled and butt-hurt that I'm not complying to their whims, even though I am a teensy weensy small-time fic writer with no following whatsoever. It's so batshit.

If fixed shipping matters to you, block writers who don't tag. Simple as that.

Anything you'd like to add my dear @k3uuu?

#lover’s spit #tomarry #harry potter #tom riddle #harrymort #tmrhp

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lolli-popples · 3 months

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The Missing Link in Scott's Characterization

(Wrote this in a random document and I think it's good so I'm loosely transcribing it here)

These are some of my thoughts on a crucial facet of Scott's character in the Life Series that I think is overlooked by the fandom.

From my personal viewpoint, people put a lot of emphasis on Scott's caring about his allies over everything else. I think this is an important characteristic. However, I think this being shown as the most central trait is a detriment to how people read his involvement with the overarching narrative. It might be less of a problem if he wasn't directly involved with the final fight of nearly every Life Series.

Because of this combination of things, his main interaction with fans' reading of the final fight is being willing to do anything to make sure his friends win. It gives people the tendency to attribute some victories partially to him, which upsets people who want main read of the story to focus entirely on the winner. But this also has meant that one of Scott's main traits is overlooked.

Just as much, and often, more than Scott values his allies, he values fairness. To showcase this, let's look at Limited and Last Life, where he had the most control on how the final fight took place.

In Last Life, when it's down to the final four, Scott *could* have teamed up with Pearl, his ally all season, to kill Martyn and Ren. That aligns with wanting either your or your allies to win, no? But he doesn't. He suggests they split to the 4 corners of the map and have a fair fight on equal footing. Very fair.

With Limited Life it's even more apparent. Scott and Martyn have an impressive amount of time. They could both still die multiple times. Impulse is running out, and there's a numbers advantage. They could have killed Impulse and Scott could have let Martyn win, or Scott could have given Martyn his time to fight Impulse alone. But instead, he suggests they all go down to the same amount and have a fair fight.

In both situations, Scott puts fairness *over* an alliance victory. Even though Limited Life didn't end up ending fairly, that had nothing to do with Scott.

Double Life certainly has the strongest claim on Scott "letting someone win". That his death is an apology for abandoning Pearl.

But if you listen to what Scott says in the finale, he never apologizes. He says he didn't think they'd get this far, he says she deserves this more than him, and then he says the iconic "Tilly death do us part."

Scott didn't fight Pearl. But I don't think it came out of remorse. I think that too, came from a sense of fairness. Which is that Pearl, by all accounts, DOES deserve this win. If they fought it would basically be up to a draw. To chance. Scott has every chance of winning. But if you go over the events of Scott's final episode, he mostly runs. He survives. While Pearl 1v2'd two separate pairs and won! The only reason Pearl hasn't killed Scott already, who has been her enemy all season, is because they were randomly assigned to be soul-linked. A concept Scott has fought since the very beginning. He knows that while he never hurt their chances, Pearl is the reason they are here, and Pearl is the reason he is here. It wouldn't be fair for Pearl to lose to what is basically a coin flip. So, he doesn't leave it up to random chance.

So yes, Scott is loyal and does care about his allies, he proves that again and again. But the way he is involved in how the series end shows that his sense of order and fairness are equally important. Also, I think viewing his contributions from this angle help remedy some of the reasons people don't like his usual characterization because of how it effects the agency of other characters.

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yazthebookish · 3 months

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I loved all of what Sarah highlighted in her interview today and I'll elaborate a bit especially on the romance part:

In Maas’ fantasy worlds, love interests often exist as fated “mates,” with invisible strings between them that are powerful and often poetic. Readers can see the literary metaphors, like complementary powers between two characters. But other times, there are no metaphors, with their connection initially seeming random.

She's too attached to the mate trope and I like that she gives us different cases and scenarios for it, otherwise it'll be boring.

“Sometimes, I will write a scene with two characters that I’ve planned for them to get together, and then they have no …” She shakes her head slightly at me. “It’s like holding two dolls and being like, now kiss! And they won’t. … And then sometimes a different character will walk in and they will just” — she snaps.

I yelled at this part because it's as if she plucked the scene from Azriel's bonus chapter and used it as an example. Those parallels between Elain and Gwyn are intentional. It doesn't mean Elain is bad it's just their dynamic doesn't work as a couple and it was obvious to the author. I know she didn't specify who this was about but like, come on, who tried to kiss and which character showed up in a bonus chapter after that depressing scene and gave a glimmer of hope?

“It feels like magic in a way where, as much as I tried to plot out things years in advance, I let my characters guide a story. And they usually wind up with the people that they need to be with and who offer them the most growth and joy.”

I love this so much and allow me to speak about my favorite ship and its because the snippets we saw of Az and Gwyn together especially in the bonus chapter brought out a lighter version of Az. His scenes with Gwyn were light-hearted and the bonus chapter ends on a hopeful note for them. It's hard to deny that connection between them whether you theorize she's luring him or they're mates, those theories wouldn't exist if she had no ties to him (she's in his own chapter like come on).

I go the philosophical route with my next question: We’re talking about fate here, but at what point is a character the agent of their own fate? What happens if someone rejects their mate? (Listen, if I were Fae and I didn’t like my mate, whatever God chose for me is not my business.)

People are jumping the gun and assume this example is set to be Elucien but... we have Helion and Lady of Autumn likely being an example of a tragic rejected mates story (if you read ACOWAR and their history it's obvious they're mates). Maybe it's Mor and Eris and that's the secret that ties them to each other. We have other characters from other series too.

For a convincing mate rejection story in my opinion, it needs more than one book or it's a case that we see with side characters where we can see their history and the long-term implications of a rejected bond.

It's too easy of a story to have one person's central conflict be the words "no I reject you" and they're done. Again, this is not exclusive to ACOTAR but also her other series.

“That’s something I find to be very interesting,” she replies. “What if the forces that be put you with the wrong person? Or what if you just decide, eh, I’m not interested. … There’s a lot to explore within the concept of mates and your agency about it.

The concept of agency is something many readers in the fandom discussed especially when it comes to mating bonds and there were arguments on (would Rhys fell for Feyre if she wasn't his mate or would have Cassian fell for Nesta if she wasn't his mate). We know that some mates don't work out but stay together because their dynamic is unhealthy (Rhys's and Tamlin's parents). We got examples of a loveless mating bond already.

We also saw that Nesta didn't immediately accept the term "mate" because it would mean cutting off her last tether with humanity. It's not a matter of "you're my mate" "yes I'll be with you", the dynamic between the mated couple is important to explore.

“I’m not going to say if I am exploring it in future books or not,” she continues, “but it definitely offers a wealth of things to explore with this concept of freewill and what is true love. Is it something that’s destined? Or is it something that you make? Is it both?”

This part aligns with what I think about Elucien. We never had a mated pairing who knew they were mates but are not in love with each other. Every mated couple found out they're mates when they were already in love.

Can a destined love turn into true love? Or do you settle for a destined love without love being in the equation. Love wasn't in the equation for Rhys's parents, but love was the equation for Feysand and Nessian. Elucien was left unexplored for a reason and both Elain and Lucien view each other by label "mate", they didn't have a chance to get to know each other. So it's going to be very interesting to see them navigate their feelings for each other despite the mating bond.

I didn't expect her to elaborate a lot on this but I love that she did and I hope in future interviews she gives us more good bits about her writing and examples of the decisions she took for some characters and couples.

Didn't expect this post to be long but happy reading! I'm still reeling from HOFAS 🥲

#acotar #gwynriel #elucien #nessian

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physalian · 17 days

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8 Signs your Sequel Needs Work

Sequels, and followup seasons to TV shows, can be very tricky to get right. Most of the time, especially with the onslaught of sequels, remakes, and remake-quels over the past… 15 years? There’s a few stand-outs for sure. I hear Dune Part 2 stuck the landing. Everyone who likes John Wick also likes those sequels. Spiderverse 2 also stuck the landing.

These are less tips and more fundamental pieces of your story that may or may not factor in because every work is different, and this is coming from an audience’s perspective. Maybe some of these will be the flaws you just couldn’t put your finger on before. And, of course, these are all my opinions, for sequels and later seasons that just didn’t work for me.

1. Your vague lore becomes a gimmick

The Force, this mysterious entity that needs no further explanation… is now quantifiable with midichlorians.

In The 100, the little chip that contains the “reincarnation” of the Commanders is now the central plot to their season 6 “invasion of the bodysnatchers” villains.

In The Vampire Diaries, the existence of the “emotion switch” is explicitly disputed as even existing in the earlier seasons, then becomes a very real and physical plot point one can toggle on and off.

I love hard magic systems. I love soft magic systems, too. These two are not evolutions of each other and doing so will ruin your magic system. People fell in love with the hard magic because they liked the rules, the rules made sense, and everything you wrote fit within those rules. Don’t get wacky and suddenly start inventing new rules that break your old ones.

People fell in love with the soft magic because it needed no rules, the magic made sense without overtaking the story or creating plot holes for why it didn’t just save the day. Don’t give your audience everything they never needed to know and impose limitations that didn’t need to be there.

Solving the mystery will never be as satisfying as whatever the reader came up with in their mind. Satisfaction is the death of desire.

2. The established theme becomes un-established

I talked about this point already in this post about theme so the abridged version here: If your story has major themes you’ve set out to explore, like “the dichotomy of good and evil” and you abandon that theme either for a contradictory one, or no theme at all, your sequel will feel less polished and meaningful than its predecessor, because the new story doesn’t have as much (if anything) to say, while the original did.

Jurassic Park is a fantastic, stellar example. First movie is about the folly of human arrogance and the inherent disaster and hubris in thinking one can control forces of nature for superficial gains. The sequels, and then sequel series, never returns to this theme (and also stops remembering that dinosaurs are animals, not generic movie monsters). JP wasn’t just scary because ahhh big scary reptiles. JP was scary because the story is an easily preventable tragedy, and yes the dinosaurs are eating people, but the people only have other people to blame. Dinosaurs are just hungry, frightened animals.

Or, the most obvious example in Pixar’s history: Cars to Cars 2.

3. You focus on the wrong elements based on ‘fan feedback’

We love fans. Fans make us money. Fans do not know what they want out of a sequel. Fans will never know what they want out of a sequel, nor will studios know how to interpret those wants. Ask Star Wars. Heck, ask the last 8 books out of the Percy Jackson universe.

Going back to Cars 2 (and why I loathe the concept of comedic relief characters, truly), Disney saw dollar signs with how popular Mater was, so, logically, they gave fans more Mater. They gave us more car gimmicks, they expanded the lore that no one asked for. They did try to give us new pretty racing venues and new cool characters. The writers really did try, but some random Suit decided a car spy thriller was better and this is what we got.

The elements your sequel focuses on could be points 1 or 2, based on reception. If your audience universally hates a character for legitimate reasons, maybe listen, but if your audience is at war with itself over superficial BS like whether or not she’s a female character, or POC, ignore them and write the character you set out to write. Maybe their arc wasn’t finished yet, and they had a really cool story that never got told.

This could be side-characters, or a specific location/pocket of worldbuilding that really resonated, a romantic subplot, whatever. Point is, careening off your plan without considering the consequences doesn’t usually end well.

4. You don’t focus on the ‘right’ elements

I don’t think anyone out there will happily sit down and enjoy the entirety of Thor: The Dark World. The only reasons I would watch that movie now are because a couple of the jokes are funny, and the whole bit in the middle with Thor and Loki. Why wasn’t this the whole movie? No one cares about the lore, but people really loved Loki, especially when there wasn’t much about him in the MCU at the time, and taking a villain fresh off his big hit with the first Avengers and throwing him in a reluctant “enemy of my enemy” plot for this entire movie would have been amazing.

Loki also refuses to stay dead because he’s too popular, thus we get a cyclical and frustrating arc where he only has development when the producers demand so they can make maximum profit off his character, but back then, in phase 2 world, the mystery around Loki was what made him so compelling and the drama around those two on screen was really good! They bounced so well off each other, they both had very different strengths and perspectives, both had real grievances to air, and in that movie, they *both* lost their mother. It’s not even that it’s a bad sequel, it’s just a plain bad movie.

The movie exists to keep establishing the Infinity Stones with the red one and I can’t remember what the red one does at this point, but it could have so easily done both. The powers that be should have known their strongest elements were Thor and Loki and their relationship, and run with it.

This isn’t “give into the demands of fans who want more Loki” it’s being smart enough to look at your own work and suss out what you think the most intriguing elements are and which have the most room and potential to grow (and also test audiences and beta readers to tell you the ugly truth). Sequels should feel more like natural continuations of the original story, not shameless cash grabs.

5. You walk back character development for ~drama~

As in, characters who got together at the end of book 1 suddenly start fighting because the “will they/won’t they” was the juiciest dynamic of their relationship and you don’t know how to write a compelling, happy couple. Or a character who overcame their snobbery, cowardice, grizzled nature, or phobia suddenly has it again because, again, that was the most compelling part of their character and you don’t know who they are without it.

To be honest, yeah, the buildup of a relationship does tend to be more entertaining in media, but that’s also because solid, respectful, healthy relationships in media are a rarity. Season 1 of Outlander remains the best, in part because of the rapid growth of the main love interest’s relationship. Every season after, they’re already married, already together, and occasionally dealing with baby shenanigans, and it’s them against the world and, yeah, I got bored.

There’s just so much you can do with a freshly established relationship: Those two are a *team* now. The drama and intrigue no longer comes from them against each other, it’s them together against a new antagonist and their different approaches to solving a problem. They can and should still have distinct personalities and perspectives on whatever story you throw them into.

6. It’s the same exact story, just Bigger

I have been sitting on a “how to scale power” post for months now because I’m still not sure on reception but here’s a little bit on what I mean.

Original: Oh no, the big bad guy wants to destroy New York

Sequel: Oh no, the big bad guy wants to destroy the planet

Threequel: Oh no, the big bad guy wants to destroy the galaxy

You knew it wasn’t going to happen the first time, you absolutely know it won’t happen on a bigger scale. Usually, when this happens, plot holes abound. You end up deleting or forgetting about characters’ convenient powers and abilities, deleting or forgetting about established relationships and new ground gained with side characters and entities, and deleting or forgetting about stakes, themes, and actually growing your characters like this isn’t the exact same story, just Bigger.

How many Bond movies are there? Thirty-something? I know some are very, very good and some are not at all good. They’re all Bond movies. People keep watching them because they’re formulaic, but there’s also been seven Bond actors and the movies aren’t one long, continuous, self-referential story about this poor, poor man who has the worst luck in the universe. These sequels aren’t “this but bigger” it’s usually “this, but different”, which is almost always better.

“This, but different now” will demand a different skillset from your hero, different rules to play by, different expectations, and different stakes. It does not just demand your hero learn to punch harder.

Example: Lord Shen from Kung Fu Panda 2 does have more influence than Tai Lung, yes. He’s got a whole city and his backstory is further-reaching, but he’s objectively worse in close combat—so he doesn’t fistfight Po. He has cannons, very dangerous cannons, cannons designed to be so strong that kung fu doesn’t matter. Thus, he’s not necessarily “bigger” he’s just “different” and his whole story demands new perspective.

The differences between Empire Strikes Back and Return of the Jedi are numerous, but the latter relies on “but bigger” and the former went in a whole new direction, while still staying faithful to the themes of the original.

7. It undermines the original by awakening a new problem too soon

I’ve already complained about the mere existence of Heroes of Olympus elsewhere because everything Luke fought and died for only bought that world about a month of peace before the gods came and ripped it all away for More Story.

I’ve also complained that the Star Wars Sequels were always going to spit in the face of a character’s six-movie legacy to bring balance to the Force by just going… nah. Ancient prophecy? Only bought us about 30 years of peace.

Whether it’s too soon, or it’s too closely related to the original, your audience is going to feel a little put-off when they realize how inconsequential this sequel makes the original, particularly in TV shows that run too many seasons and can’t keep upping the ante, like Supernatural.

Kung Fu Panda once again because these two movies are amazing. Shen is completely unrelated to Tai Lung. He’s not threatening the Valley of Peace or Shifu or Oogway or anything the heroes fought for in the original. He’s brand new.

My yearning to see these two on screen together to just watch them verbally spat over both being bratty children disappointed by their parents is unquantifiable. This movie is a damn near perfect sequel. Somebody write me fanfic with these two throwing hands over their drastically different perspectives on kung fu.

8. It’s so divorced from the original that it can barely even be called a sequel

Otherwise known as seasons 5 and 6 of Lost. Otherwise known as: This show was on a sci-fi trajectory and something catastrophic happened to cause a dramatic hairpin turn off that path and into pseudo-biblical territory. Why did it all end in a church? I’m not joking, they did actually abandon The Plan while in a mach 1 nosedive.

I also have a post I’ve been sitting on about how to handle faith in fiction, so I’ll say this: The premise of Lost was the trials and escapades of a group of 48 strangers trying to survive and find rescue off a mysterious island with some creepy, sciency shenanigans going on once they discover that the island isn’t actually uninhabited.

Season 6 is about finding “candidates” to replace the island’s Discount Jesus who serves as the ambassador-protector of the island, who is also immortal until he’s not, and the island becomes a kind of purgatory where they all actually did die in the crash and were just waiting to… die again and go to heaven. Spoiler Alert.

This is also otherwise known as: Oh sh*t, Warner Bros wants more Supernatural? But we wrapped it up so nicely with Sam and Adam in the box with Lucifer. I tried to watch one of those YouTube compilations of Cas’ funny moments because I haven’t seen every episode, and the misery on these actors’ faces as the compilation advanced through the seasons, all the joy and wit sucked from their performances, was just tragic.

I get it. Writers can’t control when the Powers That Be demand More Story so they can run their workhorse into the ground until it stops bleeding money, but if you aren’t controlled by said powers, either take it all back to basics, like Cars 3, or just stop.

—

Sometimes taking your established characters and throwing them into a completely unrecognizable story works, but those unrecongizable stories work that much harder to at least keep the characters' development and progression satisfying and familiar. See this post about timeskips that take generational gaps between the original and the sequel, and still deliver on a satisfying continuation.

TLDR: Sequels are hard and it’s never just one detail that makes them difficult to pull off. They will always be compared to their predecessors, always with the expectations to be as good as or surpass the original, when the original had no such competition. There’s also audience expectations for how they think the story, lore, and relationships should progress. Most faults of sequels, in my opinion, lie in straying too far from the fundamentals of the original without understanding why those fundamentals were so important to the original’s success.

#writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #sequels #kung fu panda

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lurkingshan · 10 months

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La Pluie Meta Round-up

Since many of us have decided to stop being normal about this show, I wanted to get a little more organized about tracking the great meta inspired by the episodes every week. Some of y’all are putting in work to write these amazing essays digging into the text and subtext of this show, and I want to make sure I’m not missing any of it, as well as have a central place to track my own. I thought this might also be a useful resource to others, especially anyone coming to the show late (please join us, this is the perfect moment to get into La Pluie).

So without further ado, a round up of my favorite essays and posts to come out of the fandom on this excellent show. I will plan to update this each Saturday with the previous week’s meta as we go through the final four episodes. I tried my best to find everything but y'all know how faulty tumblr’s search and tag functions are, so if you think I missed something important, let me know!

First, the most crucial essay about La Pluie that everyone must read

We Must All Get Gayer and Louder About La Pluie Immediately (@bengiyo)

Second, a round up of some of the essays exploring the structure and intent of the story

Note: these may contain random spoilers for some episodes but are not specifically about any given episode

Four schools of thought on soulmates (@shortpplfedup)

Intentional subversion of the soulmate trope

Interrogating the romance genre (@chickenstrangers)

La Pluie and the subversion of second lead syndrome

La Pluie and the subversion of the faen fatale

La Pluie: On the Lore

Locations of La Pluie (@colourme-feral)

Name meanings in La Pluie (@recentadultburnout)

Narrative determinism versus genre determinism (@ginnymoonbeam)

On the subject of consent in recent bls (@williamrikers)

Romance tropes don’t work in real life (@heretherebedork) NEW

Romantic idealism in La Pluie (@ginnymoonbeam)

And finally, episode specific reactions and predictions

Note: These are spoilerific, starting at episode 4 aka when we all started really losing our minds over this show

Episode 4

Defying destiny (me and @bengiyo)

La Pluie Ep 4 And My Love Of Emotionally Available Characters (@bengiyo)

You (Yes, You!) Should be Watching La Pluie

Episode 5

La Pluie Ep 5 Stray Thoughts (aka birth of the Tai’s Dad is queer theory) (@bengiyo)

What we know about Patts (plus Shan and Ben’s vindication)

Working out the colors in La Pluie (@respectthepetty)

Episode 6

Hands in La Pluie Ep 6 (@wen-kexing-apologist)

La Pluie meets Nora Roberts (@syrena-del-mar)

On suspicion of Patts (@ginnymoonbeam)

Patts Was Going to Blow Tai. Tai Wanted It. Why That Matters. (@bengiyo)

You need to be watching La Pluie

Episode 7

Hands in La Pluie Ep 7 (@wen-kexing-apologist)

La Pluie: Maybe we will get a happy ending after all (@neuroticbookworm)

On the bed scene in Ep 7 (@ginnymoonbeam)

On the make out session in Ep 7 (@shouldiusemyname)

Episode 8

La Pluie and the Exploration of Romance, Competence, and Queerness (@bengiyo)

La Pluie: Do you still believe in soulmates?

La Pluie: The most important thing is that we really love each other

The Language of Love in La Pluie Ep 8 (@wen-kexing-apologist)

Third Child Syndrome: Birth Order Theory in La Pluie (@syrena-del-mar)

Episode 9

La Pluie and The Kind One (@sunshinechay)

Soulmate Skepticism vs Romanticism in La Pluie (@neuroticbookworm)

the divine in me; the divine in you (@liyazaki)

The Kindness is the Point (@bengiyo)

The ultimate message of La Pluie

To love is a choice (@heretherebedork)

What matters is CHOICE (@shortpplfedup)

Episode 10

A Jungian Perspective on La Pluie (@syrena-del-mar)

A Logical Love Doesn’t Exist (@fadelikeclouds)

break your own chains (@liyazaki)

Diving into Tai’s mind: Actions do not speak louder than words (@fadelikeclouds)

La Pluie: A Masterclass in Conflict Writing in Romance

La Pluie Breaks the Soulmate Bond

La Pluie: Not All Gays Are Great (@bengiyo)

La Pluie the Soundtrack (@shouldiusemyname)

Lomfon thoughts (@rocketturtle4)

On Tai’s isolation (@sunshinechay)

On villainising Patts (@shortpplfedup)

Pee Peerawich Can Fucking Act (@wen-kexing-apologist)

Revisiting episode 8

Similarities between Lomfon and Tai (@iguessitsjustme)

Tai and Patt’s incompatible conflict styles and Tais’ conflict avoidance (@ginnymoonbeam)

The Depths of Inner Turmoil (@syrena-del-mar)

The Soulmate Label (@indigostarfire)

Understanding the Core Four of La Pluie (@neuroticbookworm)

Episode 11

Balancing Self-Absorption and Love in La Pluie (@syrena-del-mar)

Checking in on the colors (@respectthepetty)

Connection (@wen-kexing-apologist)

Communication (@shouldiusemyname)

Even though they’ve separated it doesn’t mean they’ve failed (@chinzhilla)

It isn’t destiny- it’s freedom (@liyazaki)

La Pluie and the Aftermath

La Pluie: Thoughts on the Queer Subtext and More Patts Reflections (@bengiyo)

On Tai as a middle child of divorced parents (@slayerkitty)

On Tai’s special treatment within the family (@shortpplfedup)

Parenting in La Pluie, Episode 11 (@neuroticbookworm)

The narrative is letting Tai be unlikeable (@sunshinechay)

#la pluie #la pluie meta #thai bl #shan shouts into the void

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m1ssunderstanding · 4 months

Text

Get Back Rewatch 55 Years On: Day Four

"Lennon's late again" says Paul, as he walks in late. And sweet Ringo just gently, "between ten and eleven is the time" Which means: "Chill babe. He'll be here."

One thing that always gob smacks me is how bored George and Ringo are watching Paul pull Get Back out of the ether. They literally see him do this shit all the time which is insane to me.

His voice is so so so pretty!!! And he's just so completely in his own world. The hunched shoulders. The twitching. The gibberish. The tapping. The twisting.

Obviously this is a song with the original central feeling being let's go back to before everything went wrong but he wants to make it into a meaningless song with both story bits and almost walrus-esque bits. But why is the first lyric he comes up with about gender? Thinking of @scurators posts on Paul and gender.

Ringo's customary quiet really does add significance to his voice, so him singing along with this so quickly says something I think about his support for the song and for Paul in general.

When John walks in he's greeted with a little cocky nod and smile like "look what I've just done while you were late." And then Paul sings "get back to where you once belonged" directly at him before breaking the eye contact. It's one of those heartbreaking Lennon/McCartney miscommunications because Paul is doing this to get John back, but actually it's scaring him away, you know? Paul thinks he has to prove to John how good he is, but John's exhausted with how good Paul is.

STFU Michael Lindsay Hogg

Paul really does love the idea of being forced out of parliament by cops and honestly so do I. Would've been iconic and might've kept them together.

John's so quiet today and also Yoko is not here. Correlation or causation I wonder.

"They say don't they say charity begins at home?" I love you forever, George. His humor is always so well-placed and so dry (even though he's clearly cracking himself up here). And it steers the conversation away from a direction he was not happy with without poking any bears. In fact, everyone's laughing. Clever boy.

"I've decided that the whole point of it is communication. And to be on TV is communication and we've got a chance to smile at people like all you need is love or something so that's me incentive for doing it." Wise, egalitarian John making a lovely appearance.

And then there's Paul. "I'm here cause I wanna do a show." Lol I love them.

Why do they say "Mr Epstein?" Is it because they're on camera and they want people to know who they're talking about? Does it have something to do with the maharishi telling them certain ways to talk about Brian? Does anyone have any thoughts about that?

Okay so you know how I just said last time how emotionally mature George was? I still think it's generally more true of him than the others, but this right here? This is not it. "I don't want to do any of my songs in the show because they'll all just turn out shitty." Man has issues.

I think it's important to recognize that George and Paul have both said the literal word "divorce" and it's NBD. But when John does it, Paul takes it as "the groups really over and I have to go into hiding and not get out of bed and maybe od who knows." Why? There's another puzzle piece here that we're missing.

"Should we leave you for a while?" "YES!"

On the one hand I'm like "working on Maxwell is the last thing you guys should be doing with this time alone." But on the other thing maybe it's the only thing they can do at this point.

"Mal? You should get a hammer. And an anvil." As he's walking away. Main character in a contrived mad genius biopic. Except it's real.

"Joan" sounding suspiciously like "John" ... And then he goes "fool, Maxwell fool." Aka one of their ~special words~ New theory. John hates Maxwell because he dies in it. And Paul's the killer.

"Take it away Johnny." Even though it was George and John whistling before wasn't it? Did George get cut from the whistle chorus? Another straw on the camel's back.

I LOVE that John just does not know any of his own songs. Across the Universe my beloved!

On the glyn/Paul moment featured below, I have three thoughts. 1. Whore. 2. John Lennon villain origin story. 3. The fact that glyn didn't just tell John is striking.

"I wish it fucking would". "Cause I'm down." This lyric going from a self-soothing reassurance that his people aren't going to leave him that he'll always have this beautiful dream he's created with them. To this? I hate it here.

So there is a big emotional and energy difference between their Beatlemania selves singing "Rock and Roll Music" and their current selves. And part of it is due to the fact that they're just not as happy as they were then. But I think most of it is really just that they thrive when they're performing for an audience.

#Sorry for the scarcity of shitty pics to break up the block of text in this one.#Hopefully the next one will be better #paul mccartney #the beatles #john lennon #mclennon #ringo starr #george harrison #Get back

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raayllum · 5 months

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Been thinking recently about the idea in fandom that boils down to, usually, "the Character that Changes the most being deemed 'the most complex'" and that character development (i.e. character change) being held up as The Golden Standard of a Good Character and...

I fundamentally disagree, but first, a little bit more explanation about what I mean

Very often shows and movies, when being recommended on tumblr, are sold on the basis of having enjoyable/in-depth characters. Often times this also means conflating enjoyable with likeable, but that's a discussion post for another day. And even more often, it means there are characters who are seen as Deep because of how radically they change over the course of a story.

Lots of times, this falls into two camps:

Characters change radically, but early on in the story, and remain largely the same past that point of change (think anytime in a first season) until the end of the story

People recommending shows based on characters having traditional redemption arcs (enemy or bully to friend / good guy / love interest)

Now, I'm not saying that 1) character change can't be deep or 2) that character growth is bad. Neither of those things are true, even subjectively. What I am saying is that 1) character change / a character changing is not the same as automatically being a good, interesting, or well written character and 2) character growth is not the be-all-end-all of character writing. Yes, there can be problems with characters be overly stagnant, but typically that's only an issue if 1) a work is serialized and concerned with character development and they don't change at all, 2) a character never adjusts (rightly or wrongly) according to their mistakes, or 3) all of the above but they're a main character.

However, assuming that Character A has to be radically different at the beginning of a story in terms of their personality/values/etc. as they are at the end of the story is just... not how it works, necessarily. This is, I think, one of the reasons why antagonists who get redemption arcs tend to be more popular than heroes who had good values the whole time, because there's more opportunity to point and go "look, they've changed! they act on and have basic compassion now!" Which, fair enough, but again: other types of characters are fine too.

Particularly for characters fandom tends to have the hardest time with: paragons.

Paragons are characters who are usually the central hero, pretty morally if not entirely moral upstanding, and because they already start out in a place of "always doing the right thing," they rarely radically change by the end of the story. Instead, paragons are used to progress theme/messaging and inspire other characters around them to change (a good example might be Buddy from the Christmas movie Elf and to a lesser extent - as he's more transformative as a character - Aang from Avatar: The Last Airbender, who's there to return childhood to his friends as an ideal and carry on Air Nomad values).

And for TDP, that's Ezran.

He's the youngest in the main cast and by far the most measured. While Callum and Rayla are off fighting, he keeps a level head. He assumes responsiblity largely without guilt, holds other people accountable most often without being cruel, he's kind and deeply compassionate, he shows regular empathy for his enemies even when he has to treat them like enemies, he loves his father but does not idealize him, he is king without craving power, he's trusting and honest and while he has his flaws (overly optimistic, his passivity, sometimes struggles to consider other people's emotions, naivety, etc), they - as of yet - are not overly connected to his sense of morality (which is a distinct difference compared to the rest of the main cast).

Now, TDP is less concerned with the theme of Childhood compared to something like ATLA, but Ezran being a child (again, in a way the rest of the cast is not) is also very important. Ezran, and Callum to a lesser extent, is the embodiment of the concept that children aren't born with hatred in their hearts; it's learned, or earned, through experience, society, and suffering. And as Ezran spells out for us in 4x03, he has suffered and been hurt - and he believes in breaking the cycle and believing in hope for a better future anyway.

Ezran's steadfast reflection of the series' core theme of "true strength - to break the cycle - is found in vulnerability, in forgiveness, in love" in both word and action does make him the closest thing to a paragon in the series. He's the one who finds the egg; he's the one who forgives Rayla and Soren; he's the one who still tries to help Claudia; he's the peacemaker, the literal bridge between peoples and species in spite of witnessing so many of their worst crimes/actions.

In both arcs, there tended to be a trio of characters who rapidly change, and a trio of characters who are more, comparatively, stagnated. Early S1 Rayla, Callum, and Soren are radically different in a ton of ways than they are even at the beginning of S3, but especially by the end. On the other hand, Viren - post 1x03 at least - Claudia and Ezran are far more consistent in arc 1; their circumstances change, but their viewpoints and realities and choices are largely the same from season to season - they just keep doubling down. This doesn't mean they don't change at all, but they don't radically transform - they just become more of what they already are.

I'd say that in arc 2, things have switched up, with Callum, Rayla, and Viren being the three who are radically transformed (thus far) with Soren, Claudia, and Ezran still being in the more stagnated corner. (For more notes on Claudia and Ezran's shared passivity, check out this pre-S4 meta.)

Ezran starts out the series as a good hearted, slightly mischevious little boy who loves his family and believes that people can be good. The point of the series is not to change these parts of him. It's to demonstrate the difficulties - losing both his parents, taking on the kingship, struggling to make the right choices, keeping his friends together, caring about peace and sentiment in a world that increasingly does not - of maintaining those positive traits, again, in a world that is determined to test those ideals and attributes.

Ezran is not here to be transformed by the storm, the same way his friends and some of his companions are. He is here to demonstrate the strength and necessity in weathering the storm so that the world cannot make you cold, or uncaring, or violent, even when those paths and emotions would be much easier to go down.

Good character development isn't about changing your character; it's about changing your audience's understanding and perspective of your character. Sometimes that means the character is also changing simultaneously, but that's far from a requirement for a character to be interesting. Like most things in writing, what it really boils down to is execution.

And I could go on about why I think people gravitate towards characters who start off evil (often part of imperialist empires or older, institutionally backed systems) and learn that the evil was wrong actually (and sometimes not even that) but that's a meta for another day, and this one is long enough.

TLDR; Ezran, like a few other characters in the show - antagonists and protagonists alike - is not meant to be a radically transformative, even though he very much has grown and changed. Instead, he's meant to exemplify the importance of not losing your sense of self in an increasingly cruel or difficult world, and what parts we should arguably try our best to hold onto as well.

#writing advice #tdp #as an example #analysis series #analysis #tdp ezran #ezran #the dragon prince #writeblr #i've always preferred paragons / non traditional redemption arcs so my preferences are #very opposed to general tumblr's but not at all surprising #also don't think i need to spell out why paragons would be particularly compelling for ND / autistic folks

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myuiis · 4 months

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sally park: a missed opportunity

this is probably going to rot in drafts for a WHILE but i needed to scream into the void about this so let me rant to YOU (yes, you) about how ptj fucked up sally park's writing and purpose in the story so much that she is now just a bundle of missed opportunities. the same could also be said about other characters like crystal choi, luah lim, etc. but i just reread hunt for hostel and i have a lot of insane thoughts that need to be screamed about.

as a character who was the center of attention during her introduction arc, she has been reduced to simply an eli enabler and warren's love interest, who gets about 3 panels to really shine, and then is demoted back into window dressing.

warning: mild eli hate ahead but i do NOT hate eli, i just hate ptj for making everything hostel related eli-centric, when sally is arguably just as important.

so. lets start at the beginning.

from the very beginning, the eli jang arc was told from sally's perspective especially based off the narration, and her character during the majority of the eli jang arc BANGED. initially introduced as a classic demure, feminine savior figure for bad boy warren in the first chapter of the eli jang arc, it's then shown that she isn't as naive or one-dimensional as she may seem.

in fact, shes shown to be fiercely independent and self-sufficient, learning to live by herself and deal with her own problems without anyone helping her, while simultaneously grappling with her grandmother blaming her over her dad's death (side note this plotline, which could've added so much depth to her story was NEVER picked up again)

on my first read of the eli jang arc, this sequence actually punched me in the gut and sally became an instant fav

but i digress. continuing back to the main point, sally was a tremendously well written character (or as good as we're gonna' get when it comes to female characters by ptj) in the eli jang arc, whether it be her narration (scenes like "sometimes i think if i hadn't introduced them to eli back then, our story wouldn't have been such a tragedy"), or her actual actions in the story.

she was integral to the story. in fact, i would say that she was MORE central to the heart and soul of hostel than eli jang was (at first, before she got butchered by ptj and forgotten about) because it was HER that was providing for her family with HER own money, until eli stepped in months later. she was the one that everyone wanted to assist and protect because she was who was holding everyone together through her sacrifice and love.

LOOK AT HER!!! just LOOK AT HER!!! she is so noble and tragic and she does everything for the sake of her family, including starving herself! she is so tremendously loving and sacrifices so much for her family, which is why everyone unites around her to help her!

in fact, the reason warren, eli, and others devolve into crime and stealing is to help her get more money for food, as they can't bear to see her starve herself. while this does come off a little bit white knight-ey (oh a big strong man has to save the sweet damsel), the point is that she has this kind of power over the people around her through her genuine leadership skills

not only that, but she was actually also the one who came up with the idea of using their old building to provide for more homeless kids, showing that she really should be credited with the creation and management of the runaway fams, far more than she is in the story.

even though, immediately after, its shown that she didn't think enough about the financials of the situation, and eli gets his time to shine by coming up with the point organization stuff, the way its framed portrays both sally's idea and eli's financial proposal of the financial system as equally important things. this scene makes me think that, at the very least, sally and eli's importance should be on equal footing: sally is the passion, the heart, the core, while eli is the figurehead, the brains, the fighter.

in summary, sally was the person who united the original hostel A through her leadership, kindness, and sacrifice, and had so much soft power over everyone that the entirety of her family would do anything to help her. she also came up with the idea of helping runaway families, demonstrating her kindness and generosity.

not only that, she was still actively managing the runaway families and making money while eli fucked off to j high to become a barber, allowing her to get closer to the runaway fams and inspire them with her leadership.

with all that said, it's clear that sally should be a three-dimensional girlboss who uses her charisma and good personality to gain soft power and lead the people around her as one of the figureheads and hearts of the hostel crew, right?

well. no.

after the eli jang arc, she becomes close to useless.

i dont remember much of 2A outside of the big deal stuff, but what i do remember is that sally does nothing, wins a singular rock-papers-scissors game, and then becomes a damsel in distress again that warren needs to save and gets to show off his cool fighting skills in the process. (this may not be accurate, feel free to correct me if im wrong)

but my BIGGEST gripe is the hunt for hostel arc. the hunt for hostel arc was very much centered around eli, warren, and even jerry, more than it was sally, despite how much of an integral role she played in the formation of hostel. during the entire arc, she does basically nothing but watch on the sidelines

... and then ptj pulls this on us. they all unite because they admire and love eli jang so much? only eli jang? not warren chae, gangdong's mighty? not max and derek, the two uncles? not sally park, THE big mama?

i cannot emphasize how ironic it is that sally, the big mama, quite literally gave birth to the idea of the runaway fams, and yet nobody mentions her again afterwards, and only ever eli jang. like... what did eli ever do for you? give you a shitty haircut?

and when warren and eli leave, i FINALLY thought that ptj was going to give sally a moment to shine and show her by herself again, like she was all that time ago, and how she figures out how to save her family despite being unable to fight...

but no. we get this sick ass panel and then she is completely irrelevant again

the next example of the sally erasure comes when eugene is talking to eli about him joining workers. he tries to convince eli that this is the ONLY thing that he can do to protect his family, and that, now that he's here and so is warren, hostel is weak and helpless because the MEN that get everything done aren't there anymore and "oh no, what can sally park and the girls do?"

like fym "what can they do"?! sally is a LEADER and she has POWER and INFLUENCE (or at least, she should). but no, the narrative doesn't prove him wrong, and sally does next to nothing in the narrative.

i cannot emphasize how much more of a leader figure she is than eli btw. she took all the runaway kids under her wing. it was her idea to build an organization for these kids in the first place. she was the one singlehandedly raising money for all 7 high schoolers in her family before eli stepped in. she STARVED HERSELF and CUT HER OWN FINGERS trying to make food for her family. she was THE big mama. EVERYONE wanted to protect her and respect and love her. and yet ELI is the main character of hostel that is oh so important and that everyone will unite under????

"oh no without you how will anything get done, eli jang?" stfu

and even when she does do things, later on, it's really more of an excuse for vasco to shine. while she was the one to get heather's mom to forgive eli, as well as the one that got vasco to save eli in the first place, 1) her major role in this part of the story is entirely sidelined and given no narrative weight outside of being the reason that eli's healing arc can happen and 2) the only agency we've ever seen her having since hostel arc is in relation to eli. she only ever acts on her own to save eli. she PROBABLY did stuff outside of that to help hostel, but that is entirely offscreen and not focused on at all, so her leadership and agency when it comes to things outside of a MAN are ignored.

in chapter 478, i thought that she was once again given a brief moment to shine when she looked sad and all wondering what they would do once they didn't have the income workers supplied them with, and i was hoping that she'd get a chance to creatively problem solve around it to show a good character moment for her and the rest of hostel... but who am i kidding this is ptj of course he wouldnt do that. nah, it was just a scene so that vasco could introduce jay again and be like "hey guys jay is actually relevant to the story and he's a nice person, just so you guys dont forget that he's still there! and also ignore this deus ex machina ass solution to a conflict that could've been a really interesting character study!!"

so yeah. that's basically it. in conclusion, i think sally park is a HUGE missed opportunity for ptj to finally write a good female character. kind, compassionate, charismatic, smart, sally's got it all. however, just because she is a soft character doesn't mean that she's a pushover and she held tremendous power and authority because of everything she did for her family. however, ptj decides to do nothing with her and turn her into an eli enabler and a warren love interest instead, ignoring her leadership skills and influence.

and once again, no hate to eli, warren, jerry, jay, or any of the other character i just shat on to make a point!! i like all of them, but i just think that sally's character assassination to allow them to shine was an infuriating decision on ptj's part

#lookism #lookism manhwa #eli jang #jang hyun #eli lookism #warren chae #chae wonseok #jerry kwon #kwon jitae #sally park #lookism rant #literature analysis #(?) kinda #hostel #lookism webtoon #jay hong #hong jaeyeol #i hate how ptj treats his female characters #women deserve better

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panlight · 4 months

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you mentioned the saga has too many side characters for a love story. In your opinion - who could be removed, without having their disappearance effecting the overall story? Personally i feel like Esme and Emmett could be taken out and there wouldn't be so much that'd change. But i never really thought about others. I guess the movies did well with removing Lauren and Ben.

My dilemma is that I LOVE all the side characters. By and large I find them more interesting than the mains. BUT because Twilight is, after all, a romance . . . there's just not a lot of 'room' for the side characters. Which is probably why I find them interesting! Because we get just enough information about them that I want to know more, but also leaves plenty of room for headcanons and personal interpretations.

But since romances are always about the central couple, there's just really no need for so MANY characters in this series. The movies were smart to combine some of the human high school characters to get the numbers down there, but since most of the other characters don't have any arcs or storylines of their own, they could have been cut or combined too. Does the wolfpack 'need' Paul AND Jared? Do Brady and Collin do anything? Do we really 'need' three Volturi leaders and all those guards? Do we 'need' all those visiting vampires in covens of 3-4, or could we have had more solo vamps or just pairs?

And yes, with the Cullens, it's absolutely Esme and Emmett. And I love them! They're some of my favorites! But in terms of the plot you just don't need them. You need Carlisle as the creator of Edward and for all the times the plot calls for a doctor. You need Alice as the facilitator of the romance and the quirky friend you often see in romances. Plus, her power plays a large role in the plot. Jasper has the New Moon attack and the history with newborns which becomes relevant in Eclipse. And Rosalie becomes important in Breaking Dawn, and she had a fun slightly antagonistic vibe. But you could cut out Emmett and Esme and the plot would not meaningfully change. In fact, in some way, it might improve.

For example I never really got why Edward was so hopeless about ever finding love when he has examples in his own family/coven of it taking a long, long time to find a partner. It took Jasper almost 100 years. It took Carlisle about 250. Rosalie and Emmett were outliers! Edward being all "forever alone" after 90 years as a vampire always felt a little off, like, there's still time. He's roughly at the age Jasper was when he met Alice. But if Carlisle and Rosalie were also still single, that makes Edward's hopelessness make a bit more sense. Like "if Carlisle the Amazing has not found a partner in 350 years what hope do I have?" or whatever.

Or you could try to combine characters. A Jasper/Emmett hybrid miiiiiight work. Emmett's backstory never matters, but you would have to sacrifice some elements of each of their personalities. I don't think making Rosalie Carlisle's wife/Edward's mother would work at all though. Feels wrong just to put it into words. Would combining Alice and Esme, making her Carlisle's wife/Edward's mother, and then having Rosalie with the Jasper/Emmett hybrid be better? Ugh, no, still doesn't work.

I think they all gotta be single, with Alice/Jasper the only couple. And then, yeah, the Edward/Bella thing would feel more miraculous. It was always funny to me it was like "oh no! the love between a human and vampire is forbidden and/or never works out well!" when literally in Edward's own family there were two couples who met when one was still human. I mean admittedly Emmett was minutes from death but still, technically, Rosalie and Carlisle both ended up with humans they 'saved.' Then there's Benjamin going back for Tia; Aro choosing human Sulpicia, like, it's not that usual. But you erase the R/Em and C/Es couples and then, sure, Ed/B seems more rare and impossible.

Ultimately, though, rather than cut characters I'd rather expand to the story to be more of an ensemble fantasy adventure WITH a romance rather than a romance that dips in and out of fantasy adventure. You can have a central character, and even a central romance, and still develop side characters and let them have their own arcs. Jasper could have actually had an arc about overcoming his thirst instead of just sulking about how Bella is so good at it. Carlisle could have had something about actually convincing some vampires to become vegetarian. Alice discovering her human origins could have had more of a meaningful effect on her characterization rather than just being something she infodumps on Bella as a fun bit of trivia. Esme and Emmett could have had plot-relevant reasons to exist rather than Rosalie and Carlisle just needing partners. And Ed/B's romance could still have been the centerpiece.

#asks

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fizzyxcustard · 6 months

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Just My Imagination.

Masterlist of fan fiction

Fandom: Spooks

Pairings: Lucas North x Original Female Character (Amy Holland)

Warnings: Undercover agents, angst, insecurity, anxiety.

Word count: 5725

Summary: From the imagine: "Imagine that you are on an operation with Lucas North, where you have to use a cover story that you’re in a relationship. Only Lucas plays the part a little too well."

Comments/Notes: Requested by anon. Requested as Lucas x Amy. THANK YOU. You know how much I love writing about Lucas and Amy. This piece was requested to be a romantic comedy, but I’m so sorry to say that it wound up just being angsty again.

I hope you like the fic. As always, like, reblog and comment if you enjoy. If you wish to be added to any of my tag lists, let me know.

Operation Greenacre.

Amy looked back over the folder in front of her, memorising all the information inside. Her name while on this operation was Amanda Reynolds, an office assistant in central London at a family law firm. Recently engaged to boyfriend of two years, Ben Waverley, aka Lucas North, her current operation partner.

Amy and Lucas had been given keys to a one-bedroom flat where they would act out their pretend lives, hoping to gather more inside information from their next door neighbours, a couple who were potentially funding terrorists through their charity.

“Are you sure you’re okay to do this?” Lucas asked, hovering at her desk. “If you don’t feel comfortable then tell Harry and we can stand you down.”

“I don’t want to let anyone down,” Amy sighed, giving him an anxious and embarrassed smile. Next to Jo Portman, Amy was the closest in age to Lucas, so could easily pass off as his fiancée. However, Jo was on another operation.

Lucas pulled a chair across from the desk opposite and sat down next to Amy. “Look, you’ve never done this before, and it’s kind of going against procedure here and taking a risk. You don’t have to say yes just to please Harry or to impress anyone. Your safety and wellbeing comes first.”

“But the only other person is Ros.”

“So?” Lucas asked, raising his eyebrows. “Ros and I have had cover stories before where we’ve been in a relationship. We can easily make it work.”

Amy looked at Lucas and felt the butterflies flap more viciously in her stomach. The man was gorgeous, and in Amy’s mind her being seen as his fiancée was even more inconceivable than Ros taking the place. Ros Myers had the confidence and grace that Amy didn’t. Amy was of short stature, more curvaceous, with short dark hair and what she considered more ‘plain’ features. While Amy had proven herself as a damn good analyst and office based intel officer, her confidence waned when venturing into new situations, or when in the company of Lucas.

Near the end of Lucas’ shift, he tapped on Harry’s door.

Harry Pearce, government renowned intelligence officer and senior lead of Section D, raised his head. “Yes, Lucas. Come in.”

Lucas closed the door behind himself and sat down opposite the middle aged man. “I want to talk to you about Operation Greenacre. I don’t think Amy is ready, Harry. I’ve got a feeling that she’s accepted this to try and prove herself to you.”

“Is this because you’re concerned about having to watch out for her, or a genuine interest in her safety?”

“I can’t believe you’d ask me that question,” Lucas scoffed. “I’m worried for her, not me. She’s not ready for field work. Can we just ask Ros to do it?”

“Lucas, Amy has already agreed to this and your documentation is being processed. I can’t stop this from going ahead, and Ros has, as of this afternoon, been put onto Op Hickory. I trust that you’ll be able to help her; the two of you seem to work well together and there’s something about the way she interacts with you. There’s an ease and a trust I sense.”

“I’m not questioning how we work together. I’ve always got on very well with her.”

Harry saw a very faint blush hit Lucas’ cheeks, which was quite rare for him. Not much seemed to faze him, but this conversation appeared to be bringing out the very first signs that Lucas may have been holding a secret close to his heart.

Amy woke early the next morning and rolled over to see that it was quarter to five. She had only gotten a couple of hours sleep, sporadic through the night. Her mind was ablaze with all the details of her new life she was about to live.

Amanda Reynolds. Thirty one years of age. Born in Manchester. Older brother named Thomas. Fiancee of Ben Waverley. A gorgeous man like him wouldn’t ever be interested in someone like me….

The thoughts had trailed off many times, departing from the facts she had to memorise. All she could think about was how appearing engaged to Lucas would seem so far-fetched. She had even looked upon the engagement ring many times, wishing that it was all for real. What an absolutely stupid dream. This woman that she was pretending to be, Amanda Reynolds, had a better life than she had ever had.

At around half seven, after showering, pacing her flat with podcasts playing in her ears, Amy heard her front door buzzer sound. It couldn’t have been the postman, as he normally left all mail in the boxes in the lobby. Deliveries weren’t usually this early.

Amy clicked the intercom. “Hello?”

“It’s Lucas.”

Just his voice was like a wave of pleasurable electricity. It ran down her spine and made her smile. “I’ll let you in.”

As Amy opened her door, she saw Lucas walking up the hallway. He was dressed in blue jeans and a black shirt, with the top two buttons opened. He held something in his hands.

“I hope you haven’t had breakfast yet, Aim,” he said softly.

“I thought we were meeting at nine, at the flat,” Amy said stupidly.

“I just thought you might like to have a bit of food first and relax a bit.”

Amy let Lucas into her flat, feeling the familiar flutter of nerves begin to descend.

“Malcolm has organised the moving van this morning, so a lot of the stuff should be there when we arrive later,” Amy told Lucas, stepping into the kitchen, with him just behind.

“Come and sit down for a bit and don’t think about the op. Relax and take your mind off it.”

Amy looked down at the brown paper bag on the counter and then back up at Lucas, feeling something in her chest, an ache that she had never quite felt before. Not only was he gorgeous, but kind. He actually saw her, and made her feel like she mattered. Or was this purely to try and help her feel more confident to better the outcome of the op? A method of getting the best out of her.

“Did you manage to get that sketch completed?” Lucas asked, taking a large bite out of a croissant.

“Oh, I didn’t think you’d remember that,” Amy said. Only a few days earlier and Amy had been sketching a photo of her nephew at her desk in work. It was a gift that she wanted to give to her sister for her birthday.

By the time that Amy and Lucas had made it to the flat where they would be spending at least the next couple of weeks, Amy felt a little more at ease. The two of them greeted the moving men.

Every now and again, Amy would catch a glimpse of a shimmer of rainbow colours from the corner of her eye, as the sun caught the diamond on her left hand.

It all felt natural as Amy and Lucas began putting items away after unpacking boxes. However, it all changed, when a tall red-headed woman came to their open door. She tapped on it and stepped over the threshold and into the living room. “Hello?”

“It’s okay,” Lucas whispered to Amy as they remained together in the bedroom, still opening boxes. “You’ll be fine. I’ll be with you in a minute.” Then he winked at her, watching as her startled face disappeared out of view.

“Morning,” Amy said, her face beaming at the sight of the redhead. “I’m guessing you’re a neighbour?”

“I am. I’m Pamela from next door, at number five. I heard we were getting new neighbours. It’s been so long since anyone has lived here, and I was starting to wonder if they’d ever find tenants.”

Amy chuckled nervously. “I’m Amanda. My fiancée Ben is still in the bedroom trying to put the bed back together, so he should be out in a bit.”

On cue, just as Amy spoke those last words, Lucas appeared and approached. He curled his arm around Amy’s waist and drew her in against him. “Hi, I’m Ben. I hate moving. It makes me do some DIY which is one of my pet hates.”

As Lucas spoke, Amy was sure that she could feel Lucas’ fingers moving in an almost circular motion against her waist. She could feel heat rising up her body at the sensation of being in such close proximity of him.

“Is that a diamond I see?” Pamela asked, her dark eyes growing bright.

Amy raised her hand to show her new neighbour. “We’ve been engaged about two months now.”

Lucas pulled Amy that tad closer as she spoke, feeling a deep warmth rise upward and fill him. Without even thinking, he placed a kiss on her temple. Her skin was so soft under his lips and he could smell strawberries, no doubt from her shampoo.

“You’ll have to come over for dinner tomorrow,” Pamela offered. “We always enjoy hosting dinners for our neighbours. Ted is ever the showman.”

“That sounds lovely,” Amy said, her voice ever so slightly teetering on the edge of nervousness. She could feel the change in her voice now that Lucas was touching her.

“I’ll let you both get back to it. I’ll see you around no doubt.”

As Pamela disappeared into her front door, Amy immediately pulled from Lucas. She turned away from him and dashed away into the kitchen, where she flicked on the kettle for a drink. Her heart was pounding in her chest and she could feel her legs shaking. For a few seconds, she watched out of the window, focusing on the clouds and took a deep breath.

“Are you okay?” Lucas asked. “You did well, Aim.”

“Yeah, I’m okay. Just a little flustered, that’s all.”

The rest of the day was fairly lowkey, with Amy and Lucas putting the belongings away, which hopefully wouldn’t be needed for too long. At the briefing, Harry and Lucas had explained that they hoped that the undercover part of the op wouldn’t be any more than two or three weeks. Most of it hinged on Lucas being able to wind his way into Ted Delaney’s trust and gain any hints as to his reasoning and motives for working alongside terrorists.

At around six there was a sharp knock at the door.

Lucas opened the door, only to see Ted Delaney in front of him. Positive ID made from all the documentation that had been gathered prior to the undercover portion of the op going live.

“I’m Ted from next door. Pam told me you’d moved in and that she’d invited you to dinner tomorrow. Thought I’d come over and extend my welcomes to you both.”

Ted Delany was a man who was easily in his mid-fifties. His greying hair was swept back and oiled, and his grey eyes were piercing. His clothing showed that he had money and position: a well-tailored navy suit and shined shoes.

“Would you like a drink with us?” Lucas asked.

“Sure,” Ted said, flashing a broad smile.

Lucas immediately approached the whiskey and vodka bottles that were neatly placed out on a small table next to a large bookcase.

Amy could hear faint chatter as she remained in the bedroom. For a second, she stood with her back to the wall, took a deep breath and then exited.

“Hey, babe,” Lucas said, seeing Amy. ‘Babe’ somehow felt wrong in his mouth, and he hoped that to Delaney the word didn’t come across too alien. “This is Ted from next door.”

“Ted, this is Amanda. The love of my life and wife-to-be.”

I think that may be a bit too much, Lucas. Amy mused.

Amy sat down on the black leather sofa which was opposite a matching armchair, where Ted had perched himself.

Lucas handed the glass of whiskey to Ted and then placed himself down next to Amy. His hand rested on her thigh, again doing that circular motion with his fingers. He looked at Amy, passing her a glance. “Do you want me to get you anything from the kitchen?”

“You’re missing out on the good stuff, love,” Ted said with a hearty chuckle and raised his glass in the air.

“No, I’m fine, thank you,” Amy replied. “I’ve never been able to hand alcohol particularly well. It just doesn’t sit well with me.”

“I remember when we first met, and she tried to impress me by drinking a couple of pints,” Lucas said. “She’s always tried to impress me when there’s no need to. She’s perfect the way she is.” Lucas, on instinct, squeezed her leg.

Amy felt a rod of red hot head swarm in her head, as if angry wasps were buzzing there. “I always felt I was out of your league, Ben, you know that.”

“Pam was always like that with me, too. Some women might seem like they have confidence, but deep down they don’t, and feel they need to be something they’re not. In fact, they’ve always been the apple of your eye from the very beginning.”

Lucas chuckled. “That’s definitely always been the way with her. She doesn’t see how amazing she is.”

Ted only stayed for approximately twenty minutes, before leaving Amy and Lucas for the night. There was a silence that had grown between them both now, and as Lucas remained in the living room, Amy sat in the kitchen with a mug of tea between her arms, which were resting on the table.

“Aim, what’s wrong?” Lucas asked, finally following her into the kitchen. “You’ve been quiet since Delaney left. Is it making you uncomfortable?”

Lucas looked down at the table to see the engagement ring. It was in the centre of the table, not on Amy’s hand where it should have been for the op.

“I can’t wear it, Lucas,” Amy said softly. “Not when it’s not real. I can’t close the door and still have it on my hand. It’s bad enough having to have you touch me.”

“Amy…”

“It doesn’t matter what I think. We see this op through and then go back to the grid and get on with things.”

Lucas lay on the sofa, while Amy had the bed, and thought on her words. It’s bad enough having you touch me. Was she disgusted by him? That very thought made his jaw clench and an ache rise in his chest. That was why she had dashed from him when Pamela had been at their door; Amy found him disgusting and couldn’t stand him touching her. And that touch had been real, so real in Lucas’ mind. To hold Amy next to him had felt like everything was perfect, and nothing was an act. The kiss on her temple...that was all from Lucas’ heart.

Amy tossed in bed, replaying the events. The way Lucas had touched her, and those words. They seemed to be somehow as though he was telling her, behind a mask of someone else, that…. Of course he wasn’t!

Lucas is good at his job. He’s done this so many times before and played the part well to get what’s needed for the case and then move on. Nothing is different about this operation whatsoever. It’s just my imagination.

Being in a different bed meant that Amy couldn’t quite get comfortable in the bed, and would keep peering out of one eye at the clock on the bedside table. The bed was big, enough space for her to roll around, but it reminded her of how isolated she felt. Cut off. Unwanted.

It was just after four ‘o’ clock and Amy knew she wouldn’t sleep any more that night. It was like the night before, just a couple of hours made up of half hour dozing phases. A dull thump was already starting up behind her eyes. As Amy pulled herself out of bed, she heard the whishing of blood in her ears.

She staggered out of the room and across the living room, heading for the kitchen. There, on the sofa, sprawled out was Lucas. He was on his back, mouth wide open. The patchwork quilt had fallen off him, so Amy tottered over to him, and placed the quilt back over his sleeping form. He twitched as the quilt touched him, let out a loud snore, and then rolled over.

Amy made a cup of herbal tea and sat in the kitchen, her eyes stinging and head thumping. It seemed as if Lucas slept easily, not worrying about the operation and certainly not about the tension that had risen between them. Was it only Amy that sensed any kind of tension? She was starting to assume it was.

By the time it had turned half six, Amy got dressed into a fresh strip of clothing, choosing jeans and a frilled white blouse: the attire of Amanda Reynolds. Amy Holland, MI5 analyst, would have opted for jeans and a rock band T-shirt with a waistcoat, or a bright coloured hoodie. Sophistication wasn’t something that Amy felt she had.

The streets were fairly quiet and Amy slipped into a café, ordering two bagels and two Americano coffees. Then she walked back to the flat, feeling that she could finally find a sense of peace out in the chilled mid-March air.

By the time Amy got back to the flat, she walked in to find that Lucas had vacated the sofa. She could hear the splashing of bathwater and an offkey singing voice coming from the bathroom.

Amy giggled and placed the breakfasts down on the coffee table in the living room, waiting for Lucas to re-appear.

When he finally made an appearance, Lucas sauntered over to the sofa and sat down, leaving a gap between Amy and himself.

“I hope you like bagels,” Amy said, giving a smile. “You brought breakfast yesterday so it’s only fair I do so today.”

***

Amy ventured out the flat after breakfast, deciding to get out of Lucas’ way for a few hours. The cover story was that Amanda and Ben were on annual leave for a week while they moved into their new property. Ben, being the owner of his own accountancy firm, had left the company in the capable hands of his best friend, and co-director, Patrick Lange. If any kind of phone call was needed to or from Patrick, Tariq had been asked to step in and lend his vocal skills.

First off, Amy sat down in a coffee shop and watched people wander past the window; tourists, residents. Some of them she could tell immediately as residents of London, carrying briefcases or dressed sharp for an upcoming meetings. Tourists tended to walk slower, some with cameras around their necks, and gazed around in excitement and wonder.

Her phone chimed. Well, Amanda’s phone. It was one of the many iPhones that were kept on the Grid specifically for operations, with disposable SIM cards.

Ben: Are you sure you’re okay? You didn’t seem yourself this morning. Love you. Xxx

Of course all text messages had be sent in character, in case the devices were ever compromised. No personal devices were allowed. One very basic Nokia 3310 model was kept in order to report back to Harry in case any challenges occurred, and that was in Lucas’ possession.

Amanda: Yes, I’m fine, sweetie. I’ll be back later.  xx

Sweetie. Acting out this whole made-up scenario was angering Amy.

Amy continued on walking, disappearing in and out of shops. All of the money she had was in physical cash. No personal credit and debit cards were to be used while on operation. Every aspect of who she really was had been erased. For the next two or three weeks, Amy Holland didn’t exist. When she looked into a mirror, Amanda Reynolds looked back. Amy could imagine the reflection smirking at her, the diamond sparkling so brightly on her left hand, with Ben’s arm wrapped around her. Ben’s steel blue eyes looking back, his nose wrinkled in disgust at the mere sight of Amy.

Like I’d ever look at you twice.

Back at the flat, Lucas put more items away, concentrating on the kitchenware. However, his mind couldn’t stop spiralling into thoughts of Amy. She was confusing him and it was twisting his gut so tight. Suddenly he got up from the tiled floor, where he had been putting pots and pans into the cupboards, and called her.

“Amanda?” he asked.

“Ben,” she replied matter-of-factly.

“Are you alone?” he asked.

“No one is directly around me.”

“We need to talk on neutral ground.”

“Please, no. We can talk when I get back.”

“We have to be careful as we can be compromised, you know that.”

“I’m on my way back now. We’ll talk more after the dinner. I’ll be back in about half hour.”

The line then went quiet as Amy terminated the call.

Lucas sighed in frustration. In all the months that he had known Amy, which was almost a year, he had never known her be so aloof. She was naturally a shier person, but he had never known her react like this.

Amy got back to the flat within the half hour that she had promised. She stepped into the living room to see Lucas sat on the sofa. The gorgeous bastard looked up at her and smiled sadly.

“After the dinner, we’ll go for a walk,” she proposed.

***

Amy and Lucas prepared themselves for the dinner with their new neighbours at around six.

Lucas was dressed in a black suit jacket and white shirt, with the top two buttons popped open. It was complimented nicely with a pair of dark jeans, giving a casual edge.

Amy stepped out of the bedroom, her short pixie cut freshly washed and neatly brushed. She wore a black dress with frills on the wrist, and paired with black dolly shoes. Her whole look was sophistication mixed with a sense of comfort.

As Lucas looked at her, he swallowed hard. She was wearing a dark eyeshadow and mascara which accented her deep green eyes perfectly. He could sense her discomfort at the get-up, knowing that this wasn’t her usual style, but he couldn’t help feel it suited her so well.

Amy tried to avoid eye contact and made her way to the door in silence.

Lucas followed on behind, feeling his stomach twist yet again at her distance from him. He grabbed a bottle of wine from the table by the door, and then closed it behind them.

Pam was the one to answer the door. She grinned at her new neighbours and let them in. “Take a seat. Dinner won’t be too long now. I’m preparing smoked salmon, topped in my special sauce. Chef’s secret as to the recipe. Everyone who has ever tried it has raved over it.”

“Good man!” Ted exclaimed, taking the bottle of red wine from Lucas. “Priorities.”

Amy glanced around the living room, noticing that there was far less in it than hers and Lucas’ temporary abode. The flooring was wooden, and the lights bright. Everything felt too clean and sterile for Amy’s liking. She sat down on a black leather sofa, and then tensed as Lucas perched beside her. He took her hand and rested it on his knee, then caught her gaze and smiled, giving her a very slight nod.

“So, how did you two meet?” Pam asked, preparing glasses as Ted popped open the wine bottle.

“Do you want a coffee? You said last night you don’t drink,” Ted asked Amy, interjecting himself into the conversation before anyone else could speak.

“Oh, yes, please. That would be perfect,” she replied with a grateful smile.

Lucas began to talk, still holding Amy’s hand. He rolled out the spiel that he and Amy had been given as part of their briefing pack. Amanda and Ben had met through mutual friends at a Christmas party.

The words rolled effortlessly off Lucas’ tongue, Amy mused. And how she wished all of it was true. To be loved, wanted, proposed to, lived with. She desperately wanted it all. Life was cruel. Rather than be dealt such a lucky hand, she instead had to act it all out, pretend, and live behind a happy mask, where her heart beneath was breaking.

“You definitely struck lucky, love,” Pam told Amy with a wink.

The conversation between Lucas and Ted seemed to flow without much thought. However, Lucas’ hand moving up Amy’s thigh, curling further into the inside of her leg.

Shivers began to race up Amy’s spine as she felt his fingers caress her skin through her thin tights.

Most of the conversation seemed to merge into a mindless chatter as Amy concentrated on Lucas’ hand on her leg. She studied the veins in the back of his hand, which then caused images of him touching her in more intimate places to flicker through her mind.

By the time that dinner was ready and the group had moved into the dining room, which again was a sterile looking room, Lucas had finally got onto the topic of conversation that he needed: Ted’s work.

The table was only small, considering that the flat was large. It gave way for more kitchen space and cabinets. This meant that Amy was sat directly next to Lucas again, with Pam and Ted opposite them.

“How long have you owned the charity, Ted?” Lucas asked, slipping into his seat.

Ted began to answer while Pam laid out all the dishes in the centre of the table, her hands covered in oven gloves. “The charity was actually started by my father, who died five years ago, so it was handed down to me. He always spent his life helping disadvantaged children; it was all he cared about.” Something flickered across Ted’s face. Resentment, anger? Lucas couldn’t quite tell. But maybe that was where he could probe further.

“Are you alright, love?” Pam asked, sitting down directly opposite Amy. “You look a bit pale.”

“It’s probably the new foundation I’m using. I decided to try a lighter colour as the one before, by Clinique was too dark.” Where had that response come from? Maybe Amy wasn’t quite as bad at this acting while undercover thing as she had originally thought. Suddenly she felt something on her leg and jumped. Thankfully, Pam had started talking to Lucas and Ted again, so none of them noticed her jump. Why was Lucas touching her leg? Their lower halves were concealed beneath the table, which meant he didn’t have to touch her in order for anyone to believe they were lovers.

While Amy eat her meal, she couldn’t stop thinking about Lucas’ hand coming back to her leg.

“So, how did you choose to propose?” Pam asked, grinning. “I always adore love stories.”

Lucas blushed and then looked at Amy, catching her gaze. Then, he touched her leg again. Only this time, Amy didn’t flinch. In fact, upon instinct, she leaned her leg into his touch. “I just knew that I couldn’t live without her in my life. I wanted to wake up next to her, have kids with her. Cliché, I know. So I took her away for Christmas, to New York where she’d always wanted to go, and proposed in front of the Statue of Liberty.” His eyes were still locked on hers as he spoke.

A sudden wave of nausea hit Amy and she leaned to the side, away from Lucas.

“Are you okay, babe?” Lucas asked. “She’s been like this on and off the last couple of days.”

Pam’s bright blue eyes lit up in excitement. “Maybe it’s the pitter patter of tiny feet.”

“I’m going to have to head back to the flat. I’m so sorry to both of you,” Amy said, bolting up from her seat.

Lucas got up beside her and wound his arm around her waist. “Sorry to leave so abruptly, but she comes first.”

“Of course,” Ted chuckled. “We’ll have to re-schedule for a better time.”

Amy and Lucas bid their farewells to their guests and head back to the flat. Amy dashed inside and raced to the bathroom, slamming the door. Rather than vomiting, she got to her knees on the floor and felt the tears of sadness roll down her cheeks.

The door opened and Lucas stepped inside. He looked down as she sobbed and fell to his knees beside her. “Aim, what’s wrong?” he whispered. “You’re scaring me.”

“You don’t have to keep the act going, Lucas,” she snapped, glaring at him. “Pam and Ted aren’t here.”

“Get dressed into something more comfortable and warmer. We’ll go for a walk,” Lucas said, his voice becoming authoritative.

“I don’t want…”

“While we’re on this operation, I’m the senior officer. Please get changed and we’ll go for a walk.” Lucas felt a stab of shame as he spoke those words, knowing he was using his own position for gain, but he needed to know what was happening. Her behaviour was becoming more erratic. Not only was she worrying him for her wellbeing, but if she continued to act like this then the op would be compromised.

Fuck the operation! I care more about her.

Fifteen minutes later and Amy walked beside Lucas, the darkness and cold evening air wrapping tight around them. Once they were a few streets away from the flat, Amy and Lucas sat down on a bench in a small park.

“You really are scaring me, Amy. What’s wrong?” he asked quietly. “This is me asking because I care for your wellbeing. It’s not an act.” The word ‘act’ dripped with anger. He noticed that, yet again, she’d taken the engagement ring off.

Amy noticed him look at her hand. “I can’t wear that ring, Lucas. Please don’t make me wear it when I don’t have to.”

“We’re on surveillance and undercover twenty-four seven with this operation. You shouldn’t take it on and off when you please like this. This goes deeper than that, Aim. I know you hate me touching you, and I’m sorry I have to do it.”

“I know it’s all an act for the op, Lucas. Don’t apologise.”

“Is it all an act?” he asked. His gaze locked on Amy’s. “I know I shouldn’t have touched you under the table. There was no need for that. The truth is, none of this has been an act for me.”

Amy’s eyes were wide in shock and sadness as she stared at him. “It’s not just my imagination?” she whispered.

“No,” Lucas replied with a smile. “And when you said about not wanting me to touch you…”

“I didn’t mean that I didn’t want you to touch me. It’s I…I’ve liked you for a while Lucas, and it was getting too much. Playing it all like a game when deep down it’s something I want. I’m living another woman’s life that I want.”

Lucas slipped closer to Amy and cupped her cheek with his hand. “Is it me or Ben Waverley that you want?”

“Of course it’s you I want.” Amy replied, her face broad with a huge smile.

Lucas moved even closer to her still, until their lips touched. The kiss started as a simple peck, a moment of uncertainty, but Amy’s hand tugging Lucas’ jacket spurred him on. The kiss grew deeper, their tongues meeting and warmth rising.

As they both parted, Lucas smiled upon the slight of Amy’s beautiful flushed cheeks. She looked so innocent and angelic in those moments; her eyes sparkling in happiness, her cheeks flushed and her lips plump.

“Does this mean that if you want Amanda’s life that you’re planning on leaving MI5?” Lucas chuckled. “Pack up and go work as a solicitor’s secretary. We’d miss you.”

“Maybe I don’t want that part of her life.”

“If we do this, Aim, and have a relationship, we won’t be put together undercover again, you know that, don’t you?” Lucas asked. “Harry can’t risk any compromise. We’d be a weakness to each other.”

“Maybe on this op we can draw strength from each other. It’ll definitely make the act easier to keep up.”

Lucas and Amy walked back to the flat hand in hand. The whole time and Amy was beaming, unable to hide the happiness she was feeling in those moments. Her gaze would drift down to their joined hands every few minutes.

Back at the flat, Lucas let Amy in ahead of himself, his hand brushing against her lower back. He followed on behind her and closed the door. The way she turned to face him and looked up smiling, her cheeks still flushed, made his heart skip and his stomach flutter. She was so beautiful, with innocence shining brightly in her eyes and love curling her lips upwards.

Lucas stepped forward and wound his arm around her waist, drawing her in and then leaned down to kiss her again.

Their kiss grew hot very quickly, with their bodies entwining.

Amy opened her eyes slowly, looking up into the silver blue depths of Lucas’ gaze. That all too familiar smirk began to form in the corner of his mouth.

Amy slipped out of his hold and walked slowly into the kitchen, looking down at the table. The engagement ring was still in the centre where she had left it.

Lucas moved around her and picked up the ring. Then he gently lifted her left hand. “I know you don’t want to wear it, Aim, but please do this for me.”

With a sigh, Amy watched as Lucas slid the diamond solitaire ring onto her hand. It felt as though the ring had been sized perfectly and belonged there. “Maybe one day I’ll have someone doing it for real.”

Lucas smiled sadly, feeling a lump form in his throat. Words swarmed in Lucas’ mind. Just one sentence to respond to Amy’s sad comment. But the right one would not come. Instead, he remained quiet. Perhaps one day it might have been him putting a ring on her hand, and meaning it. However, for now, he would have to wait and see, and hope for that future to come.

***

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howtofightwrite · 1 year

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This may be a stupid question, but is the "folk bandit who steals from the rich and gives to the poor" trope ever realistic? Isn't the gig up as soon as the people in power start putting the screws to the people you're helping, until enough of them crack and decide they're better off turning you in?

The short answer is, “maybe?”

One of the staples of a Robin Hood style character is the idea that they're fighting back against an oppressive regime. This that detail is critical to keeping the whole thing ticking along. When you take that away the situation you're describing becomes far more likely. So, if your bandit king is harassing the local lord, but the lord is a fairly reasonable individual, then the resulting security clamp down, and even temporary abuse of the peasantry, will be viewed in the context of a response to this bandit.

Central to the Robin Hood myth is the idea that Prince John is already crushing the peasantry, and Robin Hood wanders in to oppose that tyranny. John ramping up his abuse of the people isn't perceived by them as collective punishment for Robin's rebellion, it's viewed as him continuing to abuse his authority.

The irony is, these kinds of characters are far more vulnerable to villains who offer incentives for cooperation. A Robin Hood style rebel is unlikely to be sold out by peasants who view him (or her) as their defender. However, an oppressed peasant who is plied with, “enticing,” incentives, might flip. This may even be effective to flipping members of the bandit's own team, or even friends. How many offers of amnesty, titles, and treasure would it take to convince a member of the Merry Men to sell Robin out?

To a certain extent, you could can view this situation as a kind of social, “path of least resistance.” If someone is hitting you and the other is feeding you, are you really going to bite the hand that feeds you, in pursuit of pleasing your abuser? Now, in the real world, that answer is sometimes, “yes.” And this is a threat to this kind of a character. As much public support as they may enjoy, there's likely to be some who would still turn them over to their oppressor on the hope that it will alleviate things, (even if this hope is entirely unrealistic.)

Even in the specific case of Robin Hood, putting a price on his head is more dangerous to him than ramping up the oppression and hoping it erodes his support; because it won't.

Similar to the point above about how oppression is a critical component, if the local leader is viewed as a basically reasonable individual, if they start talking about needing to employ extreme measures to deal with a bandit preying upon the kingdom, they're going to have a lot more room to build public support against the bandit. They'll even have a lot of room to frame this as attacks against the peasantry, as they're part of the kingdom.

So, why doesn't this happen with Robin Hood? This hits some details of British history that I'm a little fuzzy on, but the very short version is that when the story was originally being told, it's possible that the nobles didn't even speak the same language as the peasants. Go back far enough and Britain was less ethnically homogeneous. Robin Hood, in it's “modern” narrative context, is about an ethnically distinct king (a Norman) abusing the people (Anglo-Saxons), with Robin as (or at least passing for) an Anglo-Saxon. (Note: This is an element that becomes a lot harder pick up on when you're looking at a version of the Robin Hood story that recasts him as a disgraced noble. Outside of historical context, it seems like a good way to give him some motivation, and could work if you push the story back a couple hundred years so he's dealing with William the Conqueror who was the great-grandfather of our villain, but, with King John it actually moves Robin over to being a Norman, thus also an ethnic outsider, and more prone to being betrayed by the peasants.)

Ironically, we can still see some remnants of England's diverse ethnic history in the language we speak today. In particular, there are a lot of animals where the animal itself uses an Anglo-Saxon derived word, while the word for the meat is derived from French. (For example, “deer” and “venison.”) In very general terms, the Anglo-Saxon speaking peasants interacted with the animal, while the French speaking nobles were the ones consuming the meat. (I'm scratching the surface of a very deep rabbit hole with regards to the development of modern English as a language. This is far more complicated than this example would suggest. Also, there were a lot of other languages getting put in this particular blender.)

If you specifically keep an eye on the ethnic groups involved, and view Robin Hood through the lens of an invading ethnic minority ruling and abusing the, “native,” people, (I'm putting native in scare quotes because the Anglo-Saxons were not, strictly native to England either, they emerged from a mix of native Britons and migrating Germanic settlers from mainland Europe sometime in the fifth century) then the idea that the peasantry would be more loyal to this bandit king than their actual lord starts to make a lot of sense.

It's also important to remember the most realistic element of Robin Hood, the, “modern version,” of the story, (that is to say, the version that has survived), was written as a political hit piece on King John. King Richard spent most of his reign happily away crusading. As a result, he wasn't around to collect taxes from his nobles. In contrast, when King John took the throne, he was suddenly close enough to start looking at his nobles, and asking them where his money was. They were, less than amused by the prospect of having to actually pay their taxes. So, while the story is about a tyrannical ruler oppressing his peasants, the reality was it was written by some landed nobility whining about having to pay rent for the first time in a decade.

Now, the actual folk story of Robin Hood predates this version by a fairly significant margin and we're not sure when because no one ever wrote the original stories down. There's all kinds of versions of the story out there, including some where the early version of Maid Marian duels Robin Hood in the forest. Maid Marian being an action hero is, actually, canonical. Most early versions of the Robin Hood myth involve Robin Hood being a prankster/trickster who mocks the nobility and steals their stuff, and usually, eventually, gets caught. He then escapes through his wits, going on to mock and steal again. Or, he's brutally murdered. It's a toss up. It really depends on who is telling the story. The “giving to the poor” part is more recent, as is the “being a noble” part. A lot of the early versions of Robin Hood is just him performing the medieval equivalent of pantsing... rich merchants? The sheriff is also a later addition to the story.

Robin Hood is like King Arthur. People just kept adding new stuff as they went along. The English probably also stole them both from the Welsh. So, you know, feel free to follow suit.

-Starke & Michi

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