#one is actually interesting to read about and the other is a plot device

[miwhotep]

7 REASONS WHY MILVERTON CAN STILL BE ALIVE

Reading @diveintovortex 's recent post, I again, got inspired to make an analysis why Milverton can still be alive. I already did one like this before, related to the main antagonist of the James Bond universe, Ernst Stavro Blofeld, but today's post will rely heavily on the manga. Here, I will raise seven points why Milverton might not gone yet and we can suspect to see him again.

1, CHARACTER DESIGN

Milverton is one of the most detailed, most bothersome to draw characters of Yuumori (especially with that hair). If we look more deeply into the manga, we can see that the characters who only appeared for a few chapters - like Whiteley - are always designed in a more simple way. Milverton's character design has too much work in it, it wouldn't worth it if this was all the storytime he got. Milverton's distinct look suggests that he was meant to be much more than just a plot-device overall, he is a character on his own who still has hella lot of potential in him.

2, EYE COLOUR

Yes, I can list it under the point above as well - but I wanna focus on this a little more. Only three characters has unnatural, symbolic eye colours in the series: William, the main character, his brother, Louis - who gets important later on - and Milverton. Considering this tendency, his eye colour - beside it referencing snakes - also implies that Milverton is an important character - again: a character, not a plot-device - but Milverton was mostly just a plot-device yet, whose role was getting Sherlock and William face each other. Maybe, just like Louis, he gets important later on.

3, THE LITTLE TRIVIAS

Milverton has some, for the plot, seemingly irrelevant trivia the manga just casually drops at us - like his branch firm in New York. This New York connection gets interesting since Sherliam also ended up in New York. Was this just a coincidence? Or we will come back to this in Part 2?

4, THE RUSKIN SCENE

Ruskin, unlike Milverton was never meant to be an important character - his character design got re-used from The Adventure of One Student and we didn't even get to know his first name - but the manga still gave him a little focus at the end of Two Criminals, where we can see him searching for Milverton instead of saving himself from the burning house. He most likely survived and I'm sure there was a reason his love for Milverton got some attention in that chapter. I used to speculate that it was to forecast that he will get back to get revenge for his boss later - but again, his character design doesn't suggest he is an important character. On the other hand, that scene could be also to hint that Ruskin will save Milverton. Ruskin is not stupid - he could suspect what happened from the open door where Milverton jumped out - and that door could also provide the fastest way for Ruskin to leave the about-to-crash house. Not much time passed since Milverton got shot who could survive if Ruskin gets him out of the water in time. If he jumped into the water to escape, he might've found Milverton as well.

5, THE WATER PARALLEL

This point was suggested by @shreddedleopard during one of our talks whom I fully credit the idea to. Milverton keeps paralelling William in poses, methods - and even in "death": William "died" by falling into the water, too. If this was meant to be yet another parallel between the two, that also suggests that Milverton as well, might turn out to be alive.

6, SHERLOCK AND THE CONSEQUENCES OF HIS MURDER

Milverton's body was never found what let Sherlock escape from the consequences of the murder. However, this might not be the true reason why his body never got found - Milverton's death was actually too bothersome if it was meant to be only for this. It would've been simplier if he just got shot, dying inmediately and his body getting burned with the house and Sherlock could've get away with the murder in this case, too. Milverton also didn't got shot in the heart, but suffered injuries what he could survive if he gets treated in time. If the writer truly wanted us to fully believe that Milverton is dead, it could've been done easily with a heartshot.

7, YUUMORI IS A SHERLOCK HOLMES ADAPTATION

Despite that Moriarty the Patriot gets inspiration from other places than Sherlock Holmes stories - like the James Bond universe or The Dark Knight movie - it's still a story focusing on Sherlock Holmes characters - and the most iconic Sherlock villain beside Moriarty, Irene Adler or Moran is Charles Augustus Milverton... who still has lot of potential. And beside him, who could be the next antagonist in Part 2? The other Sherlock villains who didn't get used yet aren't as much of a big names. That's another point what can suggest that Milverton's arc is still unfinished.

Milverton not getting enough attention in Part 1 despite he clearly implied to be an important character was due to putting too much focus on him could complicate or even get the attention away from the Moriarty Plan what was the main theme of the series in Part 1. Maybe what we saw about Milverton yet was just an introduction and now, that we already know how dangerous and evil he can be, we can see more of his evil in Part 2. Because I'm sure if he is alive, he is ready to commit even bigger atrocities what we could imagine.

#moriarty the patriot #yuukoku no moriarty #charles augustus milverton

[chosaya]

BEGINNERS GUIDE FOR NEW WRITERS !

A/n: this for my beginner writers who actually want to write a piece or work for the first time!

✰you finally want to start writing for fandoms popular or not it’s okay! write whatever YOU want to. (we don’t judge whatever work you decide to post).

✰no inspiration or fic ideas I got you babes! here here here. here. here here here you can also combine these Au’s together if you’d like to!

✰you don’t have any motivation to write or writers block for short.

Take this time to relax and think about what you want to write deeply and take your time when you do!

Light a candle, get cozy and write little reminders you’d like to add into your fic’s later on.

take a self care take for yourself, away from any devices and clear you mind.

✰FINDING YOUR WRITING STYLE !

everyone has different writing styles ! Your writing can be different from others (ex: adding details, dialogue etc, be creative!)

✰PLAGIARISM IS A BIG NO !

plagiarism isn’t cute never was, with that being said taking people’s fic and passing it off as your own then playing the victim again isn’t cute it’s wrong. Here’s my suggestion save yourself the of the anon hate and write your own ok?. Don’t do this shit.

We do this for free as a writer myself, author can spend hours writing with or without sleep (sometimes) so don’t rush them! Be patient, authors have life outside this app.

✰COMMENTS/SUPPORTING YOUR WRITER !

your probably thinking maya was is this important? because your author needs all the lover and support they can get. it’s also because they’re a lack of “reblog’s” and “comments” these days even the small things can make your author happy!

✰MORE RECOURSES (these are some of the authors if you’re looking to write smut for you can ask them!)

@kazushawty @omgeto @hoshigray @luxesiren plus more those are the ones I can remember on the top of my head right now!💕

✰DETAILS !

You can add the smallest details in your story! that your readers with comments on, like adding descriptive, it could be body language or how the readers feels it matters! (It helps make your fic’s longer)

Adding plot twists in your story can make your reader more interested in your story and makes them want to follow and read more.

✰ thesaurus!

you can use this if your constantly using the same words over and over and want to switch up your word game!

if you have anymore questions let me knowww!

#writer help #writing recourses/first time writers! #recourses #fic inspo

[animasola86]

NSFW Hogwarts in the 1890s Headcanons

Convenient Plot Devices (to make my smut more believable)

(aka Nurse Blainey is a very supportive and progressive witch doctor!)

Every girl over the age of 15 (sometimes earlier) is required to take contraceptive potions as per request by Nurse Blainey who had to deal with horny teenagers and their lack of mind for consequences for too long.

Boys don't have to take them, but can if they are so inclined.

Very reluctantly, the recipe for that potion is taught by Professor Sharp in the Sixth-years' Potions class.

There are potions for every ailment (usually provided by Nurse Blainey), including aftermath soreness or the "potion after" if a witch/wizard forgot to take their contraceptive potion.

There were indeed condoms*, but not every wizard carried them, so the potions and/or a quick disappearing spell had to be used to prevent pregnancies.

*Condoms were usually distributed in barbershops in the late 19th/early 20th century (according to Wikipedia) so I imagine Madam Snelling selling them under the counter in her hair salon.

There is no sex-ed class in Hogwarts, but again, Nurse Blainey is the first to hand out informative literature* or reading recommendations.

The Restricted Section of the library has an entire room filled with erotic fiction, anatomical books and various guides to help out the eager witch or wizard.

*Informative literature included tips and guides for the uterus-bearing population on how to deal with bleeding. As early as 1890, probably even earlier, there was the "invention" of pad-belts/sanitary belts in Victorian England, those were re-usable and I can imagine even easier to use for witches because instead of cleaning them the old-fashioned way, they could just clean them with a swish of their wand. (Read more on the history of menstrual pads here if you're interested.)

Ignatia Wildsmith has seen more horny teenagers making out in front of her Floo flames than people actually using that way of travel.

Ghosts see a lot of things and mostly they don't care about it, unless they are Richard Jackdaw* who likes to stalk those horny teenagers more often than is appropriate.

*Shameless plug: I wrote a smut piece about our favorite horny ghost called The Horny Ghost (how creative).

"Silencio" is the most used spell in the dormitories, boys' and girls' alike.

Hufflepuffs are the only ones who don't have curtains around their beds! But I bet they can think of other devices to get some privacy. Maybe they're masters of the Disillusionment charm!

On that note: only Ravenclaws have their own in-house bathrooms - with actual bathtubs! Slytherins have to leave their common room, and Gryffindors and Hufflepuffs have to walk quite a while to find the nearest bathroom. [Correction: there are bathrooms, one with stalls, one with stalls and bathtubs, in the Gryffindor common room, but only on the girls' side! (Thanks to @mianeryh for pointing that out!)]

But this is a post about HCs, not actual fact/pointing out lazy game design, so I'd like to imagine that all houses have at least one communal bath/bathroom area very close to their dormitories.

*By the way: In the Slytherin, Gryffindor and Hufflepuff common rooms, the girls' dormitories are upstairs, so they have the stairs turning into slides whenever a boy tries to access them, whereas in the Ravenclaw common room, the girls have to go down the stairs and are "only" protected by two suits of armor guarding the way, which in turn makes it easier to sneak past!

Popular make-out places are: the boat-house, the underground harbor, the loft above the Great Hall, the kitchens (poor house-elves), the Prefects' bathroom, the Restricted Section of the library, any dark empty hallway, any empty classroom/storage room, the Undercroft and the Room of Requirement (if they know of them), ...

*Honestly: anywhere is possible in the large castle that is Hogwarts!

Let's talk fashion: we've all seen the HL undergarments of girls and boys, right? Here is an amazing guide by @tamayula-hl about period accurate clothing and their uses in smut writing, very informative!

So based on that I also believe that horny teenagers got tired of all those buttons and layers very quickly and learned spells to make the undressing easier, and/or used "Evanesco" to get rid of clothes entirely (and conjured them back afterwards) - though tbh, I, as a smut writer, don't care too much about how they get naked. They're wizards/witches, they have their ways!

My most used clothing device apart from simple spells: the convenient flap at the front of boys' breeches.

FANFICTION MASTERLIST - KINKTOBER - AO3

#hogwarts legacy #hogwarts legacy headcanons #hogwarts legacy smut #smut headcanons #headcanons #historical facts #hogwarts in the 1890s

[raven-at-the-writing-desk]

You wanna know what I just realized....You know how in chapters 1-4 MC/Yu kept asking Crowley to go home. But Once Chapter 5-7 they stopped asking to go home and gave up. Why? Did they just change their minds once they got friends or did they just give up on trying completely until Orthro put it back in their brain? Or Did they just gave up on asking adults period?

Oooh, interesting topic 🤔 I went back in each book to see when instances of Yuu asking about going home were brought up and (shockingly) this actually happens very little, maybe a few times max in the main story (not counting the prologue):

***Main story spoilers (INCLUDING book 7) below the cut!!***

In 1-19, Yuu does NOT ask Crowley; Crowley is the one who brings the topic up. He claims he is in the library to research a way to send Yuu home, and definitely is not reading the latest edition to a new novel before anyone else (which, come on, we all know Crowley is just giving a convenient excuse for himself). Crowley's presence here is then used to inform us of a way to dethrone Riddle via duel.

In 2-4, Yuu DOES ask Crowley when summoned to his office. Crowly then says he is busy preparing for an inter-dorm Magift/Spelldrive tournament, so he hasn't made any progress for Yuu. In 2-14, Yuu also wonders about when they will be able to go home while talking around the campus at night, but does not discuss it further with others.

In 3-6, Yuu does NOT ask Crowley; again, Crowley is the one to bring up the topic when trying to get Yuu to convince Azul to stop his shady dealings. He uses their rising food bills and all that "effort" he's putting into researching as a means to guilt trip Yuu into agreeing.

In 4-2, Yuu DOES ask Crowley if he's actually researching. This occurs because Crowley is all decked out for vacationing in a tropical destination, so Yuu of course questions whether he's doing any real work. Crowley defends himself by saying "When in Rome, do as the Romans do!" and that he's broadening his knowledge base by researching in a southern region.

After book 4, there are no new explicit or even implied scenes of Yuu asking Crowley anything about home. However, 5-33 does feature a flashback to the prologue in which Crowley is struggling to find Yuu's home on a map.

There isn't really a strong mention of Yuu going home in book 6, unless you want to count Yuu talking to Mickey through the mirror and wondering what's on the other side.

7-10 and 7-11 has Ortho to concluding that the mirror with Mickey could be a "connection" to Yuu's original world, and can thus serve as a route home.

Most discussion of Yuu going home is concentrated in the prologue (as it is an important piece of the set-up and explanation for Yuu's presence in Twisted Wonderland), as well as book 7, when the issue becomes very relevant again. There is the occasional instance of Crowley using "oh, there might be information here about a potential way home" as an excuse to rope Yuu into an event's story (ie Glorious Masquerade), but nothing meaningful ever comes from it. These are just contrivances to bring Yuu and Grim along for a more immersive self-insert experience.

If you want a boring answer as to why Yuu asks/seems to care so little about going home and stops completely by the start of book 5, I would wager it's the metacontext. Even in books 1 through 4, Yuu going home is mentioned like maybe once and then is dismissed for the rest of the book. You’ll also notice that in these instances where Yuu going home is mentioned, they are almost immediately then used as a springboard to propel the problem of the week onto them to resolve. Yuu going home isn’t a plot point for most of the main story, it’s a plot device to force Yuu into an OB boy’s path.

There is very little urgency granted to finding a way home because you, the player, WANTS to be in this magical world even if Yuu, the actual in-game character, may be uneasy being away from their friends, family, and home world. Yuu's unease is most likely not depicted or not frequently brought up because it would interfere with the player's enjoyment of the escapism to another world. These desires very obviously clash with one another. However, because the game itself is trying to tell you its story, it has to provide a reason (no matter how nonsensical it is) for there to be no progress made in the search (thus keeping Yuu in Twisted Wonderland), and that reason often happens to be Crowley's incompetence. This is not true of all iterations of Yuu (as the light novel has a strong focus on Yuuya’s anxieties about being in a new world), but it must be this way specifically for in-game Yuu since they are the most easy one for players to project into.

If you're looking for a meatier answer, consider this: book 5 is the turning point in the main story. Before book 5, Yuu seems to defer to Crowley for finding a way home. They don't really wonder or investigate into this area on their own. By the start of VDC/SDC training, it's mid to late winter, or about halfway through the year. Given that Yuu is incentivized by the promise of renovations to let the NRC Tribe boys use Ramshackle as their base of operations, I get the impression that maybe Yuu thinks they'll be stuck in Twisted Wonderland for longer than initially anticipated. Rather than an "I give up", it feels like a "boy, this is taking a while so might as well upgrade the accommodations and make myself as comfy as possible while I wait it out" This thought is helped by the fact that book 5 is also the first time when both Yuu and Crowley don't mention them going home, but also nothing disparaging or hopeless is referenced. As I've said before, we still get a flashback from Yuu which is centered on them going home, so it's clearly still a topic on their mind. It's just not consistently shown to us so as to not interfere with players self-inserting or to avoid making the gaming experience not fun by focusing on Yuu's distress or worries.

Many other significant things happen in book 5 which makes it the "turning point": Malleus reveals his true identity to Yuu, Grim finally going a little feral from the blot stones, and Yuu seeing and speaking with Mickey clearly. From there, Yuu starts thinking about the mirror and how it could lead into another world. They begin to take more agency in their own return, later confiding in their friends about Mickey and what he means for them.

Book 6 mostly glosses over Yuu going home because... well, let's be honest, there's a lot more immediately at stake with six students being kidnapped and experimented on. Yuu's focus and concern is on getting them (and especially Grim) back safely. They weren't thinking about themselves or their own situation back then, they were thinking of others.

Going home returns in book 7 because it has story significance once again. Yuu going back to their own world adds to the growing dread and sense of loneliness that our OB boy for the evening, Malleus, feels over Lilia's departure. It helps to push him closer to the brink of snapping. What's more, this contributes to the overall themes and questions that book 7 poses: those of farewells, change, and leaving friends behind. These are sentiments that Ace, Deuce, and Grim discuss in 7-17, and they parallel Malleus's own anxious thoughts. In all previous books, Yuu's own quest to get home is not closely tied to the themes of a particular book, or it simply was not relevant to mention (it would disrupt the ongoing conflict or pacing).

Finally, to more address each of the specific things asked by the asker (since I know the information in this post is sort of all over the place and might be hard to match up to each question):

[Yuu] stopped asking to go home and gave up. Why?

Yuu did not frequently ask about going home to begin with. (Again, likely because on a metatextual level, the story needs an excuse for Yuu, ie the player, being present in Twisted Wonderland and experiencing its happenings.)

At that point, it comes down to individual interpretation as to why, but personally I believe Yuu realized that the solution was more complicated than just poofing up a portal home, so they decided to make themselves comfortable while they waited for updates rather than keep asking only to be constantly disappointed. Later on, events going on around Yuu become too hectic for them to focus on their own wants.

Did [Yuu] just change their mind once they got friends?

Wouldn’t this imply that Yuu didn’t consider Adeuce and Grim “real” friends until the start of book 5??? I just don’t think that’s true; they were friends way before this point, not hanging out with each other for convenience’s sake. Why would they sit together at lunch every day? Why would Yuu try to help Ace make amends with Riddle? And why would Ace defend Yuu when Riddle insults their upbringing? Why would Yuu try to free the idiots of their anemones at the risk of going homeless themselves? Why would Adeuce use public transportation to go all the way from the Queendom of Roses to Sage’s Island because of a SOS text from Yuu? The same logic goes for the Ramshackle Ghosts, who are very friendly with Yuu and Grim. They play games with them, tell them about the school, and even do Yuu’s chores for them while they’re held hostage in Scarabia.

I also think gaining friends isn’t necessarily a strong enough reason for Yuu to renounce their old life and suddenly be committed to staying. Yes, it can be said that this could change depending on individual interpretation of Yuu—but assuming a very basic backstory, a regular person would not be so quick to forgo their old friends, family, etc. I don’t think new friendships are a significant motivator for Yuu no longer asking about home.

Or did they just give up on trying completely until Orthro put it back in their brain?

Yuu didn’t stop thinking about going home just because they stopped asking about it. Post book 4, they are shown to have flashbacks to earlier discussions of going home. Yuu hardly ever expresses thoughts about their original world or wanting to go back (most likely to not break the self-insert immersion of their character), so it’s easy to perceive this as “Yuu gave up completely/Yuu forgot about it until book 7”.

Or did they just gave up on asking adults period?

I believe Crowley is the only adult Yuu really asks about finding a way back. I doubt Yuu actually thinks all adults are as useless in this endeavor as Crowley is, but we aren’t ever shown Yuu communicating in this manner to other adults. Crowley is the only “required” adult to interact with on account of being the headmaster typically forcing you into the plot anyway. In conclusion (I know I keep bringing this point up, but it’s because I truly believe in it), this is all probably done for convenience and/or to allow the player to fantasize and imagine themselves or their own Yuusonas navigating these circumstances. They don't want to constantly keep the story gloomy by having Yuu angst about how they miss home or how badly they want to go back. They want you, the player, to enjoy the world and the people of Twisted Wonderland and never want to leave, even if it may be contradictory to what Yuu themselves fails to express in the narrative. This is 100% intentional, and it's made clear because it ties in very deeply with the themes in book 7, which is when the idea of Yuu going home becomes extremely relevant again. Book 7 creates an analogy between a digital pet that Malleus owns and how sad he is that its lifespan has to end, that the digital pet is just "fiction designed to amuse". This is also true of what Twisted Wonderland (the game) is. The player is in the same circumstances as Malleus, who is too attached to his fiction and doesn't want to let it go.

As much as the game's structure encourages self-inserting, it cannot be denied that, ultimately, the perspective of the player ≠ the perspective of Yuu. The player does not actually have to worry about never returning home or being stuck in a foreign world, at the mercy of strangers (which, if not for entertainment purposes, would be something truly terrifying to deal with). The player is glimpsing into this other world for fun and can step away whenever they want. Yuu can't.

askhdvasoydvuealalf I know this was a lot, but I hope it made sense and properly communicated my thoughts ^^

#twst #twisted wonderland #Malleus Draconia #Dire Crowley #Ace Trappola #Deuce Spade #Riddle Rosehearts #Yuu #Grim #Mickey Mouse #Ortho Shroud #Azul Ashengrotto #Lilia Vanrouge #disney twisted wonderland #disney twst #question #spoilers #notes from the writing raven #Ramshackle Ghosts #twst theory #twisted wonderland theory #twisted wonderland theories #twst theories #twst light novel #twisted wonderland light novel #Kuroki Yuuya #Yuuya Kuroki

[byler-alarmist]

Disclaimer: I am not anti-Vickie by any means. I think Vickie seems very sweet (although there may be something going on with her we don't know) and I will fully support her and Robin if the Duffers can prove to me in S5 why they work together.

That said, I am going to examine the one, glaring issue I have with Rovickie. If you're not put off by that, read on!

So, most of the criticism leveled against Vickie is that we don't know anything about her. That's true; we don't.

However, my main criticism is:

Does Robin know anything about her??

All we hear from Robin in S4 is that Vickie is the girl of her dreams, but we never hear why. In all her gushing/agonizing to Steve, Robin never tells us what about Vickie makes her so special.

Is she smart? Funny? Ambitious? Kind? Is she a pro at playing poker?

Even Tammy Thompson, whose role in S3 was purely offscreen, got a shout out of traits that Robin valued ("she has dreams!").

We can't say the same for Vickie. All we know is:

-she laughed at one of Robin's (Steve's) jokes

-she likes Fast Times

-she talks a lot when nervous

-she possibly likes boobies

And those last two were only figured out by Robin in the final episode of S4.

If Robin's feelings for Vickie are more than mere infatuation based on looks, wouldn't Robin have told us more than the most surface-level things about her?

And if your immediate response to this "well, she just hasn't spent enough one-on-one time with her to know!" .......that's exactly my point.

The writers have shown time and time again that the shallow relationships where tbe couple got into it without really talking or getting to know each other do not last .

I'm reminded of Lucas telling Mike "you're just blind because a girl isn't grossed out by you." 👀

All this in the same season where Robin is spending one-on-one time with Nancy, getting to know her and respect the things that make her "her". Rather than just looks, Robin gets to see Nancy's drive, intellect, leadership and bravery.

She calls her a "genius", says she is "full of surprises", and learns even more about her when Nancy opens up about her relationship inecurities. Robin sees her complexity.

I don't know about you, but to me, this is the core of why Rovickie is not as compelling as a ship. If they are meant to be endgame, why was Robin paired with Nancy all season?

Surely there could've been some plot device to bring Vickie into the fold, just like Max was brought into the Party back in S2.

Vickie could've been trapped with Robin and the older teens after some supernatural things happened at rhe pep rally or other school function and they got separated from the rest, or she could've been related to the Creels and the gang needed to ask her for help. It's a TV show; they can do whatever they want.

Either way, they decided not to involve her in the main plot of the show at all, preventing both Robin and the viewers from getting to know her fully. I believe this was intentional and will have consequences for their relationship in S5.

One final thought- in early S4, Robin tells Steve that she has found the girl of her dreams but can't get the courage to ask her out, whereas Steve goes on a ton of dates but has no idea what he wants.

I think it would be VERY interesting if their roles were actually swapped, i.e. by the end of S4, Robin is the one who doesn't really know what she wants, and Steve is the one who realizes he has found the (person) of his dreams.

#hope this made sense #it wasn't really meant to be a ronance post #but i felt i had to mention that part at the end #st analysis #robin buckley analysis #stranger things analysis #st thoughts #st brainrot #ronance #stranger things #anti rovickie #<-i'm not really but this is so i don't offend ppl who have these kind of takes blocked #robin buckley #vickie stranger things #st vickie #st4 rewatch #tammy thompson #wlw ship #st ships

[hiranospiercing]

shounen ai mangas that should be a part of your reading list if you enjoy reading healthy and plot driven romances- part 1.

I've been reading bl for years now, the reason why i indulged myself into reading this particular genre was simply because shoujo as a genre is too repetitive, most tropes are overused and it's honestly really hard to find good stories once you've finished the easily accessible popular franchises.

boys love is divided into two sub genres, yaoi and shounen ai, I personally do not enjoy reading smut, it's a different story if intimacy plays an important point for the character development of the characters in the story, but i'am not a huge fan of the porn being used as the plot device for the entire manga and hence i won't be including yaoi mangas in this list.

1. Sayonara, Heron.

Sayonara, Heron is one of those mangas that remain ambiguous and non-linear for the majority of the time but gradually intensify itselves once the ending is near without losing it's delicacy, i won't be talking about the plot since i want you to experience this 7 chapter long manga the way i did, without knowing anything about it, but it's simply about family and relationships, the art style is so pretty, the rooftop, the cigarettes, the kisses, everything. I do not see enough people talking about it and maybe you should help me change that.

2. We're still in the spring of life.

Academics, Aerospace and Adorability, everything about this manga is so heart warming, the hesitation in the beginning of a friendship which ends with a comfortable yet passionate relationship, the naps, the math equations and the confessions, this manga is simply about two boys growing together by simultaneously relying on each other. Also the rocket metaphors have my heart, read it to find them out.

3. Our dining table.

I've always been a huge fan of child care as a separate genre on it's own, but this manga is one of the only romance mangas where the child care part of it actually plays a huge role for the development of the characters, it honestly isn't forced like some omegaverse stories rather it's comforting and actually heart warming to read, the food being used as a love language, the friendships and the bonding amidst the family and the main character is beautiful, give it a go if you want to experience legit therapy lol.

4. Blue sky complex.

Blue sky complex is one of the few shounen ai mangas which seems authentic and raw because of the awkwardness of the characters, the relationship between the characters is easily connectable in the sense that you get the insight of how their head actually works and makes those decisions, it explores gay relationships in a very interesting way, and honestly is very close to my heart because well it's the GLASSES GUY X GOOF BALL trope yet again.

5. Yuki no shita no qualia.

Now, this manga vaguely reminds me of sayonara, heron but honestly is a lot more strong with what it wants to explore, it's one of those mangas that will accidentally make you cry because of the beauty of it's characters and the development of their relationship.

"i think you make me kinder," is better than any "i love you".

#bl manga #shounen ai manga #hirano to kagiura #sasaki to miyano #given #doukyuusei #seaside stranger #blue sky complex #our dining table #sayonara heron

[the-cat-and-the-birdie]

We NEED FlowerByte: Addressing the lack of Black Girl Representation in ATSV -

[a MEDIUM length essay addressing how FlowerByte IS NOT a threat to GhostFlower, and how the ship is actually NECESSARY to the ATSV fandom]

and examining the criticism against Miles x Margo:

Remember there's nothing wrong or desperate about people shipping FlowerByte. It's natural, fine, and to be expected.

Because - if you have doubts about FlowerByte - have you ever considered how there's no black girls other than Margo in ATSV? That ISTV features no black girls as reoccurring characters?

That the only two POC female characters - Jess and Rio - are adults in nurturing positions, shown only ever taking care of others?

Up until this point, have you noticed how much black girls are missing from ATSV?

Or did you not realize? Most don't. But black girls do.

Because black girls are one of the only demographics not shown or supported in the ITSV series.

As we know it, we have no young black girl characters that have more than maybe 10 lines. So far we have Gwen's bandmates and Margo.

Black girls are probably the only demographic NOT seeing themselves swinging around.

The only two black women characters are grown women, specifically MOTHER FIGURES. Characters written to aids others through their arcs, saving and comforting in times of need.

That's why I wrote Diane's background as it is. She's a born and raised Black Panther Party member, raise in the meeting house of her local chapter.

She's a black radicalist, and that's the center of her world and character. From her mirroring black disco divas like Diana Ross, to being a Black Panther, I wanted Diane and her world to be unequivocally black.

There's never any scene of a black girl in a Spider-suit, swinging around or saving the day. Not once.

And it's never been mentioned. To most people, it's not a concern.

To most people, the sad reality is - black women aren't a concern. Just side characters.

And that shows. Not only on screen, but in fandom as well.

At no point in ITSV are young black girls given a character in which they can see themselves - not even as background characters, let alone as a romantic interest.

You make think that FlowerByte is silly, because 'they don't really have chemistry, right?'

But there is nothing wrong or silly about black girls wanting to see Miles calling them pretty, or admiring them, or dating them.

Margo truly is the only black girl we even see Miles have a conversation with for the entirety of ATSV - for the entirety of the SERIES thus far.

And chances are - most people reading this didn't notice this. But black girls DO.

Imagine seeing multiple characters of the same race, but different gender as you - but NONE of your gender (nb peeps know what I mean)

Never being called cool, or strong. No gifsets of cool black girls fighting. No black girls in the fanart. Left off posters. Never seen as pretty, never shown as desirable, never having male counterparts consider them.

The message - and damage - it sends to young black girls is clear - even in ATSV.

'You're not a person to be desired or admired. You are a plot device and nothing more.'

It sends the message 'You are not an actual person. You're there to save Gwen, and let Miles escape. After that, get off the screen. Your character will be judged based on how you serve the characters around you. We don't have enough time to flesh you out any further. And we know no one will ask about it.'

Black girls notice how they're one of the only ones who doesn't get a character to wear as a Halloween costume, or as a cosplay. They notice when they see merch and there's none of anyone that looks then them. They notice when their only options are 'genderbent' Miles and Hobie, because most don't see Margo as a main character.

They notice when none of their favorite characters give black girls a second glance, or have crushes on black girls. They notice when the only black women aren't actually stories about BLACK WOMEN. They're stories about white women - with the character being drawn or cast as black.

Example: You'll never see MCU MJ talk about racism or something. Because she's not written as a black girl first. She's written as a MARY-JANE first - and the basis of her story is that and nothing more. Anything about her black identity is seen as at best unnecessary or worse, contradictory to the character of MJ - so her race is left as only a visual element, only a feature of casting, and not a true aspect of her character.

There's literally nothing wrong with Flowerbyte and I admire those that are making works for them.

Black girls deserve every bit of love, and ffs they're CUTE together.

Hobie and Noir get shipped together all the time and they don't even know each other (yet). No one cares. People think it's cute.

But Miles and Margo get shipped together - and suddenly theres a discussion on how 'unlikely' or 'forced' that ship is.

The same with Hobie x Black!readers, or Miles-42 fics - it's often when black women seek to fill their own lack of representation that others even consider them apart of the conversation. And even then - it's to force them back into their place.

'Miles is meant to be with Gwen. That scene meant nothing. They don't have chemistry. You just hate Gwen. You just want them together because she's black'

YEAH, AND? Liking FlowerByte doesn't mean they have it out for Gwen. It means they're desperately looking for representation.

YOU should be calling for that representation. Now that you know, doesn't this lack of representation disturb you? If it doesn't, but FlowerByte does, then I can't help you.

But yeah. Just a friendly reminder, FlowerByte is good for the soul and the fandom.

We as fans of ATSV have to be candid in admitting that the series SEVERELY lacks representation of young black girls, which is A HUGE problem.

The one black female Spider-woman they have had to be CREATED as black, from a white rendition of the character.

So far, Margo is the one and only original black Spider-woman in ATSV.

That needs to change. But until then, let FlowerByte sail on. If you're a Gwiles shipper, you can always double ship. Nothing wrong with it. I suggest maybe you check out some FlowerByte stuff. Maybe you'll like their dynamic, or understand why writers write it a bit more, if not 🤷🏾 hey, you tried.

I think we can all agree though - Miles' got the rizz.

Remember to support black women today. BYE.

#remember shipping flowerbyte is always morally okay #spiderman #spider man #atsv #marvel #across the spiderverse #miles morales #Gwen Stacy #margo Jess #gwiles #spider byte #flowerbyte #flower byte #ghost spider #ghostspider #spider Gwen #spidergwen #spider woman #Spiderwoman

[em-dash-press]

8 Tips for Writing Crime Fiction

People love a good whodunit. It’s why there are so many crime fiction subgenres: detective fiction, courtroom fiction, thrillers, cozy mysteries, historical mysteries, and more. 

If you want to try your hand at a story centralized around a crime, you might wonder if you need detective experience or a lifetime in the actual crime world to make a great short story or novel.

Check out these tips to find out what you need to get started.

Tips for Writing Crime Fiction Stories

1. Read Crime Novels or Short Stories

When someone wants to become great at sports, they find a coach. When they want to start a new career path, they go to school or find a mentor.

If you want to write crime fiction and you’ve never tried it before, treat yourself to some new reading material. You can browse the latest crime novels or short story collections to see what readers can’t get enough of. As you read with the intention of studying the work through your writer’s eyes, you’ll learn how to pull a crime story together.

Pay attention to how the authors build tension, introduce new facts and pull characters together through the primary criminal act in the plot. Note whatever interests you or makes you excited to read the next page.

2. Pick Your Conflict

While you can have multiple types of conflict in a successful story, you should pick a primary conflict as your crime fiction plot device. The crime itself could kick off your story and push everything forward, or it could be what makes your story fall apart on purpose.

Will you write an interpersonal detective story or involve the criminals themselves? Maybe your narrative will center on a victim’s loved one who becomes your protagonist. Your primary conflict will shape your plot and help you create the best protagonist to carry your story.

3. Create Your Crime First

It’s not impossible to write a crime story without detailing the crime itself before you start writing—but it’s much easier. It’s especially important if you’re planning to write a novel because there are so many elements that rely on things like:

Who does the crime?

What is the crime?

When does it happen?

Why does it happen?

Where does it happen?

What’s the motivation for doing this crime (if any)?

What are the repercussions of this crime (for all of your involved characters and their world)?

You’ll spin everything out from the crime, so start by picking an illegal event you want to write about. If you need help, read newspaper articles or browse true crime documentary descriptions to make a list of possibilities.

4. Save Your Most Helpful Research Sources

The realism of crime fiction plays a significant role in interesting your readers. You’ll need to research so much when you know what your plot will hold and what crime it involves.

You might spend weeks, months, or even years reading about things like:

How your protagonist’s world works before the crime and how the crime changes it

How DNA profiling does and doesn’t work

How first responders and cops handle crime scenes

How people are treated by the media when they or their loved one are hurt in a crime

How the legal proceedings afterward work for your protagonist

Once you know how the framework of each element works, you can create plot twists by causing slight breaks in the systems. I highly recommend saving pictures, links, and detailed notes in digital documents like a Google Doc or spreadsheet. You can also use the resources listed here to find other ways to visually save your research.

5. Give Your Antagonist a Motivation

Many crimes happen because people plan them to their advantage. A robber steals money because they have overwhelming medical debt. A killer murders someone who hurt them in the past.

The motivations won’t always be morally right, but they have to exist. Make sure your antagonist has one before and after the crime occurs. How does the event change their motivations or goals? That’s essential to know to keep them grounded within their own realm of reasoning.

If you’re writing a crime that wasn’t intentional, there has to be a motivation carrying your antagonist forward in the aftermath. What’s making them make their decisions regarding how they cover up the crime or distance themselves from it?

Tips to Take Care of Yourself While Writing Crime Fiction

1. Check In With Yourself

It’s so easy to bury your emotional well-being while writing a dark story. You might want to finish it on time or get through a particularly gruesome part of the plot, but pushing your emotional state to the side will only lead to burnout or worse.

Check in with your emotions to see what you need throughout your writing process. Sit quietly by yourself and ask what emotions are present. Let them speak above your story’s needs or your other responsibilities. Then see if those emotions have been lingering for the last week or two. Journaling can help with this, but you can also record your thoughts in the Notes app on your phone or a spare piece of paper by your laptop.

You might need to step away from your work for a bit or write a more laid-back story to give your mind a break. Maybe a good cry will release the pent-up emotions from your hours of research into how cruel humans can become.

Writing about darkness doesn’t mean you have to be trapped in that darkness for however long it takes to write the story.

Take care of yourself first. You’re more important than any story.

If your mind ever starts to feel overwhelmed while you’re writing a story with heavy thematic elements or violent events, please get help. I highly recommend the sliding-scale therapy available through OpenPath (sessions can become as little as $30/hour). You can access licensed therapists in your area, arrange in-person or virtual appointments, and make each session fit within your budget.

2. Take Breaks

Pausing your creative writing for the day or even the week could be what your mind needs. Research shows regular breaks make people more productive because they utilize other areas of our minds and help us return with fresh energy.

It’s also important to take breaks for your emotional well-being. You may not feel as sucked into your antagonist’s (or protagonist’s) violent, dehumanized state of mind by walking away from your manuscript. Talk with someone you love, watch your favorite show, or go to that farmer’s market you’re always talking about.

It’s easier not to get caught up in negativity when you retain control over it through things like breaks.

3. Don’t Sweat Your Search History

Cops won’t show up at your door if you’re googling which artery pumps the most blood and how long it would take to bleed out if that artery opened. That’s not how the internet works.

There are very few odds that police will need your search history while trying to solve a crime one day. However, if it makes you uncomfortable, look into a VPN and use incognito mode (if you’re on Chrome. Firefox users can use Private Browsing.).

You can also avoid specific internet searches by watching true crime documentaries on a similar crime or reading books about similar cases. Do whatever makes you feel comfortable, especially if you’re writing a long-form manuscript that could take months or years to complete.

-----

If you’re interested in writing crime fiction, these are a few ways you can get started. Remember, you don’t have to write a perfect first draft. That’s impossible. All you need to do is start creating your world and use tips like these when you need help along the way.

#crime fiction #writing crime fiction #writeblr #writing tips #writing advice #self care for writers #creative writing #writers of tumblr #writing inspiration #writing help #writing resources #writing community

[literary-illuminati]

2024 Book Review #9 – The Devourers by Indra Das

I was recommended this as an example of a contemporary work where werewolves are actually treated as monstrous and horrifying instead of either romance fodder or one interchangeable variety of supernatural in an urban fantasy kitchen sink. In one sense that was a blatant lie (the monsters are only werewolves in the vaguest sense), but in another one I care about much more it fit the bill perfectly. Funnily enough it basically is a romance (or at least, the overarching framing narrative is), but for once I’m not complaining about that. Excellent read, though does require a bit of a strong stomach.

The framing narrative follows Alok, a history professor in Kolkata whose approached by a mysterious stranger at a festival. The stranger identifies himself as a half-werewolf, an immortal man-eating shapechanger. In between being mysterious and menacing and flirting with Alok, he hires him to transcribe and digitize two historical werewolf manuscripts – journals etched into parchment made from human skin. Those journals are the meat of the narrative, and it rapidly becomes clear they are written by the stranger’s parents; first the ancient norse werewolf who had wandered all the way to the banks of the Yamuna, then the human woman he fell into something like love with and raped as she travels alongside one of his former packmates and hunts him down.

The framing device is the emotional heart of this, and incredibly well interwoven with the manuscript sections. It’s fundamentally a romance, though one somewhat interestingly devoid of real conflict or plot (well, from Alok’s perspective. There’s a whole emotional journey with him going from ‘future food’ to ‘romantic partner’, he just only gets small glimpses of it). There’s I think one real argument or point of conflict between the two of them across the entire book? And maybe one or two points besides that where Alok or their relationship encounters genuine difficulty or danger. Despite that, and despite (or perhaps because of) the ambiguous ending, it all just very much worked for me.

It’s also interesting – and the book does really call this out – that the whole plot is essentially arbitrary. The inciting incident is just a werewolf being angsty and lonesome, and the entire story and all its stakes are strictly interpersonal with nary an epochal revelation or looming existential doom to be seen. It is a sign of how much of my reading diet is genre fiction that this felt like a massive breath of fresh air, I think.

Speaking of love – the book is deeply and intensely preoccupied with the closeness of and overlaps between love and sex and pain and violation and consumption and death. Werewolves consume souls and memories as well as flesh, knowing and even becoming (for a time) those they hunt. This extends to each other as well – regeneration means mating and fighting to the death is an impossibly thin an frequently crossed line, and intimacy and memories are shared by literally allowing someone to take a bit out of you. Izrail kills and consumes both his mother and his father, and this is the only way he ever truly knows either of them. Both he and his father have fallen in love with whole strings of humans across the ages, and each been the ruin of all but one of them. This extends into the use of language as well – I didn’t take notes as I read, but the example that sticks in my mind was the description of one werewolf pressing a mush of chewed flesh into the mouth of another so he might heal as being ‘like a gentle kiss’.

It is just an intensely gory book in general, really. Or not even gory so much as carnal, in the older broader sense. There’s blood and viscera and sweat and sex and piss and shit and tallow made from human fat and game animals eaten bloody and raw. All of it seamlessly intermixed in one richly detailed and incredibly pungent sensory world the book conjures up for you.. This is taken to an extreme whenever the primordial god-monsters that are a shapeshifter’s second soul appears on screen, but even beyond that – like when I say you need a bit of strong stomach to enjoy the book, I really don’t’ just mean in terms of violence.

This ties in a bit with the lack of grand, world-shaking stakes I mentioned but – the book makes excellent use of its period piece sections to really sell this feeling of the weight of history and of being caught up in the wake of events larger than you can perceive. The 17th century sections really nail the sense of the past as its own living, breathing world full of richness and contradictions, rather than just a slate for the present’s psychodrama. Also it’s possibly the first book I’ve ever read which really mentioned the surprisingly widespread and violent history of werewolf hunts in Europe, which I appreciated.

The shapeshifters (werewolves, rakshassa, djinn, ghuls) themselves are absolutely great. Horrifying and disgusting and sublime, with exactly as much detail given as the story needs without succumbing to rpg splatbook syndrome. The idea of werewolves as things which are deliberately created through a(n incredibly violent and traumatizing) ritual process is one I don’t think I’ve seen before? It works here, anyway – though instead of a hereditary curse or contagious infection, it leaves shapeshifters feeling like one of those elite, elevated fraternities who put new inductees through a hell of physical, social and sexual violence for hazing and indoctrination purposes (the usual modern versions being military units, sports teams, and just actual fraternities). Which ties into all those themes of the fine line between love and violence, I suppose.

Or well, not technically fraternity – werewolves are all functionally genderfuild (can take a big nap and wake up looking like whoever they ate last) and while their second selves can fuck I’m not sure either human genders or, like, genital arrangements apply to them. But 3/4 of the werewolves who get any lines are one caricature or another of masculinity and this absolutely informs how the condition and culture are presented. So like, I’ll just go with it.

Anyway, great book! And ‘abuse regeneration by sewing dozens upon dozens of bones and trophies taken from prey into your skin’ is a great look for a werewolf’s human form.

#book review #the devourers #indra das #sff #horror

[call-me-strega]

Ghost Selkie AU Tidbit: Abuela Soliña

I’m still playing with my Ghost Selkie Au, tossing it around like a cat toy trying to decide if and how to write it and one figure that I’ve kinda developed a backstory for is Abuela Soliña. Now said backstory may never see the light of day in the the main story so I thought this’d be a fun tidbit to throw out while I’m still considering the main story overall.

Okay so my inspo for Abuela Soliña, or Señora Mariana Soliña, actually came from a couple of different sources. I took some of the general headcanon from the DCU; Crime Alley has a large population of people of color, specifically Hispanic in the area Jason lived; that Jason has Hispanic heritage; that some of the older women in the alley occasionally feed street kids; and took them to create a person that would be a maternal figure for Jason bc I’m all for giving him Good Adult Influences.

She functions a bit as a plot device taking up the role of Jason’s magical mentor and helps move the story along. However, I wanted to give her more depth so I based her off an actual figure in Spanish history. Once I had decided a witch was the best magical figure to live in Gotham and guide Jason I actually did a bit of research on famous Brujas in folklore and came across María Soliña/Soliño a famous witch from Galicia who inspired the women of her village to fend off Ottoman raiders and survived the Spanish Inquisition without being burned at the stake. She was the main inspiration and namesake of Abuela Mariana Soliña. She did have children, though not much is known about them, so I wanted it to be implied that Mariana was a descendant of María. I wanna say I’m placing her around age 50 when she first met Jason and 65-ish(?) when he returned to Gotham.

Anyways, like I said I didn’t want her to remain a plot device and actually have depth so I kinda started building a backstory for her. Her grandparents or parents were likely immigrants who moved to Gotham from Galicia, Spain back when the city was younger. Back then the different magical communities were a bit more segregated. Vampires stayed clans with vamp doctors and leaders, gargoyles in their own community, fae in their courts, etc., but she did let that stop her. She was always deeply involved in the inter-magical community and was a central figure due to her interest in learning other supernatural cultures of the city.

She eventually grew up to be a full-fledged bruja who sold her magical remedies, charms, potions, etc to any supernatural being willing to pay her. This actually helped her amass a large amount of wealth quickly, especially when her charms, totems, and remedies caught the eyes of superstitious crime bosses across the city. She always insisted to cover her face with a shawl to protect her anonymity and had several mob bosses sign magical contracts agreeing to protect her and her rights to do business thus making her virtually untouchable in the Alley.

I wanted her to be a very strong influence on Jason. She is very strong, sassy, confident, clever, and street smart and taught Jason some of those traits. She actually meets Jason through Catherine. Mariana had many close friends with children though she herself never married. Catherine was actually the daughter of one of her close friends and Mariana was like an aunt to her. When her friend died and Catherine was left on the streets Mariana did what she could but her fear and unreadiness for motherhood held her back.

Catherine was taken in by her uncle’s family and the two were estranged for a time. In that time she falls into addiction due to her uncles on involvement in drug running as well as bad peer influences. She reunites with her Tía Mariana when she marries Willis and reaches out to invite her to the wedding. Even though they are no longer very close, after Catherine becomes pregnant Mariana offers to help out when she can. She lives in a different (read: magical) part of the Alley so she only sees Jason occasionally but makes a point to feed him, and when he discovers her secret, to teach him some basics of the supernatural world to help him get by.

After Catherine’s death Abuela Soliña is distraught. She offers Jason a hot meal and some money she had set aside (Catherine’s old college fund she never got a chance to use) but hesitated to offer a place in her home so soon after the loss. Jason sees her grief and hesitation, mistakenly assuming it’s unwillingness to deal with him full time and runs off. She tries to invite him back a couple of times but he mistakes it as one off events and remains a street kid until Bruce adopts him.

He still occasionally goes back to the Alley to visit her after that, usually as Robin. The first time he went to let her know he was okay she immediately clocked him as Jason but wished him well with Bruce. When he visits she still feeds him and gives him luck and protection charms to help with crime fighting. (Side Note: on one of his visits Jason finds out the Alfred and Mariana know each other and Have Met Before™️. Neither explains how or why)

When Jason dies Mariana grieves him deeply. When he comes back as a revenant she is both relieved and guilty. She’s happy to have the boy back but a revenant’s existence is not a peaceful one. When he searches her up and comes to see her he looks like he’s survived hell and back and he probably has. He seek out her guidance and help and this time Abuela Soliña is more than willing to pass on her vast wealth of knowledge of the supernatural community and its cultures to Jason.

One of the biggest two regrets Mariana holds with her is not adopting Catherine or Jason when they were at their lowest and she had the chance. That’s why as Jason’s rage cools and he begins looking to return to a (semi-)normal life she offers to adopt him as her grandson for real this time. She has a friend who owes her a favor and can fabricate the paper work to turn Jason Peter Todd into Jason “Pedro” Solina (and his mother posthumously Catherine Soliña-Todd). She offers to officially make him her little witchling and he emotionally accepts.

Mariana is still an active and well-known figure in Gotham’s underworld and supernatural community so having her backing gives Red Hood a lot of pull and credibility. Plus his revenant titles increase his claim to fame in the magical community. Red Hood is well loved and “Pedro” is well accepted with in the community. He’s kind of a public figure, bordering minor celebrity due to his connection to famous Bruja and witch doctor, Mariana Soliña. Not that he is aware of that fact.

Lastly I’m gonna tack on some nicknames Jason receives pertaining to his connection with Señora Soliña:

Soliña’s boy (el chico de Soliña)

Little witchling

Pequeño niño brujo or pequeño brujo (little witch boy)

Young brujo

El neito guapo (the handsome grandson)

Alborotador (troublemaker)

Heredero (heir/inheritor, referring to Mariana’s kowledge, wealth, and position in the community)

(P.S I tried my hand at drawing what I think Abuela Soliña would look like but I’m not super confident in it. I think I’m a better writer than drawer, but if you guys actually wanna see the drawing anyway let me know and I’ll make another post with it)

#long post #dc x dp #jason todd #oc: #Mariana Soliña #just a tidbit #oc lore #ghost selkie au #Dead on Main in the au but not this specific post #dead on main

[hazelnut-u-out]

Just coincidentally, I was talking to @dirty-bear-rick-sanchez, and he mentioned the fact that Evil Morty had a ‘Chekov’s Gun’. As soon as I saw the words, my brain immediately made some connections based on the events of ‘Rickmurai Jack’, ‘Full Meta Jackrick’, and ‘Unmortricken.’ 

First of all, I remembered making this post about the metaverse goggles in ‘Full Meta Jackrick.’ In the post, I was talking more about the device labeled ‘Foreshadowing’, which I thought could potentially show up in the future and make the glimpse we get of it in that episode a fun easter egg. Now, my focus is on how the devices and their labels coincide with the events of ‘Unmortricken.’ 

Let’s look at the Devices pictured: 

We have Checkov’s Guns, Foreshadowing, Ticking Clock, and Action Enhancer. (There are other devices that can be seen in the scene that are difficult to read. The one in the corner is labeled ‘Gratuitous Violence’.) Thinking about the events that took place in the Prime fight, these things may have come into play. While we didn’t see the exact Foreshadowing device pictured used in the fight, it did pique my interest that the device seems to be pointed at the Chekov’s Guns display. The Ticking Clock being placed above the Foreshadowing device also made me realize just how much that parallels the use of the Omega Device as it’s shown in ‘Unmortricken’.  Think about it… The reveal of the Omega Device is already being used as a method of Foreshadowing, Slow Mobius was lowered into the Omega Device from above while using his powers to slow the moment down (hence, Ticking Clock being a device used to create suspense), and at the end– when handed over to Evil Morty– the schematics become a Chekov’s Gun with a promise to return. Their placements parallel the events of the fight scene, even down to the blatant Gratuitous Violence! (I’ll admit, I don’t have an obvious placement for Action Enhancer yet, unless you count the Kill Bot drones/giant Diane Bots… I guess Evil Morty does ride one like a motorcycle!)

You don't show an Omega Device without erasing someone important to the audience from infinity, if you know what I mean.

I was having a lot of thoughts, and some of these branched off into different connections about Evil Morty and his exit, especially with the previous assumption/symbolism in mind. He looks at Rick and says the following: 

2 things I thought of:

1.) This feels like a threat, not just an exit.  It makes a lot of sense to interpret this as a future promise of betrayal. The fact that Evil Morty has to remind Morty Prime that they’re not friends makes me think he could come back to specifically stab Morty Prime (or Mortys) in the back, especially since he tends to dislike ‘sellout’ Mortys. Saying he could ‘use’ Rick for being ‘different’ makes me wonder if ‘ending the Rick Experiment’ could be synonymous with putting himself or another Morty in the Omega Device and eliminating the toxic relationship between Ricks and Mortys for good. Does acknowledging Rick is ‘different’ and useful imply that Evil Morty could use another life for leverage using the Omega Device in the future to get C-137 to do what he wants? (Not sure he’d erase himself since he references the vengeful Summers thing, but who knows?)

The events of ‘Full Meta Jackrick’ support this sub-theory, as well. Another post I made after the airing of ‘Full Meta Jackrick’ (here) talked about how I suspected Mr. Twist’s interaction with Morty (where he acknowledges Morty is the plot twist) might have actual weight to it.

If you remember, one of the BIG moments of ‘Full Meta Jackrick’ was this one right here: 

I think Rick emphasizing the importance of Morty’s existence is major foreshadowing. Not to mention, Rick tries to ban Morty from accompanying him to the Prime fight. More acknowledgment that Morty is very important to Rick. Being able to tie all of these elements back to a single episode AND Evil Morty’s arc would work quite well in terms of storytelling. 

2.) What is the ‘Rick Experiment’? I think that the Rick Experiment might just be Morty’s existence. Especially since we know our Rick was a founding father of the Citadel/Curve, it seems plausible that Mortys would be the central ‘Rick Experiment’ (created to be the perfect sidekick; obey them; keep them company; hide their brain waves; prove they could create life across infinity when the Omega Device can destroy it; and– for C-137 and others– there’s the added benefit in the search for Prime). I’ve even wondered who Ricks are trying to hide their brainwaves from while on the CFC, and I think that who might’ve been Prime. This theory would explain why Rick is holding Morty so triumphantly in that photo in Birdperson’s house in ‘Get Schwifty’ AND how Rick knew a Morty baby in general. 

We have to keep in mind that Evil Morty not only told our Morty about the Morty Trade in the first place, but also that he's probably the most knowledgeable (outside of C-137 or what's left of the Council) about the Morty Trade/ Rick Experiment in general, whatever that turns out to be.

This was essentially me throwing theories at a wall to see what sticks, so all of this could be nothing! Just some big food for thought, lol.

#rick and morty #rick sanchez #morty smith #full meta jackrick #unmortricken #rickmurai jack #sorry if this is all over the place- i'm literally writing this while on lunch break for my chronic illness course lmao

[bettsfic]

goooood morning betts! do you have any advice for developing a better grasp of syntax and comfort with sentence complexity? like, REALLY long sentences. i admire the prose of writers that can enfold clause after clause without sounding structurally repetitive; one of my writing pet peeves is when the same sentence structures are used over and over. a lot of my own sentences tend to be shorter and "to the point", and i think getting better at longer ones would help my prose to be more flexible.

in very loose rhetorical terms, this is called hypotaxis (compared to parataxis). what i would do is pick up Lydia Davis's translation of Swann's Way (Proust), open it up to any random page, and pick a really long, meaty paragraph. read it. read it again. then transcribe it either by handwriting it or typing it out. give yourself the physical sensation of creating the sentences you admire most.

repeat with Woolf, Nabokov, Henry James. any book, any paragraph. you don't even have to read the whole book, in fact it's probably better if you don't, if you read it divorced of the tension of the plot.

i actually did this recently with a passage from The Ambassadors:

“What I hate is myself—when I think that one has to take so much, to be happy, out of the lives of others, and that one isn’t happy even then. One does it to cheat one’s self and to stop one’s mouth—but that’s only at the best for a little. The wretched self is always there, always making one somehow a fresh anxiety. What it comes to is that it’s not, that it’s never, a happiness, any happiness at all, to take. The only safe thing is to give. It’s what plays you least false.” Interesting, touching, strikingly sincere as she let these things come from her, she yet puzzled and troubled him—so fine was the quaver of her quietness. He felt what he had felt before with her, that there was always more behind what she showed, and more and more again behind that. “You know so, at least,” she added, “where you are!” “You ought to know it indeed then; for isn’t what you’ve been giving exactly what has brought us together this way? You’ve been making, as I’ve so fully let you know I’ve felt,” Strether said, “the most precious present I’ve ever seen made, and if you can’t sit down peacefully on that performance you are, no doubt, born to torment yourself. But you ought,” he wound up, “to be easy.”

the first time i did an exercise like this was in a workshop with Claire Messud, who printed out a copy of a single paragraph of Sebald, from The Emigrants i think. and we spent an hour and a half dissecting it word by word. at the time i was irritated by it; i thought it was a pedantic exercise. but it wasn't. it helped me learn how to close read, and i've more or less made a career out of my ability to do that.

for those who don't subvocalize when they read, i think reading aloud is important so you can internalize the rhythm of sentences. if you do subvocalize (most of us who learned to read via phonetics subvocalize when we read, which means we "hear" the words in our heads; those who learned to read without phonetics or before phonetics had been introduced to them can just take the meaning of the words in mental silence), start snapping out the rhythm when you find a good phrase or clause. i mean physically snapping. using the above example, "interesting, touching, strikingly sincere" -- find the emphasis of each word: INteresting, TOUCHing, STRIKingly sinCERE. if you repeat it over and over, it starts to become a song. you can hear the drumbeat in it.

and then you have the alliteration of "quaver of her quietness" and "the most precious present." and the paratactic "that it's not, that it's never, a happiness, any happiness at all, to take." and then there's "the wretched self." i don't have a rhetorical device for why that's such a banger, it just is.

if you transcribe a couple hundred sentences that you really admire, then take the time to comb through them and pick out what's beautiful about them, your writing will definitely improve. it's worth it to develop the habit of close reading everything you find beautiful.

#writing advice #prose #style #voice #rhetoric

[nekropsii]

do u have any links to resources about the beta and alpha kids' characterizations and personalities if you have any? i am interested in writing for them and i just wanna know what makes them them iykwim

The Beta + Alpha Kids are... By no means my specialty, as everyone knows, and I personally have zero interest in writing them. That said, I'm pretty sure that most "guides" like that are written by and for writers of lighthearted, canon non-compliant roleplaying, and all the ones that I've seen... Aren't good, and are typically incredibly biased. They definitely tend to want the reader to portray the character in whatever light they see the character in, rather than... How they are in canon. For example, some lean heavily into making Dave a soft, perfect victim, Rose into a tea-drinking lesbian, Jake into a lowkey villain, et cetera.

This is about to get pretty long. It's been a while since I've had to put something under a Read-More... But here we are. Let's get going.

Content Warning: Long, Whole Lot of Rambling about the Technical Aspects of Writing.

There tends to be interjection of headcanons, unnecessary opinions, and ham-fisted attempts to make characters look better or worse than they actually are. Context is missing, sources are missing, so on. Oftentimes when looking at guides to writing characters, I wind up just questioning what comic the writer read, because it doesn't feel as if we read the same one. Their writing and critical thinking skills are often called into question as well, given the way these guides tend to approach characters as a concept.

There's often a distinct failure in being actually analytical or observant, and they tend to view characters more as People than they do... Well, Characters. Which may sound like an odd distinction to make, until you realize that when you're writing a character, you need to understand what role they're fulfilling in a narrative before you focus on who they are as a person and judging their morals. Characters aren't anything more than narrative devices. They're strictly there to drive the plot forward. Yes, since characters tend to be people, of which are often in situations, you tend to judge their morality, ethics, the way they handle their circumstances and other people with average human judgment... But at the end of the day, moral arguments and personhood matter less than what they are meant to do, what they're supposed to represent, and how they're supposed to drive the plot forward. To focus on who and how they are as People- how righteous they are, how much their morals align with yours or those of the real world- is to focus on Form over Function.

Characters are Tools. A tool can be painful to use, or painful to watch in action, but it's still a tool. Sometimes pliers are for pulling teeth, and sometimes they're for twisting wire. You can't effectively pull teeth with a wrench, and you can't effectively hammer a nail with a screwdriver. You could, theoretically, and I'd love to watch someone try, but it's not recommended. It's ineffective. You need to know what a tool is for, how you could use it, and maybe even how you could make your usage of them surprising. A hammer is typically used for driving nails into place. Usually with the head. This doesn't mean you can't drive the nail in with its side, and it doesn't mean you can't use it to break fingers.

What this "Form over Function of a Tool" means in practice is... A lot of "guides" to writing Dave will go over the fact that he is the Ironic Cool Kid who has suffered a lot of Abuse at the hands of Bro Strider, and interject that headcanon of his character arc "being about overcoming Internalized Homophobia and/or Toxic Masculinity" (neither of these are true), but fail to mention that he is essentially a Tutorial Agent, and how his whole character hinges on how he absolutely does not want to be a Main Character. Everything he does is grounded in the fact that he's a Tutorial Agent, and therefore an NPC. He's a regular kid with a rough home life, and wants nothing more than to keep playing his role as just a random NPC. He doesn't want to be a Main Character. He doesn't want to fight, he doesn't want to be in an epic, he just wants to be Some Guy. He wants to be normal, and he wants to be able to be forgotten to the sands of time.

They focus so much on Who he is as a Person that they tend to fail to recognize What he is as a Character. It's not effective. You don't really need to worry about who they are as people. You don't need to focus on the paint job on a tool. You need to know what that tool is, and what it's being used for.

It's best to not consult guides written by other fans. It'd be best if you read through their dialogue yourself, and really dissected them and how they function... Find out what makes them tick.

Luckily, there's a blog out there that does have just about every line of dialogue in Homestuck sorted by character, so that's pretty good for ease of access. Good for you and good for me. I use it all of the time. Here you go.

#homestuck #homestuck analysis #homestuck meta #beta kids #alpha kids #dave strider #rose lalonde #jake english #writing advice #dave.pdf #homestuck.pdf #nekro.pdf #nekro.sms

[bestworstcase]

So I know that "GoL=final boss" is a predominant theory around this corner of the fandom. But admittedly I'm having a bit of trouble wrapping my head around them actually fighting one of the Brothers, especially considering that the last time they tried to fight the Brothers head on, GoD wiped the entire army (and the rest of humanity) in a single blast. And assuming Salem's main goal from the onset is to kill the God of Light, how is she (and RWBY for that matter) meant to go about it?

oh, good, this is something i've been meaning to talk about

because as the fandom has begun to, um, notice that the god of light is not actually the benevolent adjudicator he pretends to be, the idea that the god of light (or the brothers) might be the "final boss" is circulating around more and i keep seeing this sort of objection raised by specifically the handful of other serious analytical types:

"maybe, but the story is built on the conflict between ozma and salem, and the gods are not very interesting, and they're too powerful to fight, so probably not."

and i find this rather baffling because all of this seems very obvious to me, but on the other hand, the sentiment is self-explanatory in a way. i have never seen somebody who thinks this express the idea without including some variant of "i find the brothers a little boring" and what this tells me is that they only consider the gods in relation to salem and ozma's backstory, thinking about them as little more than plot devices used to set up salem and ozma as the main villain and her adversary.

but i don't think that's what the gods are in this story—otherwise there would have been no need for the kids to learn about where the brothers came from before they made remnant. the brothers matter because the conflict between salem and ozma is religious in nature. the plot of rwby is a religious war.

maybe this only seems obvious to me because i think religion in fantasy is interesting in general and i read a lot of epics and folk stories. i don't know. the important thing is that the brothers are gods.

not "all-powerful characters who serve as occasional plot devices but are otherwise distant from the narrative," which is what most people in fandom tend to mean when they say "god." the brothers are gods, beings regarded as divine and worshipped by some of the characters.

divinity is a social construct.

i find the brothers to be interesting characters in their own right, but as gods their function in the narrative, along with the god of animals (who isn't real!) and the blacksmith, is to embody the religious beliefs and ideological stances that define the conflict between salem and ozma. as gods, these characters are expressions of what the important characters believe in.

this is the idea the god of light represents: "humans are pitiable shells of what they once were and need the brothers to make them whole again, but first they need to repent and cleanse themselves of what salem did. if they don't, they deserve annihilation."

this is the idea the god of darkness represents: "creations should not be condemned for the mistakes of their creators, and the god of light's rules benefit no one but himself."

this is the idea the god of animals represents: "humans are remarkable, but it's important to keep an open mind, accept change, embrace diversity, and be true to yourself; otherwise, you will become small-minded, afraid, and hateful, and that will make you cruel."

and this is the idea the blacksmith represents: "balance is not two forces locked in never-ending conflict, but a living breathing thing that grows and changes organically. it can't be created, or restored by force or calculation; it can only be found."

one of these is not like the others.

ozma is dedicated to his mandate, given to him by the god of light, and because the huntsmen academies are a religious institution whose guiding purpose is to safeguard the divine relics until such time as humanity is "united," the main cast of huntresses and huntsmen and their allies are all ultimately serving the god of light.

in the ever after, RWBYJ meet the blacksmith, who tells them a story about the brothers and shares her philosophical beliefs with them. they discover a new perspective.

salem rejected ozma's mandate at once, by quoting a myth about the god of animals ("descendants [of those humans who rejected the change and freedom offered to them by the god of animals] resent [faunus] because we remind them of what they are not and what they never can be" / "why redeem these humans [on behalf of the brothers] when we can replace them [the brothers] with what they could never be?")—after quite literally millions of years believing that humanity can, and should, overthrow the divine order.

so the central narrative conflict is between salem and ozma, but what that conflict is about is whether the god of light's view of humankind is correct. ozma either believes that it is or believes that resisting him is futile; salem believes that the god of light is both wrong and possible to defeat, or at least ignore.

(i think there is a not-insignificant possibility that her Plan A is to destroy the relics, making it impossible to ever invite the brothers back to remnant, but that the presence of the spirits inside the relics will prohibit that. "none of that matters anymore!" and all.)

and, in the most recent volume, we learned that the god of light is a very broken character who has lost his way and desperately needs to heal. the god of darkness probably does not exist anymore (i am almost certain he returned to the tree and ascended), so light has no one to guide him back home. he is also not immortal, just ageless.

here is what the narrative is setting up:

salem is going to win—and her victory is also the god of light's defeat, because she wins by persuading ozma, and everyone else, to join her in rejecting the genocidal ideology underpinning the divine mandate and thus refusing the mandate itself. the only way to win is not to play. she herself will have to change first, by relinquishing her many layers of emotional armor and allowing herself to be vulnerable and honest again, and her opponents will also have to change how they see her, as a real person instead of a fairytale monster. this is the core narrative arc.

then, they will need to make a decision regarding the god of light. the relics can be scattered or destroyed to prevent the day of judgment from ever coming to pass, or they can try to send the god of light back home to the tree. the former is safer, perhaps, but… rwby is a story about trying to save everyone. "sometimes it's worth it all to risk it all and fight for every life." right? confronting the god of light will not even be an option until everyone is on the same page about refusing the mandate, and by that point the conflict is over. they could simply get rid of the relics and carry on with their lives and never think about the god of light again. the only reason to summon him is for his sake.

will any of them want to help him? no.

is it the right thing to do? yes.

i think dealing with him will turn out to be very simple, because the god of darkness is gone and the god of light said that both he and his brother would return to judge humanity. by his own word, he does not have the right to judge humanity alone—and while he may bend his rules, he will not break them. if he returns to find humans and faunus united in opposition to him with salem, he returns to a world that does not belong to him or have any need of him and falls into a trap of his own making.

this will be enough to give him pause. they can try to talk him down, but given that he embodies the fear of change i think they will fail and he will lash out—not with magic, though. what did light do to jabber and to salem to punish them? he lunged and bit or slashed them with his claws.

beware the jabberwock, my son! the jaws that bite, the claws that catch!

<- in the poem 'jabberwocky,' the boy searches for the jabberwock a "long time," then stops to rest under the tumtum tree. there, the jabberwock finds him—and he rather unceremoniously cuts off its head:

one, two! one, two! and through and through the vorpal blade went snicker-snack he left it dead, and with its head he went galumphing back.

(incidently, the jabberwalker is not the jabberwock—he's jabberwocky, the poem, and also a bandersnatch.)

anyway, i think light is going to lose his temper and lunge at salem, and someone (probably ruby) will chop off his head with the sword of destruction when he does. then a smaller, more vulnerable part of him will be exposed (think the curious cat after team rwby slay the "furious" form) and they will talk to him again and send him home.

the fights against cordovin in V6 and the cat in V9 directly foreshadow the shape of this confrontation with the god of light. there is no victory in strength: they won't overpower him, he will resort to violence and that will be his undoing. (remember how ruby cut off tyrian's tail after tyrian reached past her to sting her uncle? yeah.) and then, with his power broken, he'll have a choice to change or not change.

[neonscandal]

jjk having queer-coded villains seems to be an intentional choice. what are your thoughts on this

Anon comin in hot today! I feel like this doesn't really need a spoiler warning though it does detail info about characters yet to be animated so read at your own risk.

To be honest, I wouldn't even say that it's coding, JJK has an assortment of characters with varied identities from our protagonists to our antagonists which includes:

Megumi - a lot of fans interpret his non-gendered answer to what his type is, focusing instead on personality, to mean that he's pansexual.

Mahito - genderless ✨ and/or physically lacking reproductive organs that would typically define gender binary

Tengen - presumably assigned female at birth, has since transcended gender or is more non-binary

Kenjaku - another character who's just.. lived so long that they're just kind of gender fluid? Though, considering their history, intersex may be more appropriate? We know that, as Noritoshi Kamo, he mixed his blood with what would become the cursed womb paintings but she actually consummated with Jin for some extra razzle dazzle

Uraume - canonically they/them

Kirara - assigned male at birth (though I believe canonically referred to as they/them) with an androgynous gender expression

Please note: I don't consider myself an expert on the matter as gender identity, expression and sexual orientation exist on spectrums. Subsequently, if you think any of the above characters belong elsewhere based on canon or headcanon, I get it. If, based on canon, I'm outright incorrect, feel free to drop a comment and I'll edit accordingly.

With the distribution of the above in mind, I don't think it's unilaterally something focused just among the antagonists. Though, ironically, some of my color coding is also debatable at this point, I suppose. I think the more interesting observation is that, with enough time, such labels aren't as binding or lack the need for definition. Like, Tengen has all the time in the world to be whatever they want to be and they simply become. In fact, unrelated but kinda related, you see a similar idea in Hell's Paradise with the mercurial gender fluidity of the Tensens, too. Honestly, that's another show to watch with a curious lens.

All that to say, I think the varied representation is more interesting due to the conversation around the mangaka's own identity. Gege Akutami's anonymity has been shielded by their pen name but, also, I don't believe they have confirmed pronouns. While people argue that they went to an all boys' school previously, they also, during a stint as an assistant on another manga, unveiled themselves with a femme presenting avatar. Seemingly to avoid being defined by visual perception (or to pre-emptively avoid recognition by devastated fans..), they appeared in a video interview dressed as Mechamaru. Couple that with the fact that there is a notable lack of romantic pairings within the story, especially those that would be typical of a shonen story. Arguably, that could leave a lot of Aro and/or Ace characters that I'm too obtuse to have picked up on. In fact, one could interpret Akutami's previous comments about Gojo accordingly.

Subsequently, I don't think the intention is to vilify queerness just because some of the antagonists fit the bill. I think, if anything, there's just representation that isn't necessarily cultivated around "othering" queer characters or using their diversity as a plot line, if that makes any sense? Which isn't just concentrated on the "bad guys". For the most part, these are just subtle realities of the characters... okay, Kenjaku's identity can definitely be charged to the plot though. 👀 Seemingly contrary to what I just said about diversity as a plot device, I'm now having mixed feelings specifically with Kenjaku because their identity does inform the plot but also intrinsically brings nuance to them as a character. The more I think about it, this diversity is actually what humanizes them which, connotatively, still seems like a positive thing. Hm. Maybe I'm a hypocrite? Not sure but I'm curious as to your thoughts so feel free to leave them below 👇🏾

#neon asks #anon asks #gege akutami #jjk #jujutsu kaisen #queerness in media #anime #manga #queerness in anime #akutami gege #kenjaku #jjk tengen #jjk kenjaku #mahito #uraume #jjk kirara #kirara hoshi #hoshi kirara #satoru gojo #megumi fushiguro #fushiguro megumi #gojo satoru

[ellipsae]

Hi, I'm back with another Post-Epilogue design, this time for Guy. I have to admit, I really struggled with this one. Guy's original design has such a clean but distinctive style to it that I just can't quite capture. At first I tried to do a 'work' outfit for when he gets hands-on with fon tech before switching to attempting a formal outfit. The casual jacket-off variation feels more like Guy than the full dressed one though...I'm not too satisfied with this one but there were several design points that I wanted to work in and did at the very least. Maybe I'll revisit this design again down the road.

Anyways, please see under the read more for more design details. !Warning for Spoilers!

-so post-epilogue, I imagine Guy becomes a 'rising star' in noble society after hitting it big by sinking all his wealth in fontech development which quickly became a booming industry in the post-Planet Storm world. All the other nobility are so impressed by Guy's rise in reputation/wealth/smart investment decisions but in reality it's largely just Guy being a really big fontech nerd like usual and funding everything that are really interesting to him and being an early investor. He spends more time than he likes having to attend parties and gatherings but he understands having and maintaining a reputation is important to assert his influence and opinions, especially after all the obstacles he faced getting back his title (I imagine he got judged a lot for his rappig caretaker job and such), plus he's so used to being a servant he doesn't act like most nobles. (He finally graduates from his job as Peony's Rappig Caretaker though.)

-the device in his suspender holster is a fonon counter, it can detect the type and concentration of fonons in the immediate area. (It's a useful tool plot-wise for this AU *winkwink* ) Normally Guy carries it when he's on site, observing fontech excavation, it's helpful for finding power cores.

-in the post-epilogue world, Guy's interest and knowledge about fontech makes him the greatest source of information in the party, in contrast to Jade being the authority on fonic sciences back when fonons were abundant

-I also imagine that many people are still reluctant to adopt fontech in their everyday lives/still stuck on losing the Score and fonic magic so there was not a lot of initial interest. It was also still quite a risk to invest in given a lot of advance tech had to rely on excavated machines from the Dawn Age. In contrast, replicas have no preconceptions about fontech and I imagine Guy helping fledgling replica communities get ahead by sharing and teaching them how to use simple fontech. Since philantrophy/altruism is also part of what nobility does, it makes the other nobles impressed as well.

-I went a little overboard with the gold cording but I really like the idea of the cording being a traditional style of Hod.

-the four leaf clover-like knot is a decorative knot called a mokkou musubi, it carries the meaning of 'perpetuation of one's descendants'. Pere tied it for him with that in mind to revive the House of Gardios.

-the pin brooch on his lapel is the same as the one Marybelle wears on her cravat. I like to think that it's their family crest. In the off-jacket version, Guy has a smaller pin on the collar.

-I really wanted to preserve the curved open window (?) that his vest has in his original design so I ended up putting it as an open back on his jacket

-I went through so many types of coat styles, from like caped trench coats to riding frocks but cycled back to keeping the single-tail back.

-the orange 'jacket' around his waist in the jacket-off version is actually his vest. And the cloth in his pocket is not the cravat from his full dressed version, but I can imagine a funny skit where everyone keeps thinking it is the cravat.

#Tales of #Tales of the Abyss #ellipsart #Post Epilogue ToA AU #I'm so sorry Guy #I spent months on you and this is the best I could do