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cheemken · 26 days

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Not prev but you and that other anon are talking about ygo so I thought ygo pokemon au?👀

Anon you're on to smth here👀👀

Omf wait no that's dope tho cjxmdm

Anyways here's what I think their ace monsters would be lmfao and like, what summoning method they'd specialize in bc why not lmfaooo

Lance - he would use Blue Eyes White Dragon let's be real, Blue Eyes Alt is his ace and he'd specialize in Fusion summoning, he probs has all the Blue Eyes Fusion monsters too; well, that or Felgrand bc Divine Dragon Knight Felgrand lowkey fits him

Steven - he has the vibes that he knows how to Link summon so let's give him G Golem Invalid Dolmen as his ace

Wallace - lowkey I think he'd have a similar deck to Ryoga and Rio, tho I'm leaning more on Rio's deck bc it fits his vibes so his ace would be Ice Princess Zereort or Number 94: Crystalzero

Cynthia - I want her ace to be Draco Berserker of Tenyi idk it fits the vibes bc it's like Garchomp, really strong but one Ice Beam would probs kill it lmfao

Iris - okay I know she'd have a full Dragon deck I just know it and her ace would be Galaxy Eyes Photon Dragon. And ofc she's gonna be the main charac here and what yugioh mc hasn't gone through their bastardization arc amirite so she's also gonna have Number 62: Galaxy Eyes Prime Photon Dragon

Diantha - look w the pendant she has I want her to use Pendulum summoning okay she would, I want her to have both Abyss Actor and Solfachord decks, I picture her using Solfachord when out in public bc I see her as someone who'd be a dueltainer, and her ace in her Solfachord deck is ofc DoSolfachord Coolia. In her Abyss Actor deck she'd have Abyss Actor Superstar as her ace, and I picture her using this deck out of the public eye or maybe under a persona bc ofc, no one would expect the elegant shining actress of Kalos to use fiend type monsters, but she loves her Abyss Actors y'know, they're theatre kids like her lmfaooo

Hau - lowkey I see him having the Yosenju deck,, or like,, the Destiny Hero deck, but also the Elemental Hero deck fits him too. But I'm kinda leaning more on the Destiny Heroes one bc that deck plays heavily around the graveyard, and smth smth connection to Decidueye being a Ghost type and all that. Plus it'd be interesting ofc since like the Destiny Heroes deck are said to be based on vigilantes/anti heroes, and it'd be dope to see that while Hau is like, this really carefree guy, he has this side that's like, if you fuck around you're really gonna find out y'know what I'm saying hahah but yeah his ace is Destiny HERO Plasma and like, as a treat he'd also get Destiny HERO Dominance

Leon - okay this one I legit see him having the Odd Eyes deck, he'd also Pendulum summon, I want him and Dia to be dueltainers but Leon's really more on the entertaining side while Dia's there fucking everyone up w her Abyss Actors. It'd be dope too if he snaps he'd summon out Odd Eyes Raging Dragon, but yeah, his ace would be Odd Eyes Pendulum Dragon. Tho, normal Odd Eyes and then Odd Eyes Advance also low-key fits his vibes

Geeta - okay Geeta I'd wanna give her the Six Samurai deck, mainly bc of Kingambit,,, and yeah hahah it'd be dope ig bc apparently there wasn't much?? Abt the Six Samurais until they added Legendary Six Samurai Shi En, so yeah that's gonna be Geeta's ace monster hahah I wanna say she's have that and Shadow of the Six Samurai Shien

#idk if this fits but for me it does fit their vibes hahaha #i was gonna give dia like.. a fusion deck yknow yuzu's deck of melodious monsters #but decided against it bc dia w the abyss actors is too good of a mental image hahaha #also #love how Steven's isnt even that in depth its just really one of the few monsters that i think would like #fit his vibes i really cant think much for him sorry steven fans cbdknd #also also #ofc im gon add a tiny bit for villain dia here in the tags #so in my villain au of this dia wouldnt have the Solfachord deck #instead shed have the abyss actors as her main #and then replacing them w the d/d/d monsters bc why not uvu #she deserves it #pokemon champions #ygo au #an ask and an answer #anon #long post #also also also #sorry this took so long i had to look up a lot and i mean a lot of stuff for this one hahaha

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inbarfink · 7 months

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Okay, so I already wrote a bunch of stuff about how that scene, although it is really sweet, is also kind of a Bad Sign for Simon - how he refuses to learn the Obvious Lesson from the Winterworld adventure (that being the Ice King again is probably a really really bad idea). But I want to talk about it also a little more about what it means for Fionna’s character as well.

Because while sitting around and wallowing in self-loathing is probably bad for Fionna, especially after being told that she shouldn't be allowed to exist, and Simon is right to try and get her out of her funk. It's also still worthwhile for Fionna to have some introspection about the Consequences of Her Actions. Because she and Cake really did not consider them at all at first. They have a sense of morality and an instinct towards heroism, but they also tend to kinda forget the fantastical worlds they visit don’t exist entirely for their fantasy and have kind of a Protagonist-Centered-Morality fallacy.

Most obviously you can see it in the market in Ooo. How Cake, in her excitement, damaged and hurt and even killed

A bunch of innocent marketgoers without even noticing. And then Fionna immediately jumped to Cake’s defense against these ‘weirdos’, who were actually just normal kinda-righteously-angry Oooian citizens.

It’s actually very similar to the whole Winterworld situation. Fionna’s assumption that she’s automatically the hero and protagonist of the story and black-and-white view of the situation and her tendency to kick ass first and ask questions later meant that she just recklessly injured a lot of innocent people.

(It might’ve been worse actually cause at least in Winterworld she was at least manipulated by an evil Wizard)

Fionna and Cake clearly have a great potential for heroism, but they do need to be a bit more considerate of the situation and people around them. And it does make sense considering that from their perspective - they’ve been living a very ordinary life up until now (and Cake was literally an animal. A very clever animal, but still not bound by the same standards of morality as the talking animals in Ooo). Action and adventure and fantasy stuff has been purely the realm of daydream and video games for them - and Fionna literally speaks about it in these terms.

(also, Fionna's Main Character Syndrome was undoubtedly validated when God literally told her that she was created to be the main character of her universe)

So yeah, it takes them some time to really process how to be heroes - they need to grapple with questions that Finn and Jake already kinda dealt with seventeen years ago. And actually a lot of those; how to resolve a situation without necessarily using violence, when does a 'villain' actually deserve sympathy and kindness, the importance of the larger context of any given conflict... their confrontations with Ice King all played a big part in that. It was never just him, but he was still a very major part.

And for Fionna and Cake right now, learning these lessons require some amount of personal introspection. So while it was a sweet attempt at comforting, I dunno if Simon’s little ‘the only problem with that universe is that this Alternative Me was terrible because he didn’t even acknowledge or remember Betty as the love of our life and the light of my entire universe’ thing is actually Good.

I’m not quite sure Simon is the best person to teach Fionna and Cake heroism 101, because he is so focused on the Crown Quest as the thing that brings back Meaning to his life, and because his fatherly instincts just kinda go “Sad Young Person???? MUST GIVE COMFORT!” and also on account of the kidnapping.

I’m sure Fionna is going to become the heroine she dreams about eventually, it’s just going to be a bumpy ride. The best we can hope for is that they accept Simon’s comfort, that she doesn't start believing that she is nothing but an Error for the entire universe like the Scarab claims, but don’t necessarily listen to all of Simon's his words either.

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cy-cyborg · 2 months

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Disability Tropes: The disabling change of heart

When a character in a story becomes disabled, they'll sometimes experience a trope that I like to call "the disabling change of heart". This is when the character goes through a massive change in their outlook, their personality, their goals or even roll in the story, specifically because they became (or are about to become) physically disabled. Sometimes, this will be in relatively small ways: the happy-go-lucky comedic relief character might become bitter, angry and jaded after getting into an accident that caused a spinal injury, or the severally depressed and nihilistic character might suddenly start acting more cheerful and hopeful, stating that loosing their leg has "put things into perspective and showed them what really matters". In other cases though, the impact is much larger, the heroic character you've been hearing about looses an arm thanks to the main character's actions, causing them to become consumed with anger and self-loathing which they take out on everyone else, eventually becoming an antagonist as they seek revenge for what the main character did to them. The morally grey or even villainous character is injured by their own scheme, giving themselves a permanent disability in the process, which prompts a change of heart and leads them to turn their lives around and become better people, maybe even deciding to team up with the heroes.

Now, having a character go through a personality and goal change due to a major life event, such as becoming physically disabled, isn't inherently bad. A lot of writers are told to tie major shifts in your character's development to major life events, because realistically, something like becoming newly disabled will at least impact how you view the world around you. I very frequently talk about how if I didn't loose my legs, I would have become a vastly different person, but the issues with this trope depends on how it's used and the reasons behind these developments, and whether or not the change suits the character in question.

Before we get into things, I would like to specify that in this post, I'm only going to be talking about how this trope is used with physical disabilities and other easily visible forms of disability. It does show up with characters who develop disabilities under the mentally ill and neurodivergent umbrellas, and is actually a bit more common than what I'm talking about today, but the specific ways its utilised are so different that it's more or less a separate trope, and one that deserves much more attention than I could give it here as this is already going to be a pretty long post. So for today, I'm keeping to it's use with physical and visible disabilities, and we'll talk about how this trope is used with neurodivergence and mental illness another day.

The main thing you need to be mindful of is ensuring that you, as an author, are not including your ingrained biases about disability into the reasoning behind the change. Let's look at one of the examples from before, an evil character who, after loosing their arm (because it's almost always loosing an arm for some reason) becomes a villain and wants revenge against the main character. In a story like this example, the character who became an amputee often views this new disability as something that has ruined their life. It's something that has caused them to suffer, and they want to make the main character (or whoever has "wronged" them) suffer like they did. Stories like this example portray disability as something that is not just horrible, but life-destroying, especially with villains who become all-consumed by the misery this disability has brought them. Many stories that utilise this version of the trope also often perpetuate the idea that if you become disabled, you'll have to give up all the things you love and your goals, even when this wouldn't necessarily be true for the character in question.

Let's say your character was a knight, and the main character cut off their arm in a training accident. obviously you can't be a knight with only one arm because you can't fight anymore, so they left their order. Now this character has become a villain and has found power that "makes up" for their disability, perhaps magic or some other force that doesn't exist in the real world, and are back to get revenge on the character for ruining their lives. Here's the thing though, the loss of a limb, or at least, the loss of an arm specifically, often isn't the career ender people think it is, even back then. In fact, there are many historical records of real amputees continuing to serve as knights and other similar military roles after loosing an arm or at the very least, continuing to fight in other ways. One such example was Götz of the Iron Hand, a mercenary knight who lost his arm to a cannon. Götz had fought as part of the Roman empire's military in 1498, but shortly after left to form his own mercenary company. He lost his hand in 1504 and continued his career as a mercenary with the help of an iron prosthetic capable of holding his sword and the reigns of his horse, among many other things such as writing, for another 40 years. Götz wasn't unique in this though, several suits of armour from the same time period have been found with integrated prosthetic hands, though the names of their owners are unknown. There was also Oruç Reis (aka Aruj Barbarossa), A privateer admiral who served the Ottoman Empire in and around the Mediterranean who lost his left hand - earning him one of many nicknames: Silver-Hand, thanks to the colour of his prosthetic. Oruç, like Götz, continued his career for several more years until he was eventually killed in 1518.

My point in bringing this up, is to highlight how important it is to double check that the reason your character's whole motivation for turning to villainy, isn't just based on your ideas about what a disabled person can or can not do. Actually double check it, research it, especially if it's important for your plot.

Even in the cases where the disability in question actually would stop someone from being able to do something, the incorrect assumptions can still occur and cause issues in different ways. For example, a character in a more modern setting who looses their arm due to an accident the main character was responsible for while serving in the military would be discharged, ruining the character's plan to become a general some day. This absolutely would be devastating for a character like that, and they realistically could struggle to adjust, both in terms of getting used to their disability and finding new goals for their life. They may well feel anger at the main character, however, if you are portraying just living with a disability, in the case of this example, living with an amputation as inherently "suffering" for no other reason than they are disabled, it is still perpetuating those really negative ideas about disability. I've said this a few times in other posts, but villains who are evil or even just antagonists purely because they're disabled or are trying to avoid becoming disabled is a trope all its own and one that is best avoided if you yourself aren't disabled, as even outside of spreading these negative ideas about life with a disability, it's just an overdone and overused trope.

But what about when this trope goes in the other direction? when you have an antagonistic or even just morally grey character who becomes disabled and this is the catalyst that turns them into a good guy?

For the longest time, I knew I usually disliked this version of the trope too, but I couldn't put my finger on why. With disability being the reason someone became a villain, the underlying reason it's there is often able to be boiled down to "I, the writer, think being disabled would be terrible and life like that is inherently suffering, so this character is angry about it," which is obviously an issue (the "inherently suffering" bit, not the anger). However, when a character becomes good due to becoming disabled, the reasoning is usually more along the lines of, "this is a big change in a character's life that has caused them to reconsider and revaluate things" (or at least, that's what I thought). This isn't bad, nor is it necessarily unrealistic. Hell, as I already said, I do consider my disability to be a catalyst that made me into who I am today. I also know plenty of people who, after becoming disabled later in life, did have a big change in how they viewed themselves and the world, and who consider themselves better people since becoming disabled. It's far, far from a universal experience, mind you, but it does happen. So why did this version of the trope still not sit right with me?

Well, I think there's a few reasons for it. The first being that there's a tendency for non-disabled people to think real disabled people are just incapable of evil deeds, both in the sense that they aren't physically capable of doing them (which is bad and not even always true for the reasons we already discussed), but also in the sense that there's this idea that disabled people are, for some reason, inherently more "good" and "innocent" - As if breaking your back or loosing a limb causes all evil and impure thoughts to be purged from the body. This is a result of many folks viewing disabled people as child-like, and thus attributing child-like traits (such as innocence) to them, even subconsciously. This is an incredibly common issue and something disability rights organisations are constantly pushing back against, as this mentality can cause a lot of unnecessary barriers for us. With how often I and many other disabled people are subjected to infantilization, I would be honestly shocked if it wasn't at least partially responsible for people thinking becoming disabled is a good reason to kick off a redemption arc.

This infantilization isn't unique to physically disabled people by the way, in fact it's way, way, more commonly directed at people with intellectual and developmental disabilities - or at least, people are more open about it, but as I already mentioned, how that is reflected in tropes like The Disabling Change of Heart is vastly different and deserves a post of it's own.

That's mostly just speculation on my part though, since that infantilising mindset does show up a lot in media, but not usually as part of this trope specifically.

However, it's not the only reason I wasn't a fan of it. When the disabling change of heart is used to fuel redemption arcs, I think, once again, that the disability itself being credited with causing the change directly is another factor. When this happens, it's usually because "it put things into perspective for me and showed me what really mattered."

This sounds better than our previous example on the surface, but stories that use this logic are often still portraying disability as an inherently bad and tragic thing, something so bad, in fact, that it makes all the other (legitimate) issues they thought were massive before seem so small by comparison. This is a type of inspiration porn: content made to make non-disabled people feel inspired or just better about their own situation. It's the mentality of "well my life is bad, but it could be worse, at least I'm not disabled like that!"

In a fictional story, this might look like an athlete character who dreamed of making it big so they could be famous and get out of poverty. They were a dick to anyone who got in their way but only because they were worried about not being able to make rent if they don't constantly win. One day though, they overworked themselves and got into a car accident on the way home because they were too tired, and now they're in a wheelchair and can no longer walk, which is (supposedly) absolutely tragic and way worse than anything else they were already going through. But they end up becoming a better person because it has put things into perspective for them. Yeah they were struggling to make ends meet, but at least they weren't disabled! Now that they are, they know they shouldn't have cared so much, because money doesn't matter when compared to not being able to walk, right?

As well as portraying disability in a negative light, these kinds of stories dismiss and diminish the other struggles or challenges the character is experiencing, placing the status of "not disabled" above all else.

There's also the fact that, when a lot of real people say their disabilities had positive impacts on their lives, they don't usually mean the disability itself is directly responsible for the change. There's exceptions of course but for myself personally, and most of the people I know who say they are better people because of/since becoming disabled, the disability has been more of a neutral catalyst than the actual cause of positive change. Meaning, it opened the door to allow those changes to happen, but it wasn't the direct cause. For me personally, becoming physically disabled at a young age didn't make me a nice person like people expect, I was still a little judgemental asshole for a lot of my childhood. However, because I was disabled, I had to travel a lot, initially because I needed medical treatment that my local hospital wasn't equip to provide, and later, because I started competing in disability sports. because of both of those things, I met people I never would have otherwise who made me reconsider what I'd been taught on a wide range of subjects, and made me question where those beliefs had come from in the first place. When I say my disability played a part in who I became, it wasn't because my disability itself change me, but it helped me meet people who were positive influences on me and my life. but when creatives make characters who experience arcs like this, they ignore this, again, defaulting to the "this was a bad thing that just put all my other problems into perspective" reasoning.

Some iterations of this trope also use disability as a kind of "karmic punishment" where the disability is portrayed as a rightfully deserved punishment for an evil character's deeds - usually something relating to the disability they acquired but not always. An example might look like an evil tyrant who punishes the rebels they captured by cutting off their hands. Eventually, this catches up with him, maybe the friend or a child of one of the rebels is able to capture the tyrant and cuts his hands off as payback so that he gets a taste of his own medicine, a taste of the suffering he imposed on others. Now facing at least one of the same realities of the people he subjugated, he realises the error of his ways. With some pressure from the main characters, he has a change of heart and surrenders himself, steps down to let someone else take his place, or perhaps he decides to start changing policies to be more in-line with these new morals until some other character usurps him, becoming an even bigger threat than the previous former tyrant.

Once again, stories that use a disability like this are still portraying the disability as an overall inherently bad thing, but there's the added layer at play in this example. The thing is, there are a lot of people in real-life who actually believe disability is a punishment from God. I remember one time when I was over in the US, an older lady came and sat down on the seat beside me on the bus and started asking me about my disability and specifically, how I became disabled. This isn't an unusual interaction, it happens fairly regularly whenever I use public transport, but on this particular day, the conversation suddenly shifted when I told her I became disabled when I was very young. This woman, despite the bus-driver's best efforts to get her to stop, ended up lecturing me for an hour and a half (during which time I couldn't move due to how my wheelchair was held in place) about how my disability was punishment from God for my parent's sins. She then tried to convince me to attend her church, claiming they would be able to heal me. And the thing is, this isn't an uncommon experience.

A lot of disabled people are targeted by cults using this same method: they'll convince people their disabilities are a punishment, make them believe they deserved it, that they just weren't good enough, but don't worry, if you repent and come to our specific church we can heal you. There was even a case in Australia recently that uncovered a cult called Universal Medicine, who taught that disabled people were reincarnations of evil people, and that being disabled in this life was their punishment, as well as that parents who have disabled children were being punished for other sinful behaviours. They were found to be operating a disability care service named Fabic that was being paid for by the NDIS, a subsection of the Australian government funded healthcare system that specifically aids disabled Australians by paying for and subsidising treatments, technologies (such as mobility aids) and other services relating to their disability. Fabic was found to be stealing excessive amounts of funding from their disabled clients under the guise of therapies and carer services, but was not actually helping their clients at all. Whether it's just taking advantage of them to get their money, or actually using this logic as a justification to mistreat them, this mentality of "disability is a punishment" actually gets real disabled people hurt or worse, and so seeing it come up in media, even if there is no ill-intent, can be very distressing and uncomfortable for disabled audiences.

So with all this being said, is the disabling change of heart a trope you should avoid in all it's forms and versions? No, but it does need to be handled with extreme care. I do think it should be avoided as a reason for a character becoming evil for the most part. If that really can't be avoided in your story though, at the very least, ensure that you foreshadow the change. Your happy little ray of sunshine, embodiment of sweetness and innocence type character probably isn't going to turn murderous and want revenge for an accident for example. A character who is likely to be driven to that kind of extreme of wanting revenge for their disability, so much so that they become a villain, probably already had at least a few traits that would predispose them to that line of thinking already, before becoming disabled. As for when it goes in the other direction, and you have a character becoming a good guy, avoid using the reasoning that "the disability put things into perspective for me". Instead, if you must use this version of the trope, use the character's new disability as the reason they encountered other people and situations that challenged their views, things they wouldn't have encountered otherwise. No matter the reason though, be very careful to avoid inspiration porn, and as always, try to find a sensitivity reader to give your story a once-over, just to make sure something didn't slip under your radar.

[Thumbnail ID: An illustrated image showing the same elf character twice. The picture of her on the left shows her laughing evilly, two tiny horns protruding through her brown hair. She is wearing a black dress and red shoes. On the right shows her in a yellow dress, sitting in a bright pink wheelchair with her head held eye and her eyes closed. The horns have been replaced with a glowing halo. In the centre is text that reads: "Disability Tropes: The disabling change of heart." /End ID]

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monacodarling · 4 months

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Cant stop thinking about how paradoxical Charles and Max are I mean the narrative is there right but

Max growing up in a harsh condition—almost to the breaking point. Wanting nothing but to be the best. Conditioned to be alone. Used to being lonely.

Charles growing up in a loving family. Support from the family, having friends, growing up with different people hes still friends with today.

Max growing up under public scrutiny. Nothing like a famous father whose expectations you have to live up to. You can say he was born to race. That was his sole purpose.

Charles growing up wanting to be the best. The adoration and belief and faith from his family.

Max finally drawing boundaries with his own father. Christian and other people stepping in. Years of understanding. Finally in F1 in Red Bull.

Charles and his grief. One loss after the other. Finally in Ferrari, although a bit too late.

Max and his teammates—Carlos, and Daniel, and Pierre, and Alex, and Sergio. Some people he really start to let in, and be genuine friends. People like Lando start to come in. His demeanor slowly changes as people get to know him who he is and his love for animals.

Charles and his teammates—Seb and Carlos. Seb as someone who’s gotten to know what it’s like living with grief. Grief being a part of you. How much promises and faith weigh you down. Charles is very accessible. Kind and open to people. But he holds most at a distance. Like this is only where you get to only know me. This as far as you can go.

Max, doesn’t care what the public thinks, used to him being painted the villain, as someone who is angry and mad and raw all the time. But proves you can be as hungry and greedy as you can be, and only have a few people at your back. He’s fine with it. He’s used to be alone, he’s genuinely grateful of the people who’s been with him through thick and thin over the years. At the end of the day, he does things for himself. Because if being the best is his purpose in life, to make people happy, then that’s what he’s going to be. And if he’s tired of being the best, he can go because he knows there are people no matter who he is, they’ll be there.

Charles slowly suffering with the burden of the tifosi’s faith, his promise to Jules, his dad, to Anthoine. Charles wanting to be hungry and greedy but can’t stand of losing someone, of people abandoning him. Like I feel the more reckless and desperate he gets, it’s because he’s pushed by his own want. Sometimes what he needs to do and who he needs to be versus who he really is messes up his own vision of what he wants. He needs to be the best because it is a debt to be paid. And as long as it goes unpaid, he ignores the blood, he ignores the pain, he ignores the gnawing loss and sadness because he deserves it. He’s not winning, and he keeps on losing, and he is afraid if he’s unable to win, people will leave him. It’s either he leaves first, or he makes people leave, or in the end, he’s sure that people will leave him. He doesn’t know how to be alone.

Max with the faith in himself.

Charles’s faith of others towards him. Never from himself.

And I think that’s beautiful.

#the potential angst #of lestappen #I’m in love #I’m salivating #f1 #charles leclerc #lestappen #max verstappen #I feel if Charles has someone to push him #and challenge him #in good faith #like max or Alex for example right #he’d do so beautifully #but what he gets is muddled politics #and favoritism #and the tragedy of a legacy #cl16 #mv33 #mv1

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blingblong55 · 5 months

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This love - Vladimir Makarov

Based on a request:

Oh, as a request idea what would be about Makarov and wife! reader for whom he'd burn the world and she got injured during a fight with an opposing tean having him go rampant at everyone until he holds her again? With a fluffy ending mayhaps?

(also I absolutely loved The Great War 💕) --- F!Reader, fluff, established!relationship, in love with the villain, wife!reader, husband!Makarov, protective!husband --- A/N: I always said, Makarov embodies 'I'll burn the world for you, for what they did to you.' I will never back down from that. Also, I'm glad you liked The Great War :)

Red. That is all he saw, how dare they hurt his wife! No one and he means no one can ever in their fucking miserable lives touch you, never and that is a threat. He hated them, for all they are worth, Kasper Team is a dead organisation. Did he need their blood? Yes, his wife, his darling wife got hurt and oh will they pay for what they did. You walk into the room, his gaze softens, his fist opens and he smiles. How can the world be so cruel to him? Making him the evil man and then giving him a pretty lady like you and making him turn into the softest of men.

"My love," he speaks to you, nods the man off so he can be alone with you and opens his arms. "Don't hurt them," you speak and he looks at you, cupping your face and shaking his head. "I must. No one can touch you, sometimes I feel as if I don't deserve the privilege of touching you. You are an angel maybe a little bit of a devil but you…oh, you are my angel and no one should touch or hurt you," his lips meet your forehead. This is always the same discussion, he is so cruel, so evil, so vile primarily if you were hurt. And you always found yourself not wanting him to stop, it is a dangerous form of devotion that you two have. Something neither of you want to stop, to never lose. For you, he would tear the world apart, he would hold you in his warm arms as you two watch with glee as the world falls apart.

For you, he would drench himself in blood, only to have you kiss him, wipe the blood off and still see him as the man of your fantasies. Call it wicked call it anything you please, but his love, oh his loving heart is dangerous and fun. It is the kind of love no man should play with. Not even the evil of monsters dared to touch that dark corner but you did and that evolved into something so beautifully treacherous. He'll tell you anything if you only ask it of him. It's trust, truthfulness, devotion, lust, poison and an anecdote found between lips, warm hugs, sex, and all else those eyes of yours and his fail to say when they look at the other.

To him, having you was brighter than the sun in that blue sky. Your caress was a warm blanket on a snowy day. A room full of bloodthirsty soldiers could go silent when you walked in and into his arms. No one dared question you, never and he would make sure of that. Your kiss, possessing him, taking control of his soul and making it your slave. His heart, that long has been proven to belong to you, to have your name carved in it the second he was born. Stars aligned or not, he was yours, your fool, soldier, lover and friend. He is the darkness, the one you found comfort in.

He cares for you. That's why, he sent his men to hunt down all those responsible for your injury. "Come here, let me hold you," he walks to his chair, sitting down and making you sit on his lap. His arms held you close to him like he needed to have his skin and yours mixed together. It's perfect, you're perfect. He looks at the plans for how he will end that organisation and then smiles, kisses your neck and hums as he nuzzles his face to your body. He isn't like anyone, for if he was, Shakespeare would have done a play about him and it would be that in this case, the villain wins. You drink your poison for him and he does the same for you. Never one without the other. He made sure of that.

They say, that what feeds wars is hate, for him, this new war is revenge. You turn to him, wondering what is going on in his head. And as if he was listening to your thoughts he smiles, "You. I'm thinking of you, how lucky I am…how lucky I got to have a wonderful soul, my wife, my lovely R/N to love me back." His thumb touches your bottom lip. He was in a trance, one you knew well. In his mind, Vladimir always thought of when he met you, how he fell in love with you and how his cold heart started to get warm again. Your eyes, oh that sweet stare that made him into the poem reader he has become. So, when he looks deep into your eyes, he cups your face with both of his hands and begins to recite a poem for you.

O my Luve is like a red, red rose That’s newly sprung in June; O my Luve is like the melody That’s sweetly played in tune.

So fair art thou, my bonnie lass, So deep in luve am I; And I will luve thee still, my dear, Till a’ the seas gang dry.

Till a’ the seas gang dry, my dear, And the rocks melt wi’ the sun; I will love thee still, my dear, While the sands o’ life shall run.

And fare thee weel, my only luve! And fare thee weel awhile! And I will come again, my luve, Though it were ten thousand mile. (A Red, Red Rose by Robert Burns)

Your eyes are teary and beautiful. "Don't doubt for a second I will hesitate to hurt the man who hurt you," he whispers and kisses you once more. Like a precious cascade, his love pours into your lips. No one knew but behind closed doors, in safe arms and on a reading nook, he held you close, a book in his hands as he read to you poems or stories. Your hands by his thighs as the autumn skies cast your shadows. Love, yeah….this is perfect, this love is the embodiment of calm love.

A/N: so...now in my head, it's canon this man reads poetry

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toast-on-dandelioms · 4 months

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I have an ask about Spider reader, what if they bonded with a symbiote like Venom ? Exept they bonded to the point its impossible to separate them without killing them both? Venom is still partially separate from reader mostly working and talking with them or taking control when reader cant. Venom knows everthing about them since there i readers head.

Ok that's a great question!

I think at first Spider would be tired of Venom and try everything to get rid of him before getting used to a companion that doesn't have to be kept in the dark about their vigilante job and also their family problems.

They wouldn't tell anyone, but Alfred would obviously find out and just make sure they're ok before making his plan faster of getting the family to notice them.

If we take in consideration the original timeline that I am following at the moment, Superman would probably be the first person you would tell after months of knowing him and trusting him enough.

But when the Batfam will find out? Well I'm gonna make an example for how they would find out. (And also a small spoiler for the next part)

Ok so Spider is 'working' with Superman sometimes since Gotham's streets are relatively safe and they decide to follow Superman to a mission where they thought they were gonna work alone with Superman again and instead find Batman and Damian waiting for you two.

The mission consists of defeating a rising villain that is making weapons for big villains around the world, and while in the evil lair after defeating the villain, Batman almosts get stabbed by a machine set off by Superman.

But Spider decides to help him and saves him, getting stabbed in the process and making Venom heal them slowly and not immediately since they didn't want Batman to ask questions.

But Spider is still bleeding with a grave wound, which sends everyone in a panic.

So Batman sends Superman with you to the Batcave to get healed while Batman and Damian will make sure the villain will get what he deserves for hurting Spider. (Since Batfam is already a bit yandere for Spider but do not know their real identity)

At the Batcave Spider gets treated a bit after managing to give them some sedatives to make them calm down, which makes Venom come out to defend Spider.

And Alfred decides to make the drastic decision to reveal who Spider is, tired of seeing the Batfam treating them horribly while almost idolising and loving Spider which is the same person.

And Venom insults them with telling everything Spider thinks of them, all the pain, injuries and thoughts they had to make the Batfam feel even worse and Superman more of a yandere than he already was.

So the Batfam becomes even more, not sure the right terminology, yandere for Spider and wants to make it right, promising Venom to make it right and wanting to give Spider all the love they couldn't receive the first years in the Manor.

Venom, sadly, gets manipulated by everyone and promises to not say anything to Spider and helping them a bit since Venom also wants the best for Spider.

The story would continue with Spider getting imprisoned in the Manor, with their powers weak thanks to Venom, making them desperate and also weirded out by the sudden attention of everyone.

And after a while, with everyone manipulating them and suffocating them with their love will eventually lead to Stockholm Syndrome.

And that's the end of it! I will probably reblog it if I find anything wrong that I didn't notice! Thanks for the ask!

For the divider you can go to @saradika-graphics, she does this and takes requests!

#yandere x reader #platonic yandere #yandere batman #yandere #yandere aesthetic #yandere dc x reader #yandere dc #yandere bruce wayne #yandere dick grayson #yandere jason todd #yandere tim drake #yandere damian wayne #yandere batfam #yandere batfam x reader #yandere batfamily #yandere family

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writingwithcolor · 5 months

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Dark features/people as blessed, white and light people as sick

ladyoftheseastuff asked:

I'm writing a fantasy story where the world is permanently covered in snow & ice. The people share a common culture & are loyal to their city states, but they are not homogeneous in appearance; there will be many, many characters coded as PoC. The main religion centers on the sun, & those with dark features are 'favoured' by the sun god, while pale people or anyone who has white/blonde hair are thought vulnerable to "snow sickness", a disease caused by environmental factors (1/2) & have other rules and customs to gain religious approval. It's dangerous & infectious but not well understood. It affects social standing and opportunities, but it's meant to be tied with ideas of youth, vitality, & fear of aging & sickness: it's not limited to those coded as white. This is a cultural detail and not part of the main conflict, but I want to avoid unintentional allegories/parallels & fetishization. Is this a concept that's too close to crossing any of those lines? (2/2)

This feels less like a means to show dark skinned people in an empowering light and more like a weak attempt at subversion. My primary concern (which you have not specified) is how do the "blessed" class treat the "sickly" so to speak. We have fantasy stories like The Grisha Trilogy and Girls of Paper and Fire, which deal with magical ability/feature-based segregation and conflict.

In both cases there is a sense of entitlement which comes with hailing from the "favoured" class, quite obvious, since there will always be an inherent othering metaphor whenever you create such a division, whether it was meant to be a source of conflict or not.

However, the two mentioned series use the "magical people are blessed, non magical people are to be pitied" arc which is somewhat more subtle than divisions created just on the basis of skin colour.

Disclaimer as I do not have albinism or vitiligo: The latter can be extremely harmful, and not just in a racial context, but in cases of albinism, vitiligo etc.

~Mod Mimi

The pitfalls of subversions

While it is always lovely to see dark features considered in a favorable way, there are some issues you may come across. Such a story could easily end up dressing those you wished to uphold as bad guys in the readers' eyes, even if the story's society and the sun god etc. thinks they're amazing, and white and light people as the victims of dark people, deserving reader sympathy. This may especially be the case based on how these groups get treated in the story.

These sort of subversions lean dangerously into "reverse discrimination" plots which are not overall accurate or favorable allegories for your real, human audience. There being diversity on both sides doesn't necessary fix this issue or remove racial or ethnic implications. On that note, and as Mimi mentioned, being demonized and ostracized particularly for skin and genetic disorders like albinism is already a thing. What does your concept say of them?

I think Dark/Black as good and Light/white as bad is a doable concept. Your concept differs a bit from simply subverting black/white tropes. This is not just Black good guys and night skies being peaceful or neutral. It's not just white/light villains (as opposed to victims) or snow symbolling death or sickness.

White and light people are quite blatantly being declared as sick and unfavored and they may very well be victims in the reader's eye with the dark people being the villainous, unsympathetic bunch. Is this your intention?

More to consider

Such a concept requires thoughtful, careful planning and intentional writing. You should have an understanding of what your story implies to the readers and the real-life takeaways.

I think it's possible to make dark skin the favored skin of the sun god without it meaning white/light people stand in a negative light and are sick or unworthy.

Consider what it is that you like about the concept of your story. Can you keep the essence of whatever it is that excites you about your ideas, without denying a whole group of people favor? If not, how will you go about telling such a tale that is not meant to symbolize a sort of reversal of roles discrimination?

Why does the sun god get to determine what is good?

Are there other gods that might have different strong opinions? Perhaps who is favored varies by time of day, season, region, culture, god?

Can dark skin get its favor without white and light features being deemed unfavorable as a whole?

How big of a deal does this favor have to be? I advise reconsidering it being the point of discrimination to white/light people for all the reasons already described.

No matter the directions you go, please research and get the appropriate beta-readers for feedback on the in-depth concepts and story.

~Mod Colette

#Skin color #color symbolism #symbolism #fantasy #discrimination #reverse racism #and other myths #asks

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villainsandvictimsalliance · 1 month

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Even when Nana was wrong for having a family and a son when she knew AFO would target them in the future, my heart aches for her.

She must have been so alone...

Before her, all the other vestiges had no family. No really. Being an OFA user means you must give every bit of you to defeat AFO. You live for it, you die for it, on your own. I wonder how was the man Nana fell in love for... Was he kind to her? Did he make her laugh? Made her forget her burdens?

Did she try to push him away? Maybe he insisted on being with her... Maybe he loved her and she couldn't help but love him back... Maybe they were friends. Maybe they didn't plan to have a son but it happened anyway and it went downhill from there on...

I wonder if adult Kotaro looks a bit like him. She was not "mom material". She tried anyway. She did her best. Until she realized that her best would not be enough.

I did the maths. Nana gave Kotaro in adoption some time before she found Toshinori. What if it happened the same year? She told Toshinori that all her family was dead. Imagine the pain she felt when she said it. She couldn't be a mother or a lover while AFO was alive. She could not have a family. She couldn't even kill AFO and now so so many years after, she's crying because she died and couldn't go back to her son.

Kotaro didn't even know how she died.

Imagine the pain of listening to your grandkids claiming happily that they want to be heroes like you! Your son kept the picture of you two! He did not forget you! He thought of you!

Then you open a door and watch Kotaro hit your grandson, claiming you were a demon that hurt her own family to save others. He carried that pic like a curse. He passed down the wound you left him to his son. They all died and the boy? He grew up to become one of the biggest villains alive. He fell into AFO's hands. Everything you fought to prevent, it happened because you weren't strong enough to kill AFO.

Nana didn't make the right decisions, but c'mon. She didn't deserve any of it. She's responsible for what happened to Kotaro, she's not a good mom, she has many flaws, she allowed Toshinori to stay with her after abandoning Kotaro, she made many many mistakes. Yes to all of that.

Yet, she was only human. She had only one friend. She lost her lover, her child, then had to watch her legacy destroy itself.

AFO made hell on Earth for Nana even after she was dead. Just because she accepted to fight in secret the greatest evil alive, it doesn't mean that she deserved to suffer so much and to be treated with so much cruelty. She tried to save them all, but she failed.

Now she dies a second time after realizing that she was the villain of her son's story.

Does anyone want to go like that?

Does a hero dream of dying a demon?

Does a mother hope of being hated by her child?

Is it such a sin to be human and make mistakes, when you're supposed to be an all mighty god?

Wasn't she a victim of AFO too?

#bnha #mha #my hero academia #boku no hero academia #bnha spoilers #mha spoilers #bnha 417 #mha 417 #bnha leaks #mha leaks #bnha manga spoilers #nana shimura

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physalian · 4 months

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Humanizing Your Characters (And Why You Should)

To humanize a character is not to contort an irredeemable villain into the warped funhouse mirror reflection of a hero in the last 30 seconds to gain “narrative subversion” points. To humanize is not to give said villain a tragic backstory that validates every bad choice they make in attempt to provide nuance where it does not deserve to be.

To humanize a character, villain or otherwise, is to make them flawed. Scuff them up, give them narrative birthmarks and scars and imperfections. Whether it’s your hero, their love interest, the comic relief, the mentor, the villain, the rival, these little narrative details serve to make all your literary babies better.

Why should you humanize your characters?

To do this means to write in details beyond those that service the plot, or the themes, or the motifs, morals, foreshadowing, or story. These might be (and usually are) entirely unimportant in the grand scheme of things. So, if I wrote lengthy diatribes on pacing and why every detail must matter, and character descriptions and thematic importance, why am I now suggesting go free-for-all on the fluff?

Just like real people have quirks and tics and beliefs and pet peeves that serve our no greater purpose, so should fictional people. Your average reader doesn’t have the foggiest idea what literary devices are beyond metaphor, simile foreshadowing, and anecdote, but they can tell when the author is using motif and theme and all the syntactical marvels because it reads that much richer, even if they can’t pinpoint why.

And, for shipping fodder, these tiny little details are what help your audience fall in love with the character. It doesn’t even have to be in a book – Taylor Swift (whether you like her or not) never fills her music with sexual innuendo or going clubbing. She tells stories filled with human details like dancing in the refrigerator light. People can simultaneously relate to these very specific and vivid experiences, and say “not that exactly, but man this reminds me of…” and that’s (part of) the reason her music is so popular.

What kinds of narratives need these details?

All of them. Visual media, audio, written, stage play. Now, to what degree and excess you apply these details depends on your tone, intended audience, and writing style. If your style of writing is introspection heavy, noir character drama, you might go pretty heavy on the character design.

But even if you’re writing a kids book with a scant few paragraphs of setting descriptors and internal narration, or you’re drawing a comic book – if you have characters you want people to care about, do this.

Animators, particularly, are very adept at humanizing non-human characters, because, unlike live acting, every single stroke of the pen is there with intent. They use their own reflections for facial references, record their own movements to draw a dance, and insert little bits of themselves into signature character poses so you know that *that* animator did this one.

How to humanize your characters.

I’m going to break this down into a couple sections: Costume/wardrobe, personality, beliefs/behavior/superstitions, haptics/proxemics/kinesics, and voice. They will all overlap and the sheer variety and possibilities are way too broad for me to capture every facet.

Costumes and Wardrobe

In the film Fellowship of the Ring, there’s a blink-and-you’ll-miss-it moment where, after Boromir is slain by the Uruk-Hai, Aragorn takes Boromir’s Gondorian vambraces to wear in his honor, and in honor of their shared country. He wears them the rest of the trilogy. The editing pays no extra attention to them beyond a split second of Aragorn tightening the straps, it never lingers on them, never reminds you that they’re there, but they kept it in nonetheless. His actor also included a hunting bow that didn't exist in the book because he's a roamer, a ranger, and needs to be able to feed himself, along with a couple other survival tools.

Aragorn wears plenty of other symbolic bits of costume – the light of the Evenstar we see constantly from Arwen, the Lothlorien green cloaks shared by the entire Fellowship, his re-forged sword and eventual full Gondorian regalia, but all those are Epic Movie Moments that serve a thematic purpose.

Taking the vambraces is just a small, otherwise insignificant character moment, a choice made for no other reason than that’s what this character would do. That’s what makes him human, not an archetype.

When you’re writing these details and can’t rely on sneaking them into films, you have to work a little harder to remind your audience that they exist, but not too often. A detail shifts from “human” to “plot point” when it starts to serve a purpose to the themes and story.

Inconsequentiality might be how a character ties, or doesn’t tie their shoelaces, because they just can’t be bothered so they remain permanent knots and tripping hazards. It might be a throw-away line about how they refuse to wear shorts and strictly stick to long pants because they don’t like showing off their legs. It might be perpetually greasy hair from constantly running their fingers through it with stress, or self-soothing. A necklace they fidget with, or a ring, a belt they never bother to replace even though they should, a pair of lucky socks.

Resist the urge to make it more meaningful than “this is just how they are”. If I’m using the untied shoelaces example – in Spiderverse, this became a part of the story’s themes, motifs, and foreshadowing, and doesn’t count. Which isn’t bad! It’s just not what I’m talking about.

Personality

In How to Train Your Dragon, Toothless does not speak. All his personality comes from how he moves, the noises he makes, and the expressions on his face. There’s moments, like in the finale, when his prosthetic has burned off and Hiccup tells him to hold on for a little bit longer, and you can clearly see on his face that he’s deeply uncertain about his ability to do so. It’s almost off the screen, another blink-and-you’ll-miss-it moment. Or the beat of hesitation before he lets Hiccup touch him in the Forbidden Friendship scene. Or the irritated noise he makes when he’s impatiently waiting for Hiccup to stop chatting with his dad because they have a giant dragon to murder. Or when he slaps Hiccup with his ear fin for flying them into a rock spire.

None of those details *needed* to exist to endear you to his character or to serve the scenes they’re in. The scenes would carry on just fine without them. He’s a fictional dragon, yes, but these details make him real.

Other personality tics you could include might be a character who gets frustrated with tedious things very quickly and starts making little inteligible curses under their breath. Or how they giggle when they’re excited and start bouncing on their toes. Maybe they have a tic where they snap their fingers when they’re concentrating, trying to will an idea into existence. Or they stick their tongue out while they work and get embarrassed when another character calls them on it. They roll around in their sleep, steal blankets, drool, leave dishes in the sink or are neurotic with how things must be organized. They have one CD in their car, and actually use that CD player instead of the phone jack or Bluetooth. They sing in the shower, while they cook, or while they do homework, no matter how grating their voice.

They like the smell of new shoes or Sharpies. They hate the texture of suede or velvet or sticky residues. They never pick their socks up. They hate the overhead light in their room and use 50 lamps instead. They hate turning into oncoming traffic or don’t trust their backup camera. They collect Funko Pops and insist there’s always room for more.

And about a million others.

Beliefs, Behaviors, and Superstitions

*If you happen to be writing a story where superstitions have merit, maybe skip this one.* Usually, inevitably, these evolve into character centerpieces and I can’t actually think of one off the top of my head that doesn’t become this beyond the ones we all know. A few comedic examples do come to mind:

The Magic Conch in “Club Spongebob” and the sea-bear-proof dirt circle in “The Camping Episode”

Dean Winchester’s fear and panic-driven actions in “Yellow Fever” and “Sam, Interrupted”

The references to the trolls that steal left-foot socks in How to Train Your Dragon

I’m not a fan of wasting time writing a religious character doing their religious thing when Plot Is Happening, but smaller things are what I’m talking about. Like them wearing a cross/rosary and touching it when they’re nervous. Having a specific off-beat prayer, saying, or expression because they don’t believe in cursing.

The classic ones like black cats, ladders, broken mirrors, salt, sidewalk cracks can all be funny. Athletes have plenty, too, and some of them, particularly in baseball culture, are a bit ridiculous. Not washing socks or uniforms, having a team idol they donate Double Bubble to and also rub their toes. A specific workout routine, diet, team morale dance.

Other things, too. A character who’s afraid to go back downstairs once the lights are off, or fear the basement or the backyard shed. Or they’re really put-off by this old family photo for no reason other than how glassy their eyes look and it’s creepy. They like crystals, dreamcatchers, star signs, tarot, or they absolutely do not under any circumstances.

They believe in all the tried and true ways of predicting the weather like a grizzled old sailor. They believe in ghosts, vampires, werewolves, witches, skinwalkers, doppelgangers, fairies. They talk to the cat statue in their kitchen and named it Fudge Pop. They whisper to the spirit that possessed the fridge so it stops making all that racket, and half the time, it works every time. They wear yellow for good luck or carry a rabbit’s foot. They’re not religious at all but still throw prayers out to whoever’s listening because, you know, just in case. They sit by their window sill and talk to the moon and the stars and pretend like they’re in a music video when they’re driving through the city in the rain.

Haptics, Proxemics, and Kinesics

These are, for all you non-communication and psych majors out there, touch and physical contact, how they move, and how they move around other people.

Behold, your shipping fodder.

Two shining examples of proxemics in action are the famous “close talker” episode of Seinfeld (of which every communication major has been subjected to) and Castiel’s not understanding of personal space (and human chronemic habits) in Supernatural.

These are how a character walks, if they’re flat-footed, clumsy, or tip-toers. If they make a racket or constantly spook the other characters. If they fidget or can’t sit still in a seat for five seconds, if they like to sit backwards or upside down. How they touch themselves, if they do a lot of self-soothing maneuvers (hugging themselves, rubbing their arms, touching their face, drawing their knees up, holding their neck, etc) or if they don’t do any self-soothing at all.

This is how they shake hands, if they dance while they cook or work. It’s how much space they let themselves take up, if they man-spread or keep their limbs in closer. How close they stand to others or how far. If they let themselves be touched at all, or if they always have their skin covered. If they always have their back to a wall, or are always making sure they know where the nearest exit is. If they make grand gestures when they talk and give directions. If they flinch from pats on the back or raised hands. If they lean away from loud voices or project their own. If they use their height to their advantage when arguing, puff their chest, square their shoulders, put their hands on their hips, or point fingers in accusation.

If they touch other characters as they pass by. If they’re huggers or victims of falling asleep on or near their comrades. If they must sleep facing the door, or with something solid behind them. If they can sleep in the middle of a party wholly uncaring. If they sleepwalk, sleeptalk, migrate across the bed to cuddle whoever’s nearest with no idea they’re doing it.

If they like to be held or like to hold others. If they hate being picked up and slung around or are touch-starved for it. If they like their space and stick to it or are more than happy to share.

Do they walk with grace, head held high and back straight? Or are they hunched over, head hung, watching their feet? Are they meanderers or speed-walkers? Do they cross their arms in front or lace their hands behind them? Do they bow to authority or meet that gaze head on?

I have heard that Prince Zuko, in Last Airbender, is usually drawn sleeping with his bad ear down when he doesn’t feel safe, like on his warship or anywhere in the Fire Nation, or on the road. He’s drawn on his other side once he joins the Gaang. In Dead Man’s Chest, just before Davy Jones drives the Flying Dutchman under the waves, two tentacles curl up and around the brim of his hat to keep it from blowing off in the water.

When they fight, do they attack first, or defend first? Do they touch other characters’ hair? Share makeup, share clothes? Touch their faces with boops or bonks or nuzzles and eskimo kisses? Do they crack their knuckles and necks and knees?

Do they stare in baffled curiosity at all the other characters wholly comfortable in each other's spaces because they can’t, won’t, or don’t see the point in all this nonsense? Do they say they’re happy on the outside, but are betrayed by their body language?

Voice

Whether or not to write an accent is entirely up to you. Books like Their Eyes Were Watching God writes dialogue in a vernacular specific to its characters. Westerners and southerners tend to be written with the southern drawl or dialect, ripe with stereotypical contractions. Be advised, however, that in attempt to write an accent to give your character depth, you could be instead turning off your audience who doesn’t have energy to decipher what they’re saying, or you went and wrote a racist stereotype.

Voice isn’t just accent and dialect, nor is it how it sounds, which falls more solidly under useful character descriptions. Voice for the sake of humanizing your characters concerns how they talk, how they convey their thoughts, and how they become distinct from other characters in dialogue and narration.

If you’re writing a narrative that hops heads and don’t want to include a big banner to indicate who’s talking at any given time, this is where voice matters. It is, I think, the least appreciated of all the possible traits to pay attention to.

First person narrators have the most flexibility here because the audience is zero degrees removed from their first-hand experiences. Their personality comes through sharply in how they describe things and what they pay attention to.

But it’s also in what similes and metaphors they use. I read a book that had an average (allegedly straight) male narrator going off and describing colors with types of flowers, some I had to look up because I just don’t know those off the top of my head. My immediate thought was either this character is a poorly written gay, or he’s a florist. Neither (allegedly), the writer was just being too specific.

Do they have crutch words they use? like, um, actually, so…, uh

Or repeat exclamations specific to them? yikes, yowzers, jeepers, jinkies, zoinks, balls, beans, d’oh!

Or idioms they’re fond of? Like a bat out of hell. Snowball’s chance.

Do they stutter when they’re nervous? Do they lose their train of thought and bounce around, losing other characters in the process? Do they have a non-Christian god they pray to and say something other than “thank God”? Are they from another country, culture, time period, realm, or planet with their own gods, beliefs, and idioms?

When they describe settings, how flowery is the language? Would this grizzled war hero use flowery language? How would he or she describe the color pink, versus a PTA mom? Do they use only a generic “blue, green, red” or do they really pay attention with “aquamarine, teal, emerald, viridian, vermillion, rose, ruby”?

How do this character’s hobbies affect how well they can describe dance moves, painting styles, car models, music genres?

This mostly matters when you’re head-hopping and the voice of the narrator serves to be more distinct, otherwise, what’s the point of head-hopping? Just use third-person omniscient.

If you really want to go wild, give a specific narrator unique syntax. Maybe one character is the ghost of Oscar Wild with never-ending run-on sentences. Just be sure to not go too overboard and compromise the integrity of your story.

In the book A Lesson Before Dying, a somewhat illiterate, underprivileged and undereducated minor has been given a mentor, a teacher, before they face the death penalty. At the end of the book, you read all of the letters they wrote to their teacher. There’s misspellings everywhere, almost no punctuation, and long, rambling sentences.

It’s heartbreaking. The subject matter is heavy and horrible, yes, but it’s the choice to write with such poor English that has a much bigger impact than perfect MLA format.

How to implement these details

Most of these, in the written medium, need only show up once or twice before your audience notices and wonders why they’re there. Most fall squarely under character design, which falls under exposition, and should follow all the exposition guidelines.

These details exist to be random and fluffy, but they can’t exist randomly within the narrative. If you want to have your character be superstitious, pick a relevant time to include that superstition.

Others, like ongoing speech habits or movements, still don’t overuse, especially if they’re unique. A character might like to sit backwards in a chair, but if you mention that they’re doing it every single time they sit down, your audience will wonder what’s so important and if the character is unwell.

And, of course, you can let these traits become thematically important, like a superstition being central to their personality or backstory or motivation. These all serve the same purpose of making your character feel like a real person instead of just a “character”.

Just think about tossing in a few random details every now and then and see what happens. One tiny sentence can take a background character and make them candidates for the eventual fandom’s fan favorite. Details like these turn your work from “This a story, and these are the characters who tell it” into “these are my characters, and this is their story.”

#writing advice #character design #writing tips #writing resources #exposition #writing tools #writing a book

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tojisbbygworl · 7 months

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How Could You - Hobie Brown x Reader

Summary: Hobie was not the best boyfriend. It’s not his fault, he has an obligation to his city and by proxy, the multiverse. But, he doesn’t want to lose you. Unfortunately, revealing his secret does the opposite of what he had hoped.

Tags: Angst, Hurt/No Comfort,Canon-Divergence, (Hobie doesn’t reveal himself after killing Osbourne, Comic villains and events but movie Hobie, He’s supposed to be British but I forgot like halfway through writing)

Words: 3147

author’s note: If I had a nickel for everytime a girl broke up with her superhero bf bcs he lied abt being a superhero I would have 2 nickels.

Honestly tho I rly don’t like the whole ‘I’m upset because you lied to me’ trope in the superhero genre. I feel like there’s a much better reason to break up with a superhero so here’s my idea. I’ll talk more abt it in the end note.

Anyway enjoy!

AO3 Version

My AO3

Masterlist

Soaring through the air with nothing but a thin string as support, fighting monsters 3 times his size sometimes from a different universe, killing the fucking Prime Minister; none of these things have brought him as much anxiety as he feels in this moment.

It was so late, after 2 in the morning, and he was rushing back to his apartment grunting in pain from his injuries. It’s never fun fighting Kingpin, but hopefully after tonight he won’t have to do that anymore. Kamala had finally discovered his new place of hiding, Osbourne’s old bunker.

No matter how badly his ribs stung with every thwip and pull, he didn’t let up or slow down for a second. You were waiting for him. You’ve been waiting for him since he left at 8. Fuck, it’s been 6 hours? How did he let time fly like that?

‘She’s going to kill me,’ he lightly joked to himself. His stomach turned, he knows deep down that you were getting down to your last straw. You’re always so sweet about his disappearances. He tells you he needs to go; “Being in-charge of a non-profit anti-establishment organization dedicated to the dismantling of our government doesn’t allow you to have much free time, love. I’ll be back,” he would say. Your gorgeous smile would present itself and he just has to give you a kiss before he leaves. That smile has become less bright in recent months.

You’ve started voicing your annoyance as well. “Yeah, so I’ve heard,” you would respond. Or, “Duty calls?” With an eye roll. His least favorite response was, “Why don’t you date the organization instead?” The chuckle you let out after that was so dry and your smile was so empty. It scared him.

There were times where he wasn’t there in the first place. He regrets those the most. He’s missed so many important things, some of which he couldn’t understand how or why you forgave him. He certainly wouldn’t have if he was in your position. You had to be an angel or something. Fuck, he loves you.

Tonight was supposed to be a shut-in date night. Just the two of you, some junk food, and a scary movie that you’ve been dying to see. His watch beeped with a message: got a lead on Fisk. He looked at you and you just…let him go. You didn’t smile, you didn’t frown, you just looked into his eyes and turned away.

“I’ll be right back, I promise.” You didn’t respond, and at that moment, he decided that when he got back there would be no more secrets. No more sneaking around. No more lies. He loved you and you deserved to know.

From what he could see through the window, the lights were off. A part of him is relieved, hoping you weren’t awake so he could just take care of his injuries and slip into bed next to you. He would just have to wait to tell you tomorrow morning.

But, that plan is put to shit when he opens the window and quietly steps inside his living room. The tv is off and the snacks have been cleared. Hobie starts to panic. Did you go home?

He slips off his shoes in case you were sleeping soundly in his room and starts to walk slowly towards it. The door is cracked just a bit and the light is off there too. The entire apartment was shrouded in darkness, the only possible light coming through windows from the moon. He looks through the crack and relaxes upon seeing your silhouette in bed. He lets out a quiet sigh and creeps away to the bathroom.

“Hobie?” He freezes. A few seconds pass and he hears the bed creaking and feet shuffling across the floor. He still doesn’t turn around as his door opens to reveal you in your pajamas, face puffy, and eyes red.

You had been waiting for him to get home for what felt like forever. You were so excited earlier today, but there was this unrelenting churn in your stomach telling you that he would leave eventually. And of course, you were right.

Honestly, you didn’t understand why you were still with him at this point. You know he lies about where he is. You’ve known ever since he invited you to a protest his non profit put together. You told him you wanted to become an official member and he shot it down immediately. “Too dangerous for a peng-thing such as yourself,” he told you. He was right about it being dangerous, everyone was gassed and it hadn’t even been 15 minutes. But that didn’t matter. You wanted to be a part of it. Especially after they got to witness Prime Minister Osbourne’s beheading.

He didn’t even use it as an excuse most of the time. When you would wait for him to meet with you, his reasonings were fickle if he even had any.

“Got caught up with something,”

“One of my mates needed me, you know how that goes,”

“It doesn’t matter, I’m here now aren’t I?”

Oh, and there was your favorite, “Get off my back, will you? I’ve got a life too.” The times where he had nothing to say at all, as painful as it was, were much better. You were so sick of it and you just hoped that he could tell.

Right now, in this moment, you’re not sure because he still hasn’t turned around. You couldn’t see much in the darkness of the hallway, but you at least knew it was him and he was walking away. “You can’t even look at me?”

Hobie stood still, his mind racing. He didn’t know what to do. He didn’t want to see the look on your face. He knew you were disappointed. He could hear it in your voice. “…I,” he clears his throat. “I didn’t think you would still be awake.” He cringes.

You blink at him. “You didn’t think I would still be awake?” You repeated vexedly, your voice growing stronger.

“I didn’t mean it like that,” Hobie tries to save.

You closed your eyes and took in a sharp breath. “You know…if you’re cheating on me, I’d rather you be honest about it.”

Hobie finally turns around. In the dark, you can’t see his mask, but he can see you perfectly. You looked so dejected and it destroyed him. He could tell that you had been crying before he got here, and now you’re eyes were welling up again. His chest pangs.

“I don’t appreciate you leaving me without a word and coming back whenever you want,” you continue, your voice breaking. A tear slips down your face and you quickly wipe it away only for another to follow right after. “Do you think I’m stupid?” You sob, trying to remain strong as he walks towards you. “That I would just be okay with that shit?”

Hobie still doesn’t answer. Instead, he stands a couple feet away from you right next to the light switch. “Are you not going to answer me?” You growl at him. Still, nothing. “Ho-”

The light turns on. His name halts in your throat as you gaze upon him. Your tears don’t stop and you raise your hand to your mouth, a shaky gasp escaping you. Hobie finally peels his mask off to reveal his cut up face.

For a moment, there’s nothing but silence as you try and process this new information. Hobie was…Spider-man. Your boyfriend was Spider-man. That’s why. That’s why he was never there. That’s why he can never be there. Hobie opens his mouth, the breath he takes being enough to cut through the tension. “I’m sorry.”

He continues to walk towards you, praying that you don’t walk away. You’re frozen in place. “I’m so sorry.” He holds his arms out and embraces you in a tight hug relaxing into your arms when you lift them up and wrap them around his neck. You bury your head into his shoulders making his suit wet from your tears.

Hobie’s lips begin to quiver. He swallows a sob before speaking again. “I didn’t know how to tell you...” His voice cracks while trying to find the right words to say. “I just…I am so sorry for lying to you. I’m so fucking sorry.”

For a while, the both of you just stand there in each other’s presence. There was a feeling of anxiousness in the air; for Hobie, he was worried why you hadn’t said anything. As for you…

“Come on.” You grabbed his hand and walked the both of you to his bathroom where you sat him on the toilet and tended to his facial wounds. You remained completely silent, still trying to gather all of your thoughts. It made him all the more terrified.

Hobie repeatedly geared himself up to speak to you, but ultimately kept his mouth closed. What could he say? It was you who needed to talk. You needed to tell him how worried for him you would be. You needed to tell him how happy you were that he was okay. You needed to tell him how angry you were at him for lying to you.

You needed…you needed…

He needed you to say something. Anything.

But you didn’t know how to tell him. And when you were done with his face he stood up and took your hand to walk the both of you back to his room. You followed at first, but quickly stopped. He looked back at you in confusion, his heart racing. “What is it?”

You let go of his hand with him refusing to do the same. It went limp in his hold as you stared at the ground. Your eyes filled with tears and fell just as quickly. Without looking up, you finally told him what was on your mind. “I…I was going to break up with you tonight.”

His heart dropped. He releases a huff having been completely floored by that charged sentence. What do you mean you were going to break up with him? What do you mean there was no saving the relationship the moment he left? What do you mean he was too late?

His mouth opens and closes, trying to find the words to convey his shock. “Was?” He decides upon, foolishly hopeful.

The breath that you take in, the look on your face, and the tears falling down it killed anything inside him that held onto the possibility that you still wanted to be with him. So he lets go of your hand too. “No.” You say.

Hobie is appalled. His eyes dart around the hallway as his mind tries to make sense of what was happening. His breathing gets harder and faster. He begins to shake his head. “I don’t-,” he stutters, “I-I don’t understand.”

“Hobie-”

“I mean, I…” he hikes his shoulders up and holds up his hands. Finally, he looks at you. His chest aches at the sight of you, he’s never seen you so dejected. He gestures at himself. “You see…you see why.”

You walk towards him and put your hand on his chest to try and calm him down. It does nothing. Instead he holds his own hand over yours to keep it there. “And I am so glad that you trusted me enough to tell me. Your secret is safe with me, Hobie.” After telling him that, you lose any resolve you had and sob. Your voice is strained when you talk, and you have to take small pauses to catch your breath and remain coherent. “But that doesn’t change the fact that you missed my graduation-”

“I was almost eaten alive.” he quickly defends, remembering that annoying day. The Inheritors have become a very big nuisance since Osbourne’s death and are the reason for so many of his disappearances. He would explain all of this to you if you gave him the chance.

You scrunch your face with a look of confusion, but when he doesn’t explain any further, you continue. “And you missed my recital-”

“So I could keep Kraven from fucking up 38th street.” He was starting to get upset. It’s like you weren’t listening to him. He was Spider-man. Of course he couldn’t be there for every facet of your life. And you knew that now. So…what the fuck? “If I hadn’t done that, your mates wouldn’t have anywhere to live.”

You could hear the annoyance in his tone and body language, and it made you a little miffed. “I understand that-“

“Do you?”

You slap your head in frustration. “You’re not getting it, Hobie. You weren’t there-“

“Yeah, I fucking couldn’t be because I’m too busy trying un-fuck our city and everyone in it. Including you.” He says, slightly raising his voice. How dare you get mad at him when you’re the one who’s leaving? “I mean, I’m showing you why I can’t be there and it’s still not enough?”

You never stopped crying, but now you were pissed. You glared at him. “You think that fixes everything? It doesn’t change the fact that I stood outside the auditorium and waited for you right before and right after my name was called for nothing. Or that I almost fucked up my solo because I couldn’t think about anything besides the fact that you weren’t there.”

Hobie raises a finger at you. “I-”

“Stop interrupting me!” You shout, immediately recoiling but keeping your glare. Hobie blinks at you in disbelief. “Knowing that you were off saving the world does not mean I didn’t need you there with me when my sister was-” Choking on your words, you cover your mouth with your hand in a feeble attempt to hide the sob that escaped. Hobie’s anger dissipated and all that was left was utter heartbreak.

You took a second to recollect yourself, shying away from his touch when he reached out to you. He drops his arm by his side. “I don’t understand,” he whispers, his voice breaking.

Taking another deep breath, you drop the ball on him , finally. “If you’re worried I’m going to go off and tell Jonah Jameson-”

“No,” he practically shouts. “I’m not fucking worried about that. I’m upset, because my girlfriend is breaking up with me!”

“Don’t fucking yell at me!”

Hobie slams his hands against his head and walks away from you, panting. All you can do is watch him, anticipating his next move. Bracing yourself for whatever he’ll say out of anger.

After a few moments of breathing, he drops his hands and turns to look at you. “So what you just-don’t love me anymore?”

“What?”

“Is that it? There’s someone else?”

You furrowed your brows and looked around the room wondering where the hell he got that from. “The fuck? No!”

“So why don’t you want to be with me anymore?”

You groaned in frustration and covered your face with your hands. He just wasn’t getting it. “That’s not what I’m saying-”

“The fuck are you saying?” His voice louder than it’s ever been towards you.

“I want to be with you, Hobie,” you tell him, the tears never ending. Your voice, as loud as it is, shakes and cracks. Hobie grabs his hair, his mind completely scattered. You were confusing him left and right. Why can’t you just come out and say-

“I don’t want to be with Spider-Man.”

Everything seems to stop. The only sound being you calming yourself down as you take some deep breaths. You couldn’t look at Hobie, you just couldn’t. As for him, he couldn’t stop looking at you utter disbelief and heartbreak.

His bottom lip quivered as it hung open. His nostrils began to flare. His chest rose and fell as he felt the lump in his throat grow. Why won’t you look at him? Please look at him…please?

“You…I don’t…” he simply can’t find the words to describe how he felt. To put it simply, you were breaking his heart. He loves you. He fucking loves you so much. It hurts that there’s nothing he can do to fix this. He can’t just stop being Spider-Man, no matter how hard he’s considering it at this moment.

He doesn’t know what yo do. He’s so hurt. He’s so…fucking…angry.

“Get out.” He says, looking at the ground.

You jerk your head up at him. Wiping your eyes, you ask him, “What?”

Hobie angrily puts his mask back on. “Get the fuck out,” he repeats, louder this time. You don’t move. You didn’t want it to end like this. Was it really going to end like this? No…

“Ba-Hobie,” Slip of the tongue. But it was too late, he heard it and it broke him even more.

“I don’t want you here when I get back.” He turns away from you and stalks towards the window. Without looking back once, he lifts it open and hops back out into the night.

You slap your hand over your mouth and squeeze your eyes shut. This feeling in your chest, you wanted to lie down and scream at the top of your lungs. You were hoping he understood, that you could reason with him, but now you were left a lonely shell of your former self. You would hate yourself for breaking his heart the way you did. As you gather your things and leave the apartment, you start to wonder, was this even worth it?

On the trek home, you decided; yes. It hurt, but nothing would compare to the pain of him not being there at the hospital when you told him you needed him there. All the moments that you needed the man you loved and he was no where to be found, you found joy in knowing that you would never experience that again.

You weren’t angry with Hobie anymore. You knew why things were the way they were now. But, that’s not a love life that you wanted. That was the most difficult thing you had to do, but you had to do it. You weren’t going to be a superhero’s girlfriend. You just weren’t. You hoped he understood one day.

And he will. But for now, Hobie watches you leave the building with a hole in his heart and hatred in his mind. For now, you just don’t want to make it work with him. Hobie knows the two of you are meant to be, he just wishes you would understand that-

No. He wishes you would accept him. You don’t . And that destroys him.

For now, you simply don’t love him enough to accept him for what he is. A huge part of him was scared of this, and would you look at that, it came true.

He was so confused. So hurt. How could you. How could you?…

ending a/n: Hi! How was it? I hope I wrote it well. I really wanted to make sure it was clear that they both are valid in their feelings about the whole thing. It made sense that it would all blow up and not end well and I think it’s very easy for someone who is dealing with a lot of emotions to not really think rationally or listen to the other person.

If you read this whole thing and was like ‘what is wrong with her’ let me try to explain my thought process. She doesn’t want to be with a superhero. She wants to be in a relationship with someone who can be there for her. Hobie was never there, if he was it was few and far between. And that’s bcs of his obligation to the world and multiverse. That’s no one’s fault. She gets that. So she’s going to find someone who CAN give her the time she needs. Someone who doesn’t have a duty to the world. Someone who can focus on her as much as she does for them.

Of course, Hobie isn’t going to understand that. All he hears is that she doesn’t want to be with him. So, he’s thinking irrationally, not really listening to what she’s saying. Taking things the wrong way bcs he’s heart broken.

I like where I ended it, but I am very open to a pt 2 in the future where they’ve gotten over it (or maybe not 👀) but they’re not going to get back together. It’ll be like closure unless I decide to never let Hobie heal from it. Hmmmm. Idk idk idk!

Anyway, I hope you guys understood my thinking and enjoyed this version of this trope. I don’t think I’ve seen it done before, it would be nice to start a trend of this. I would love to see how other people interpret this. Please feel free to discuss this particular topic more with me if you would like! I don’t bite! Y’all have a good one🩵🩵

AO3 Version

My AO3

Masterlist

#across the spiderverse #hobie brown #spider punk #spider punk x reader #hobie brown x reader #hobie x reader #hobie brown x you #hobie angst #hobie my beloved

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coupleoffanfics · 8 months

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Future Child

Okay, Batsis reader. Right? On board? This is around the time when y/n has given up the nightlife and hasn't detached herself from the family.

I'm gonna go off the wall and say what if the family was visited by y/n's child from the future? I know it sounds crazy, but please listen. The family could run a DNA test or the child could walk up to Bruce in broad daylight and whisper, "Hello, flying rodent".

They won't reveal their name, so they're just called V.

During their time there Dick would be so tempted to ask about the future. Maybe not things specifically about his life because he knows they can't answer questions like that. But he'll ask just stupid questions like do cats have jetpacks or something? He'd also try to get to know his nephew. What they like, personality, etc.

Tim and Bruce would be poking at them on how they got here. Though Bruce probably had to take a moment to crack a smile for a split second. He was going to be a grandpa one day and the thought made him tear up. It's just happy news all around for him but he wouldn't dare show it.

Damian would be observing them closely and taking note of their outfit which looked to be something a hero would wear. Making him wonder what kinda of hero they were and if they were any good at fighting. Both Jason and Barbara just stood back from the situation. Babs is still in a bit of shock but is happy to hear that y/n was able to gain the domestic lifestyle she wanted.

y/n's child gives them a gist of how ended up here without giving names. Dick would notice V glancing around the cave and offer to give them a tour. They except of course. He takes note of how V doesn't seem into small talk but asks a lot of questions. The whole family picks up on how X asks a lot of questions about y/n. Their mother. It's odd and a bit worrying to Bruce, but the others just think that y/n didn't talk too much about her time as Batgirl.

Everything is relatively calm until y/n walks into the Batcave for her laptop. V's calm, almost stoic mood is dropped. Tim and Bruce see how V almost took a step forward, but reluctantly stood still. How V started rapidly blinking their eyes and struggling to look at y/n.

Dick would probably zoom up to y/n with a big smile, "Hey, Mama bird, did you get the diapers?" And y/n just gives him a confused, maybe even sacred look.

Everything is going fine. The family is working together on getting them to their time. Cool, yeah, whatever.

But what if there's just something that triggers V. It could be something that was said or asked that leads V and y/n to argue. It's not even arguing. It's just V spilling out grievances about their father and kind of insulting y/n.

"I can't believe you'd still defend him even before you met him. How rich."…"You didn't plan me, but Dad did and you were somehow okay with it? I was only there to keep you down, but what about the other two? Did you love them more because Dad didn't plan them?"…"Dad may have cared about you, but not us. You weren't a monster like him, but letting him get away with so much makes you just as guilty."…"You're both broken people. Maybe you two are meant to be."

V storms off and y/n retreats to her room. Everyone is dumbstruck by this sudden revolution.

Eventually, V does apologize to y/n. When she awkwardly accepts, they get misty-eyed because they really didn't mean to say any of that. They know how she doesn't take the apology, not entirely, and they feel like shit. They do care about their mom, despite all that they said.

When it's almost time for V to return back to the future they pull the whole family aside. Excluding y/n so she won't hear what they're going to say.

"As you guessed my Dad wasn't the best. Mom never talked about any of you and with Dad being a villain I could understand why. He's not a good person in general. Mom deserved better, so this time around try doing a better job. Don't let her slip away or be taken away. If I'm born then you know you failed."

This resonates with the family and brings up questions that won't be answered anytime soon. I could see this leading the family to become yandere or overprotective. Either one is fine because their efforts are futile.

If going down the Yandere route then I could see them becoming so overbearing that y/n runs from them. They control her life. Who she talks to, where she goes, what she does. She can't live like this and she runs away when given the chance.

If going down the protective route then it's slightly better than the Yandere one. At least in terms of their relationship. They pay extra attention to her and check up on her regularly until one day she just disappears.

In each route, They'd keep a close eye on any guy that has similar physical features (ex: hair, eyes). Since V has stated they look more like their father. When she does go missing they'll search high and low for her, but there isn't anything that would locate where she is. Her disappearance keeps them up at night for many years until a vaguely familiar person visits the manor.

They awkwardly introduce themself, "Hi, my name is..."

They failed.

If anyone wants to write about this idea then go ahead. Doesn't even have to be the Batfamily. I won't write about it unless asked. I'm just not married to the idea. It almost 2 in the morning I need sleep.

#batfamily x batsis #batfamily x reader #bruce wayne x daughter!reader #dick grayson x batsis #damian wayne x batsis #jason todd x reader #ramble ideas from no one #tim drake x reader #batsis reader #batsis imagine

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the-s1lly-corner · 5 months

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Is it possible to do head cannons for digital circus characters with a reader who's too nice for their own good

Like they get in danger when trying to talk to the bad guy npc thinking that they could persuade them to the good side

TADC cast x reader whos too nice!

Anon I'm so so sorry that it took me so long to get to this <\3! I gotta admit I've been in like, a bit of a burn out recently and I'm still recovering from my baking spree last week so I'm WOOOooOoooooO

That said I hope you enjoy!

Written ambiguously, if you want to see this as romantic or platonic, is totally up to you!

CAINE:

Literally puts a pause on the IHA when he sees you being dragged away by the big bad guy, all while still trying to insist that the NPC with no chance to gain sentience can be good.. caine finds it endearing in it's own way, its sweet, you see the best in people... and non-people... but reader, this is exactly how you get hurt..! Keeps a close eye on you during IHA

POMNI:

While I dont think pomni fits the "too nice for her own good" vibe, I feel that shes... what word am i looking for? Submissive? She kind of just goes with what others are doing; asides from her initial freak out we dont see much pushback from her in the pilot, though that could be thanks to shock... perhaps shes still feeling it during IHAs given how random and intense they can be..? Point is I think pomni would give a meek resistance before scurrying off after you, trying to save you from the clutches of the baddie

RAGATHA:

Shes loves you so much, dont get her wrong. She loves that you're so sweet to everyone, even to those who dont deserve it. Actually if anything, Ragatha is also a little too sweet for her own good.. but shes not as trusting and naive as you are. Frantically pulls you away to the side when you try to make your way to the days villain, gently scolding you and asking what you were thinking. She doesnt mean to make you feel bad, but she doesn't want to see you hurt!

JAX:

One of the only two characters that might get a little mean with you. Not like "mean as in berating you for being so naive" more so "I'm upset that you seemingly have no regard for your safety, I care about you and I cant see you continue to throw yourself into danger" way that can come off as mean, since jax isnt really.. the best as saying this softly.. immediately cuts through any "what ifs" you might bring up to him, you're the only person in this circus that he actually enjoys and hes not going to let you get flung around.. can his tone be softer? Sure, but can you blame him if this is a regular occurrence?

KINGER:

This poor man nearly has a heart attack when he sees you about to be absolutely demolished (but not really thanks to the digital world), probably ends in him getting hurt too.. but that would be mean.. but also can you imagine the angst? The guilt? He probably pushes through the pain to get to you and hes just. Feverishly pulling you to him and patting you down to make sure you're okay... he won't tell you to stop being so nice; in fact I dont think the thought crosses his mind ever.. but he does ask to never do that again, the getting into danger thing

ZOOBLE:

The other character that might get a little mean when confronting you about it, but given zoobles general attitude as well as their tone of voice, it seems like they're more angry with you than they actually are. They think you're too nice for your own good, truly. While the others may find it sweet and endearing, they're constantly thinking about how one day you'll be in over your head and wont have a way out. This might actually result in an argument, thanks to zoobles tone and way of going about things.. but you guys eventually communicate and make up, at least I would like to think so

GANGLE:

Very similar to pomni in the regard that she doesnt have the spine (haha) to tell you not to do whatever you're planning on doing. "I don't think... oh.. oh wait, reader-" as she scurries after you so you dont get lost. Gets legitimately sad and beats herself up if you get hurt. Similar to zoobles, you guys are going to need to communicate and work together on this because gangle cannot handle the fact that you're constantly getting hurt thanks to your kindness grating on her mind all day every day

#tadc x reader #the amazing digital circus x reader #digital circus x reader #caine x reader #pomni x reader #ragatha x reader #jax x reader #kinger x reader #zooble x reader #gangle x reader

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lesinquietes · 3 months

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Yandere!Dabi is so fucking dysfunctional, but what can he say? He learned from the best.

⚠️ mdni (this isn’t for kids/teens). abusive relationship. angst. daddy issues. dark content (I mean it y’all). manipulation. noncon (mentioned). spanking. trauma. violence. victim-blaming.

He doesn’t understand the concept of a healthy relationship — romantic or platonic. His emotion regulation and impulse control are non-existant, making him a walking time-bomb of unresolved trauma that’s bound to be projected onto someone.

Does “I can fix him!” sound like you? If yes, he dubs you a pretty fool. You think you can fix literal decades of internal conflict? He reasons that you have damage of your own if you’re willing to enter a relationship under the premise that you have to change him. You must have daddy issues. In a way, so does he. Unfortunately, heavy baggage x heavy baggage isn’t a good mix.

He can’t let himself be happy. All that’s driving him is revenge. Nothing else has motivated him to continue like the thought of confronting Shoto and his father. He won’t let himself be watered down by love, which is why he laughs whenever you say you care about him, and why he ignores you for a few days until you beg. Mind games. Cruelty. Forcing you to apologize when you’ve done nothing conceivably wrong, but oh, he finds reasons. Coaxing you into saying you’re sorry with a blowjob. Telling you he doesn’t know why he’s with a slut who can’t suck properly. Shoving you away when he loses his erection by thinking about how he’s fucking up a shot at happiness by treating you like a cumrag.

He tells himself it’s self-sabotage. That’s not the whole truth. A small part of him is sadistic; a small part of him enjoys your pain. It reminds him he’s not alone in harbouring a hurricane in his heart. It’s nice to have someone he resonates with. You can combust together. At least, that’s what he fantasizes about, until you burst his bubble.

When enough is finally enough, you leave him. Your decision stems from intolerance. You’ve had enough of his callous treatment. You need a partner you can trust. As a villain, camaraderie is everything, and Dabi hasn’t proved to you he’s reliable. As much as it hurts you, a future away from him is what you need.

You search for a shred of remorse in his eyes. All you discover is darkness. You can’t stay.

But as you explain yourself through tears, stammering and apologizing, he finds himself feeling something for once. It’s absent of revenge. It’s separate from his upbringing. It’s a foreign sensation — for you.

He doesn’t want you to go. Your departure will make the headaches worse and the burns throb harder. It’ll make the rumination deeper and the urge to incinerate himself to a bloody crisp more tempting. It’ll push him to the limit before he’s prepared to face his family.

He searches for any bit of love that’s left inside your aching heart. He finds it in your avoidant gaze. You can’t go.

You throw shit at him as he advances, a feral expression on his stapled face. Running on pure adrenaline, he doesn’t feel the impact of any object. He lurks closer and lets you have your little tantrum. He remembers his mother having one or two of these, too, though his father was good at placating her; watching that from the doorway of his bedroom taught him precisely how he’ll placate you.

Violence isn’t the answer; at least, not if you listen. And you do. It only takes him grabbing you by the wrists and squeezing until you scream. They’ll be bruised for days. You’re lucky he didn’t break them.

He drags you into the bedroom by the hair and throws you onto the bed. He doesn’t let you squirm away. He pulls you onto his lap, yanks down your pants, and asks you how many hits you deserve. He’s not wholly unreasonable, so when you tell him to fuck right off, he thinks twenty is fair. Thirty if you lose count. Forty if you fight him. Fifty if you neglect to admit your wrongdoings. The choice to behave is yours, and he makes this known to you before he begins. If you falter, it’s all your fault.

By the time he’s done, and your ass stings like it’s been sunburnt, you’re weeping and regretting ever presuming you could leave him. How could you think he doesn’t care about you when he took time out of his busy schedule to correct your behaviour tonight? He wouldn’t teach anyone else a lesson — just you, his woman.

You perk up at the term. His woman. As much as you hate to admit it, glaring through the aftermath of sadness, attention from Dabi lights your heart on fire. You crave it. You want to make him happy. Of course, there’s a deranged method to your madness; if he’s happy, he’s not angry, and if he’s not angry, he’s halfway good to you. You need him to be good to you, like he needs you to be a better girlfriend. Take accountability. Give yourself to him. Trust. If he hasn’t been treating you the way you want to be treated, be patient. Maybe he’ll give your way a try when the mood possesses him.

And no more fucking running, or else you’ll have more to worry about than a couple of bruises.

#oooh this is a bit raw watch out lol #tw abuse #tw angst #tw dark content #tw trauma #yandere dabi #yandere dabi x reader #yandere touya todoroki #yandere touya x reader #scumbag dabi #fem reader

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veliseraptor · 2 months

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Top five spiciest untamed opinions!

man, I've been in my own little corner of fandom for long enough that I feel like I struggle a little to parse what is spicy of my opinions and what isn't, but here's a go at it

The Untamed is a show with complex, morally grey characters that's telling a slightly different but not inherently inferior story. Maybe I'm just a bit defensive about this, and I have with time come to appreciate a lot of things about the novel over the way they play out in the show, but The Untamed was the first version of the story that I fell in love with and I think at least some of the criticisms of it overstate the degree to which it morally simplifies the story. I think, whether because of requirements of censorship or other reasons, that the moral messiness of the story is subtler, I don't think it's absent, and while Jin Guangyao in particular falls victim to a pretty intense villain edit the narrative still has plenty of sympathy for him (even if the audience, all too often, does not). I think it's telling a slightly different story (as others have discussed), but I think it's a strong adaptation that still works with the underlying themes of the text.

However, that being said, The lessening of Wei Wuxian's culpability, as in the introduction of the second flautist, weakens his character. I feel like the character of Wei Wuxian as we see him in The Untamed still has the recognizable flaws of the character from the novel - I think the degree to which they're sometimes claimed to be toned down is overstated, which I think I've written some about before. He's still at least a little arrogant, causes problems, has a definite temper, and doesn't always respect other peoples' choices, among other things. But what The Untamed does do is remove some of his culpability, or at least temper it - both for Jin Zixuan's death and the massacre at Nightless City, which are two moments that contribute to a strong tragic arc in the first life, which makes for a more powerful (imo) arc in the second life. Removing, or at least lessening, Wei Wuxian's culpability for Jin Zixuan's death and Jiang Yanli's death makes him more a victim of circumstance than of his own human flaws, and at least for me, a character who is doomed by their own flaws is a far more compelling one than one who just happens to fall victim to outside forces. It makes him, I would argue, more passive and less of an active force, and I think the culpability for those two deaths - and the loss of control that causes it - makes for a more powerful narrative than that of a man who is victimized by someone else's actions.

Jin Guangyao was a good Chief Cultivator. I see people talk about him as though he was corrupt and evil and just plotting all the time, but the Bad Things™ he does mostly happen before his tenure as Chief Cultivator and, even taking those into account, have a limited impact on the world at large (with the exception of Nie Mingjue's death, but even that I would argue has more personal repercussions than broader political ones). As far as his responsibility for the cultivation world at large, we have no evidence prior to his downfall that he is negatively perceived by people, except for the fact of his birth/origins.

this is more MDZS-related than Untamed specific, but: MXTX deserves praise for writing "problematic" and messy queer sex, but it's just not hot. I don't have a whole lot to add on this one, but one of my least favorite parts of some corners of The Untamed fandom are people who are thoroughgoing MXTX antis who are quick to cry about the ~problematic~ aspects of Lan Wangji and Wei Wuxian's sex life (which, honestly, I think are overstated a lot of the time, as is the weirdness of the sex scenes); however, in my opinion, the sex scenes as they stand just aren't very sexy, and I don't think that's intentional (as it arguably is in SVSSS). The sex scenes may be a shortcoming in the text, perhaps, but not the one certain people think it is.

this is again a stronger argument in the novel but I think it's present in the show as well: Jin Guangyao and Wei Wuxian are "there but for the grace of god" foils, but not in the sense of Jin Guangyao being "Wei Wuxian if he made bad moral choices" but in the sense of "who Wei Wuxian could've been if his circumstances were different." I've definitely written about this before and how much it drives me nuts the way people treat narrative foils in this story in general as Goofus and Gallant style duos, but this is a specific one. I think Jin Guangyao is an example of a story that runs alongside Wei Wuxian's, but ends in a different place, and I think the story isn't saying that he ends in that place because of something inherently worse about Jin Guangyao, but because of the way his circumstances happen to diverge from Wei Wuxian's in specific key ways. In some ways his ending is even a near beat-for-beat rewrite of Wei Wuxian's death, and Wei Wuxian receives the grace of a second life not because of any inherent merit, but actually because of his bad reputation. I think this goes for Xue Yang, too, actually.

I absolutely know I'm forgetting things and there are probably things back in my bitchy opinions tag that I could dig out, but here's at least a few that came to mind.

#conversating #maester of spreadsheets #lise has opinions #none of these feel so bitchy they need to go in the bitchy opinions tag but just in case i think i'll #lise's aggressively bitchy opinions about irrelevant and unimportant matters #lise memes #top five meme #the sad queer cultivators show

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