#that makes no actual sense given the context of the world

[snowyquokka]

HOME

jeongin x fem reader

cw: angst (😈), breakup, kissing, swearing, mutual pining, mentions of cheating, kinda toxic/asshole seungmin (FORGIVE ME), not proof read bc why tf would i do that (im too lazy so my apologies if some of it doesn’t make sense lmfao-)

wc: 3.1k

a.n - so this is not how it was originally supposed to be 😭 it started as a seungmin fic but spiraled into whatever monstrosity this is lmao. everyone thank @solisyeah for the request ily. anywho i hope it’s good <3

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Seungmin furrows his brows as he inspects the photo on his screen. A photo of you with another guy, in his lap with your face nuzzled into the crook of his neck.

Just like you do with Seungmin.

On the very couch he’s sitting on.

At first he thought it was edited, because there’s no way you’d cheat on him, right? But as he took a closer look he just knew it was real.

He was tired, sore, and downright miserable from a rough day at the studio; he had to take way too many breaks for his liking and this picture was just the thing he needed to send him right off the deep end.

He shot up from his spot on the couch so fast it made his head spin, but that didn’t deter him from storming into your bedroom where you were sitting on the bed, aimlessly scrolling through your phone. Once you see his face you can automatically sense something’s wrong.

“Seung?” You tilt your head as you watch him take your apartment key off of his key ring before placing it on your dresser with a clink.

“Seungmin what are you doing?” You jump off of your bed as he slides his shoes on. He runs his fingers through his hair with a frustrated huff.

“I don’t- I think we just need a break. I need a break.” These words were the last thing you imagined to ever come out of his mouth, in this context especially. Or lack there of.

“Wha- why?” Your eyes glaze over with unshed tears that threaten to spill at any given moment. You don’t want to cry in front of him, you’ve always hated having your raw emotions on display like that, especially in such a powerless situation. “Seungmin, talk to me. What the fuck is going on?”

“Don’t play dumb with me. I’m not stupid.” Seungmin shakes his head “Did you really think you could hide it from me?”

“Hide what, Seungmin?”

“You should’ve just fucking left me. Spared my feelings, maybe. But I guess you’re just too selfish for that.”

Without another word he rushes out of the room, leaving you in shambles with nothing else to do but slide to the floor, curl into yourself and let the sobs take over your body.

Seungmin can hear you crying before he even walks out of the front door, causing his heart to clench in his chest and his gut to twist. Standing with his hand just brushing the door handle, he has to physically force himself to press on, to let you go, to accept his reality. The door slams shut behind him and the noise only pushes you further towards the realization that this is actually happening. You aren’t hallucinating, this isn’t some fucked up fever dream or an even more fucked up prank.

You just wish you knew why. No matter how much you try to put the pieces together, you’re always missing something. You can’t think of anything that could’ve set him off. Everything was perfectly normal less than an hour ago, yet all it took was five minutes to trigger the downward spiral of what feels like the end of the world- the end of your world.

-

“What’re you doing back here?” Jeongin slides next to Seungmin - who is still eyeing up the picture on his screen - on the floor. Jeongin nods towards the phone, “What’s that?”

Seungmin huffs and leans his head against the wall behind him, “I honestly don’t fucking know, I don’t even really want to know, actually.”

Jeongin reaches for the phone, pulling it out of Seungmin’s grasp. His lips part in a silent ‘oh’ as he inspects the photo. He’s assuming Seungmin hadn’t even given you a chance to explain solely based on his reaction, in typical Seungmin fashion. Jeongin turns his body to face the other, his face set in an almost disappointed expression.

“I’m going to say this with the utmost respect and I need you to not cause me any bodily harm-” Jeongin sighs before continuing, “You’re a dumbass. Like the dumbest dumbass I think I’ve ever seen. Like paboracha level dumbass. I’m talking-”

“Are you done?” Seungmin groans and squeezes his eyes shut.

“Are you done? God- you just fucked yourself over. If I were you I’d start praying that she’ll still take you back after all this crazy shit.”

“How did I fuck myself oven when she’s the one cheating? Or am I supposed to just forget about that and take the blame for it all like usual? She brought another guy into the same place I spend almost all my time at, and probably fucked hi-” Jeongin slaps his hand over Seungmin’s mouth, effectively silencing him before he could carry on with his bullshit.

“Hyung. Shut up.” The maknae slowly pulls his hand away as Seungmin’s eyebrows shoot upward. “Look I get it, you’re tired, you’re upset, you’re angry bu-”

“Can you fucking blame me? I can’t unsee it. I mean, you see how comfortable she looked with him.” he clenches his fists.

“Will you keep your mouth closed already? You’re killing me here, got a massive migraine now.” Jeongin groans and rubs his temples as he speaks “That picture was taken over a year ago. Before you even knew she existed, hyung. Besides, I know her better than anyone ever will, other than you obviously, which is why I suggest that you get your ass up and go apologize for being such a dumb fuck. Beg for her forgiveness if you gotta. Maybe get on your knees while you’re at it.” he sighs and stands, holding his hand out to Seungmin before pulling him up.

“How do you know she isn’t lying to you? How do you know she isn’t lying about anything else?” Seungmin finally says.

“Because she loves you too much to do that to you. God, have you always been this dense? You seriously need to wake up and realize how stupid you sound.” Jeongin mocks, prompting Seungmin to glare at him one last time before walking out of the studio. All the while unbeknownst to the younger standing with a frown threatening to pull at the corners of his mouth.

“He’s a fucking idiot if he let’s her go over this,” he mutters begrudgingly while he listens to the soft pur of Seungmin’s car in the distance.

-

Almost a week later you’re still waking up with puffy eyes and tear stained cheeks. The first thing you notice is Seungmin’s apartment key still sitting on the dresser untouched. Well, it used to be his. You were really hoping that it was all just a shitty nightmare and that you’d still be tucked in his side with his soft snores being the only sound to fill the room even though it’s days.

You realize what had stirred you awake as another knock fills the almost suffocating silence. You’re half tempted to just ignore it, but something in your gut tells you to answer it.

“Oh, uhm- hi Innie.” you wipe your eyes with the sleeve of your hoodie. Or Seungmins hoodie, rather.

God you need to pull yourself together. How could you not even realize what you were wearing. Fuck.

“Hey,” Jeongin rocks back on his heels somewhat awkwardly, “Can I come in?”

You nod and mumble a soft ‘of course‘ as you move out of the way for him to slip past the threshold and into your apartment while you take a moment to collect yourself, and to put on the most convincing smile you can possibly muster.

“What’s up?” you find a spot on the couch next to him as he scans the room for a second, looking for any signs of whether or not Seungmin actually showed.

“He’s not here, is he?” Jeongin turns to you with sympathetic eyes, finding your own longing for comfort, seemingly pleading him for some sort of consolation.

“N-no but he’ll probably be back so-”

“He’s not coming back, y/n. If he was, it would’ve been days ago.”

Before you can open your mouth to protest, Jeongin has you pulled into his strong chest and tucks your head under his chin gently. “It’s okay, baby. I got you.” he sighs, rubbing small and slow circles on your back just the way he knows you like. He places a small, chaste kiss on the top of your head because he’s learned over the years that the action relaxes you and makes you feel secure.

Jeongin knows you like the back of his hand. Sometimes he thinks he knows you better than he knows himself. He knows your favorite food, your favorite season, your favorite movie. He knows how much you love to read, having periodically skimmed your shelves for books you may have and promptly buying you ones that you haven’t already buried your nose in.

Most importantly, he knows exactly what to say in order to subside your bad moods (he’s well seasoned in this field), and that sometimes you say things you don’t mean yet he never - and will never - hold that against you.

He knows just how much you loved Seungmin, not even wanting to imagine the amount of absolute heartbreak you’re feeling. Despite all this, he can’t help but feel somewhat relieved. You and Seungmin undoubtedly wouldn’t have worked in the long run and that’s exactly what you desire and deserve: a stable, long term relationship where you’d be taken care of and treated like the absolute goddess that Jeongin thinks you are.

He just wishes you give him a chance to treat you like his- more so than he already does now.

“Thank you, In,” you mumble into his chest.

“You don’t need thank me, baby. You know I’m always here.”

You did know that, you’ve always known that. Jeongin doesn’t let you doubt how much he cares for you, he’ll spend every waking moment reminding you if he has to.

You pull back slightly to look into his eyes. “I always end up burdening you with my problems.” Jeongin’s eyes soften at your apology and all he wants to do is hug and kiss and cuddle you until he thinks he’s convinced you enough of his adoration.

But for now all he can do is settle for words, though he can’t help but think it won’t be enough.

“Baby, please don’t be sorry for that. What kind of best friend would I be if I never listened to your complaints or rants?” Calling himself your best friend took more out of him than it should have and he tries to hide his hesitation. Thankfully you hadn’t noticed.

Hearing Jeongin say this makes you realize that he’s treated you better than any boyfriend you’ve ever had. Seungmin never reassured you like Jeongin does. Actually, now that you think about it, Seungmin didn’t do half of the things Jeongin does, even if it was the bare minimum.

He’s always like this, but why does it feel different now?

That’s just his personality, right? There isn’t any hidden meaning behind his words or gestures. Or the way he’s holding you and speaking to you like you’re the most precious thing he’s ever had contact with. The sudden urge to reach out and cup his face is unreal. You just want to make sure you aren’t hallucinating. You wonder how you managed to find such a perfect person who thinks the world of you just as much as you do them. Someone who loves you just as deeply and truly as you do.

Wait what?

You’ve singlehandedly scared and confused yourself all at once now. Obviously you love him and he does you, but it feels as though you love him in a different way. A special way, one that you don’t think you’ve ever felt for anyone. Not even Seungmin, who you once thought was hands down your soulmate.

What you failed to realize, however, was that your soulmate has been here the whole time, and he’s holding you in his arms like he never wants to let you go.

You cut off your train of thought because he doesn’t want you like that and you’re making assumptions that could get you hurt.

Too late.

Another wave of sadness that has nothing to do with what upset you earlier washes over you.

“Baby? Hey, where’d you go?” Baby. Fucking baby. He’s got to stop calling you that. You want to tell him to stop, so why can’t you open your mouth and form those simple words.

“Mhm, ’m okay.” You can’t even bring yourself to put the tiniest bit of distance between your bodies.

You mentally scream at yourself for sounding so noticeably pathetic. He must think you are how could he not when you’re making it so painfully obvious.

“Don’t hide from me, baby. You know you don’t need to hide anything from me.” How ironic.

“I’m not- I just-” you huff and lean your forehead against Jeongin’s chest. God, when did he get so…buff? Has he always been like this?

He pulls your head back to force your gaze to meet his. “What did I tell you, hm? Talk to me baby. I’m all ears.” His arms encircling your body is the last straw before the world comes crashing down on you.

Tears flood your vision and you aren’t even sure as to why you’re crying this time.

Pathetic and dramatic. Great.

Jeongin immediately thinks he’s overstepped now, he took it too far and made you uncomfortable. He removes his hands from you immediately though the action kills him inside, when in reality you want the exact opposite. You want him to pull you closer, you want your chest flush against his to the point where you can feel his heart beating.

“I’m sorry, Innie. I’m sorry.” You finally climb out of his grasp and step away from him. He follows you and with every step he takes forward you move backward until you collide with the wall.

“Why are you sorry when you didn’t do anything wrong? I don’t want you apologizing to me for no reason. If anyone should be apologizing it’s Seungmin, but it’s his fault and his loss, you know that.” You wish Jeongin would stop being so supportive, it’s making it ten times harder to ignore your surfacing issues.

“That’s not the problem, Jeongin.”

Since when did you call him by his full name?

“Then what is it? Is it me? Please I- I just want to help you.”

Your tears have finally halted and you couldn’t be more thankful. You need to be able to properly look into his eyes.

“You can’t help me.”

“You don’t know that.”

“I do.”

“Why are you being so difficult all of a sudden?”

“I’m not.” You cross your arms over your chest.

Jeongin blows out a frustrated huff. “Why can’t you tell me? Is it because Seungmin and I are friends becau-”

“I love you.”

“I know you do, which exactly is why you should be talking to me right now instead of bottling it all up-”

“No, Jeongin. I love you. Not in a friend way, not in a platonic way. I want to kiss you and hold you and-” You’ve worked yourself up so much you have cut yourself off in order to calm down.

Jeongin’s mouth stays agape for a solid five seconds before he even processes what you’ve said. “You love me?”

“Is that not what I just said?” Jeongin has to bite back his smile at your remark but quickly frowns again at the expression on your face. You look regretful, like you wish you never spoke. You’re just waiting for his rejection, willing it to come faster so you he’ll leave and you can wallow in self pity by yourself in the comfort of your bed. You disturbed the peace that was your friendship.

“I- the breakup is still fresh and you aren’t thinking straight, baby. Don’t say things you don’t mean.” Jeongin pleads. Is he trying to convince you or himself?

“But I do mean it Jeongin. I really do and I can’t believe it took me this fucking long to figure it out and I wish I’d never caught feelings because this is just a shit show now.”

He goes to speak but you quickly interrupt him. “I’m sorry, I shouldn’t have said anything. Just forget about it,” you expect him to leave, or to at least move away. But he doesn’t, instead he leans in closer to your ear and whispers in a hushed tone,

“Didn’t I just tell you to stop apologizing, baby?” The way he says ‘baby’ sends shivers down your spine, it’s different than the other times he’s called you that. This time his words actually do have a hidden meaning. His breath ghosts the shell of your ear for a moment before he slowly pulls back to look at you. As if he hasn’t studied your every feature to the point where you’re engraved in his mind.

“You have to promise me that you actually understand what you’re saying and that it isn’t the post breakup neediness talking.” He looks at you sternly and fully expecting a response in words.

You, on the other hand, have absolutely no intention of speaking as you instead grab him by the collar of his hoodie before pressing your lips against his.

Kissing your best friend is much more intimate than you ever expected. He kisses you like it’s not the first time and with more than enough purpose. It starts off aggressive but soon simmers down into a delightfully slow and passionate rhythm and as cliche as it sounds, it’s in this moment that you finally know where you belong, where your home is.

No matter the circumstances, Jeongin always left a space for you in his heart. His subconscious wouldn’t let him fill it with someone else even if he wanted (which he didn’t), forever waiting for you to find the spot with your name written all over it and stay there for as long as you may live.

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tags: @skzstarnet @godslino @myseungsunglove @seungseung-minmin @azuna-sz @chanyeolsrealwife

#snowyquokka #skzstarnet #stray kids #skz #skz imagines #skz x reader #skz scenarios #skz reader insert #skz reactions #yang jeongin x reader #yang jeongin #skz angst #stray kids angst #i.n skz #skz imagine #kim seungmin #stray kids scenarios #stray kids imagines #skz fic #stray kids fic #stray kids i.n #i.n angst #i.n x reader #stray kids x reader

[emmabirb8]

I've been an Invader Zim fan since 2011.

I was 15-16 at that time, and though I did thoroughly enjoy the show, I was not mature enough to really get it. Sure, it was funny, but I didn't pick up on the subtleties and style of humor beyond the surface level. I liked the wackiness and the characters, but I SURELY wasn't at a point of being able to deconstruct themes or analyze character motivations and narratives (like I very much enjoy doing now). I remember discovering an artist on DeviantArt who drew cute ZaGr stuff, so that was the pairing I liked too. I didn't think too deeply about much, and honestly, I don't think the majority of fans (if they were my age or younger, that is) did either. Everything was taken as dumb and silly for the most part, and that IS truthfully a major component of the show itself.

Getting back into Invader Zim within this past year though, I'm looking at it through a WILDLY different lens. I like Invader Zim for what it is and how it's intended to be perceived. I like that the show is meant to be dark, satirical, and tragic at the same time that it's silly, chaotic, and nonsensical. Almost everything that happens onscreen is written in to be funny above all else. (I've mentioned before that I've been watching Jhonen's Twitch streams for a while now, and I have a MUCH better understanding of his sense of humor bc of that. IZ makes way more sense if you can sorta see things from JV's perspective, lol.)

But at the same time, I also like Invader Zim for what it offers in terms of interpretation and what it can imply (intentionally or not). There is genuinely SO MUCH DEPTH to this dorky lil cartoon that a casual viewer wouldn't immediately pick up on. And a lot of that depth, I think, was not woven in purposely. The show itself was never meant to be taken so seriously. Nevertheless, I'm constantly fascinated by what IZ implies about good and evil, the nature of general society, and especially how it goes about demonstrating the devastating effects of social isolation and bullying. Meta for this series is always pretty damn *chef's kiss.* And what's even more interesting is how viewers manipulate canon to expand upon this world and these characters.

Given that I've come to understand Invader Zim better, I've also grown very fond of ZaDr. Now, while I wouldn't want to see this pairing happen in canon material, I love the potential it possesses in transformative contexts.

In reality, I get that these characters were intended to have a deep hatred for one another and a never-ending rivalry for the sake of comedy and not much else. It's an extraterrestrial perpetually throwing hands with a 12 year old because he's incompetent and his plans often fail. And that's funny. That's the point. But beyond that, canonically, these are two characters who are mirrors of each other; they're both treated like garbage by their respective peers, and they both crave acknowledgment, validation, and a sense of purpose. Throughout their story, they find they're only able to obtain these things from each other, so as a consequence of their similar personalities, they become utterly, unhingedly obsessed with each other (to a sometimes unhealthy degree). They are undeniably forever intertwined by design of how the show is set up.

And because of that, shipping of these characters was, frankly, inevitable in fandom spaces. I myself fell victim to their appeal too. (Sorry, Jhonen. 😅)

I'm not gonna go into any discourse surrounding this pairing because there's already PLENTY of that to go around online. Everyone has their own opinion on the subject, and that's fine. I respect that. Point is, even though I understand and appreciate what Zim and Dib are supposed to be in the context of the show, I also enjoy the idea of them as friends and romantic partners outside of and beyond the confines of canon.

And that's something that I think many fans who are biased toward ZaDr would also agree with! Actually, I'd say the majority of people who ship characters in ANY media would concur. We like the idea of seeing how specific relationships could develop over time and/or within different settings and circumstances. It's NOT always about wanting to see a relationship unfold on screen or in fan works strictly adhering to canon. It's about stretching canon, or in some cases, scratching canon entirely however you see fit! Who cares! It's fiction!

For me personally, I enjoy ZaDr because its attributes fall into so many trope categories that I've come to adore over the years (ones that I either wasn't aware of when I was younger, or that I didn't enjoy in the same intensity as I do now). Zim and Dib are, or could be, depending on context:

Codependent toxic soulmates

Human/non-human

Shared history

Classic enemies to lovers (or, as I often prefer it, enemies to friends to lovers)

Bicker couple

Battle couple, when put in the right setting for it

Violence as a love language

Smol and tol

The wild card paired with the rational one, the best part about this being that sometimes the more rational one is Dib, and sometimes it's Zim bc they're both a special flavor of insane

Make each other worse/stupider when together, tho oddly, they also kinda bring out the best in each other too

And, my personal favorites, the potential for hurt/comfort and angst with a happy ending, with the comfort and happiness aspects ultimately coming from each other

I like what these characters could be, to and for each other, apart from their roles in the show.

I would never want to explore a dynamic between Zim and Dib that goes beyond "frenemies" territory in canon (because that doesn't fit what the show is, and I do appreciate the integrity of Jhonen's vision). The subtle foundation for them is there, it's just that it can't really work unless a few key details are changed or manipulated, and, well...

I sure as hell like exploring every bit of that expanded potential in fan works because it's fun to imagine the various directions things could go if they were different!

This isn't me, like... trying to defend my (or anyone else's) enjoyment of this particular ship or trying to convince people to like it. Or the show for that matter! To each their own, truly. And I'm obv aware of the controversy ZaDr often incites and why. Everyone has valid reasons for liking OR not liking it, and I accept differing viewpoints on it. It's a touchy, nuanced subject to be sure. But this isn't about that.

I don't really know what this is, actually, aside from a very long very weird essay, lol. I just wanted to process why and how all of this works for me with my changed perspective from when I was first introduced to Invader Zim in my teens up until now.

It's strange, looking back. I didn't get ZaDr years ago. But I do now, and so much of it, at least from my perspective, has to do with taking the crumbs present in canon (that are undeniably there, whether you choose to acknowledge them or not, and whether they're intentional or not) and absolutely running with them to the ends of your own wild imagination.

#invader zim #invader zim meta #zadr #iz zadr #zim #dib membrane #my posts #this is... A LOT but i just needed to work thru it for my own sanity lol #said it before and i'll say it again: pls utilize the tag blocking function however you need to bc i KNOW this can be very Yikes for some #but at the same time this is my blog and i'm gonna do what i want :P

[frownyalfred]

How do you do your writing? Start writing the story and figure out world building aspects after? Or deep dive into world building than write the story? Personally I write the story then take breaks to write down world building as it comes

Was curious, cause your abo au is very thought out with world building

I think it definitely comes easier with the a/b/o AU since there's a lot of pre-established options within the trope, so I'm usually just mixing and matching the ones I like most, or subverting the ones I don't.

My biggest goal when worldbuilding is to avoid the "this is the world I live in and here are the rules" monologue that sometimes pops up in published novels. I only want stuff to come up that's actually being discussed and thought about by the characters in the scene -- and unless it's being used as a device, they're not usually narrating the rules of the world they live in to themselves at any point. (Again, it depends on the book and if it's being used as a literary device)

So Bruce, in a given scene, wouldn't necessarily be thinking about the fact that omegas use scent blockers to conceal their scents, and wouldn't be thinking about how that works (such as application preference, etc) but he would, theoretically, be thinking about how the new scent blocker he just bought isn't working right, and that he might need to use more than normal. So we get some slightly more subtle worldbuilding within the vein of the scene.

People go back and forth on the "show don't tell" advice in writing, and I know it's contentious. But I'm a proponent of showing worldbuilding whenever possible, instead of outright telling. Whenever I find myself writing a thought/piece of dialogue that seems like it would benefit the reader more than the characters, I take a second to check if I'm telling instead of showing.

Sometimes that means not explaining something until it pops up in the story. An example of this would be in my Mandalorian/Star Wars batfamily AU, where we really don't learn a lot about the batkids' positions or the hierarchy of the Wayne compound until Clark has a chance to talk with various family members and learn.

I think there is definitely an instinct to overexplain off the bat, and it's not always wrong. But if our first scene with Bruce was spent with him thinking over the hierarchy of his own compound, that wouldn't make a lot of sense -- he already knows what it is. He's got other things to focus on in that scene.

If it's helpful, I also put together lists sometimes of worldbuilding ideas that don't necessarily make it into the work itself, but help add context while I'm writing. I did this a lot with Borderline, when I was trying to write the Court/LoA into the fic. A lot of those details didn't make it in for the reader to see, but they affected what I wrote.

That's just my take on it, and like I said, there's a lot of conflicting ideas about this. And exceptions, of course.

#asks #anon #writing #writing things #fic #fanfic #fanfiction #myfic #theresurrectionist #a/b/o mention #a/b/o tw

[peccaberry]

Pecca i want you to know that your interpretation of Volo as an angsty teenager is groundbreaking. His course of action in pla makes so much more sense when you read him as, like, 16 having his first religious crisis

THANK YOU FOR UNDERSTANDING ME 😭

I feel like a really easy thing to forget is that we don't actually know how long the events of PLA go on for

We tend to think of Pokemon characters as locked in on one age I think instead of being actual people who live and grow. I've never really liked that bc it kinda feels unnatural to me. I wanna see these characters live their lives and not be trapped in a timeless bubble of "the narrative".

It's pretty ambiguous how long exactly you're out surveying and given the day/night cycle I don't think it would be ridiculous to say you could be at it for a year in game time before you actually fight Volo depending on if you take your time trying to complete the Pokedex or not.

So to me I think Volo was a 17ish year old teenager who got too lost in the sauce and as he got older his plans got bigger and his Pokemon got stronger and eventually he felt ready to take you and the world on.

I think the idea of a post-pla Volo is so fascinating to me because I want to be able to explore the impact of how something like that would affect such a young guy. He's not like Cyrus who was canonically 27 with his own established organization to help him, he was a younger guy with a dream that he could make the world better that had his own delusions of grandeur crushed at their highest point. The only people he had to fall back on were his Pokemon.

Idk I'm pro Volo learning and maturing somewhat in the years after that. I'm not saying he immediately realizes the error of his ways or anything, especially with his attitude, but I want to believe he could find peace eventually because at some point we all have to or die trying, you know?

Using context clues about how he feels the world is a bad place (and even if we wanna reach into Pokemas and analyze "use people before they use you") he's probably not had very good relationships with the world around him.

I feel like a lot of teenagers especially can relate to feeling like the world is suddenly a lot worse of a place than they thought it was. It's scary and frustrating and relationships with your peers get a lot more complicated. Wanting to put an end to it isn't an uncommon feeling, most of us just aren't given access to powerful Pokemon and the ability to fight god irl at that age.

But that's why the Pokemon world is better 🙏

#peccaspeaks #wow sorry for the volo rant #i have big volo feelings #thank you for the ask though!!!❤️🥺 #this was fun #pokemon #pokemon legends of arceus #volo pokemon #pokemon volo #pla volo #pokemon wielder volo #asks

[juliaaadoodles]

🔃

#cooler #Lieutenant #Detective #disco elysium #the uncalled-for swap au #that makes no actual sense given the context of the world #but maybe i like drawing a skrunkly feral kim #love the idea that harry is a single dad in this world and is doing his best to recover from a previously addiction-driven lifestyle #he wants to do good by his kid(s) #and kim has completely gone off the rails #can and will punch a civilian for being racist and i mean go absolutely nuts #he also CONSTANTLY smokes and does not wear corrective glasses in order to look that much #Harry probably figures it out at some point and they manage to find a pair of used cheaters someplace that he Jamrock Shuffles #also he calls Kim when hes angry with him and when he's not #cleaned up Harry reminds me of Paul Blart?? the mall cop??? and now i cannot unsee it #anyway #harry du bois #kim kitsuragi #oh no these tags got weird because i forgot what quotations do #well #consider it a puzzle

[inamindfarfaraway]

I love how Spider-Man: Into the Spider-Verse said “Anyone can be Spider-Man”. I love how it inspired everyone to imagine their own Spider-People, saving the day in their own universes, with all kinds of cool, interesting personalities and aesthetics and mutations and life stories and relationships. We all put pieces of our soul into these homemade heroes. We had fun. We found community. And then Spider-Man: Across the Spider-Verse said, “Wow, great job! You’ve really taken our message to heart. Well, get ready for even more of everything you liked from the first movie and a new message to complement the first. Anyone can be Spider-Man… and anyone can be pulled into a cult.”

So now we all have to contemplate whether our lovingly crafted heroes would ever be on Team Mandatory Trauma Because Martyr Complex or not and why.

#i for one made a second spider-person (diving belle) right after watching atsv #who IS on team mandatory trauma for reasons that make sense given her moral code and its context #her world has eldritch horror elements that give some of her enemies a sharper edge #and she has had to use lethal force #in a ‘stays true to her strict morality based around compassion nonetheless’ way like wonder woman #she’s used to tough utilitarian decisions #she’s learned that no hero can save everyone from intensely traumatic brushes with mind-breaking corruptive power #so when miguel gave his big speech she was ‘yeah okay. i get it. sometimes shit just happens’ #it was actually very enjoyable going through the character creation process #from the starting point of ‘WOULD chase miles and restrain him by force’ #and then working toward ‘otherwise a genuinely good person and superhero who could be the star of her own series’ #atsv #spider man across the spider verse #across the spiderverse #spider-verse #smatsv #sm: atsv #spiderverse #spidersona

[rubiatinctorum]

I get where people are coming from when they say Diaspro in Winx lost the plot for the sake of being turned into a minor villain and that's all once Valtor enabled her to do what she did in S3, but I feel like that was a reasonable narrative choice. It's only a love potion at that point (while I could go on all day about the ethics of love potions, of course, a later season has her straight up trying to do direct murder). She's a noble, guards will do her dirty work, and I understand that she would feel like getting revenge on Bloom while getting back together with Sky. She was promised a position — romantic AND political — she nearly had and then it was taken from under her by a random fairy who wasn't even "supposed" to be in the running. I don't think what she did was nice, but it makes sense for the story and for her character for her to want to reclaim her position in the way she did. Sky's love was an accessory, in part, to her political ascension, and thus he is again rendered accessory and accomplice by the love spell. And, sending guards after threats seems to be the thing to do in the magical universe if you're a disgruntled noble, so it's probably not unfamiliar for Diaspro to have seen occur before or want to do. It's not a uniquely rotten response any more than Radius' behaviour towards the monster (who, he didn't know it, was Stella). If we fault her for this action rather than only the intention behind it, we need to examine how the worlds in Winx Club deal with threats to their monarchs in general, which sounds interesting but I frankly don't have time for tonight. Diaspro did wrong, but she didn't do uniquely wrong there, and Eraklyon has the punitive security structures in place to have enabled that.

Diaspro's later appearances seem to flatten her motives and the symbolism behind why her relationship with Sky was important and what she does about it (who cares what Diaspro's political aims are and how her status might reflect how she deals with problems, the audience needs to see Bloom thrown into fire I guess), but I feel like seasons 4-8 weren't really that good anyway, so I can't even claim this as a fault of the writers doing Diaspro specifically wrong instead of them just doing the whole show wrong at that point. It might be related, and it might be a coincidence, but a lot of the writing choices seemed to become more flat to me right around when the art shifted to that lifeless godawful Flash simulacrum of S1-3's art.

Also like... idk but if some long-haired hottie wizard in a sick coat and contemplative eyeshadow told me he could help me get my promised chance at both romantic and political success back, I'd at least hear him out, yknow, see what he had to say (<- don't trust me I simp for Valtor)

#rubia speaks #winx club #winx #diaspro #winx diaspro #not supporting women's wrongs but parsing them in context #actually you know what. love u bloom but i have a diaspro apologism streak in me #love potion BAD AWFUL ROTTEN but the guards? we need to interrogate the king about that one i think #and make ur guards pass a basic test on the obvious visual difference between a fairy and a witch idk :/ #is diaspro entitled to sky's love and the political position of being his wife? no. does it narratively make sense for her to be mad? yeah #is her position of having been given the expectation of a certain status and result and having it 'undermined' a compelling one? yeah! #i think there's a lot to say about expectation vs reality and the burden of unfulfilled unsealed commitments in Diaspro's situation #and the societal structures in Eraklyon that allow her to act outside of due process because she's big mad as long as the king is cool w he #how the nobles protect their own class and interests even when Sky is acting unusual from VALTOR'S FUCKING MAGIC DAMN #now if she could just drop the magical coercion and the classism and the witch slander.......... #interesting how that arc makes Bloom almost an underdog when... babe.... ur a Princess. #Sky's not out here marrying a commoner he's courting a princess of another world #.... sociopolitical views of Domino by other worlds? Bloom acting vs not acting the part of how a princess acts on Eraklyon? #Bloom as a Lesser Princess because of the condition of Domino? #Association with the Winx and Alfea in general making of her a symbolic commoner? #much to consider about Bloom's 'underdog' role compared to Diaspro in the Eraklyon Engagement Era

[magentagalaxies]

i really want to start making a table collecting statistics on the audience demographics i'll perform my aubrey material for (like what generation most of the audience is, whether i'm performing in a predominantly queer space, etc.) and how well the jokes land bc like. i need to collect more data points before i can properly present my findings but the results so far have been fascinating

#again i do not have enough performance experiences to make any definitive claims about who ''aubery's audience'' is #but i find it funny that any time i show my aubrey material one-on-one to a queer gen z person #they're always like ''i love it but straight people will definitely hate it or not get it'' #and i get the inclination to be like. ''i like this thing so people like me will like this thing'' #and cishet society seems so polarized w/r/t queer topics it's like. the assumption makes sense #however. whenever i've done an aubrey performance in front of an audience that's predominantly queer and gen z #i've actually received a primarily negative response!! and somehow straight people have never given me shit for my aubrey material #(''well straight allys don't count'' i told some of my aubrey jokes to a joe rogan dudebro and he enjoyed them) #(which yeah maybe could be a mark against my comedy but i like to think i opened his mind a bit at the very least) #i really want to test my aubrey monologues in front of a primarily gen x/boomer audience #bc so far i only have actual performance experience in front of gen z or millennials #and the older people i've told jokes to individually or shown videos of my stuff have really liked it #luckily paul has said a goal for when i'm in town this summer is to get me to perform my aubrey stuff in as many different places as possib #for both queer audiences and non-queer audiences so i can gauge reactions since i don't want to be confined to one demographic #so i'll get a lot of data points this summer #@ paul get me a performing slot at senior citizen pride lmao these are my people #(shoutout to paul going ''jess stop collecting the old homos!'' last time i was in town) #(and when i imitated him and was like ''old gay men are not your pokemon!'' bellini was like ''ok but they may be your audience'') #also one data point i really want to see the variation on is how my one specific joke plays in these different demographics #bc i have a joke that like. it's literally not even about AIDS and doesn't punch down at all #i literally say ''if you're gay and over the age of 50 you could violate the geneva convention and i'd still be like support our troops'' #like obviously being like ''you have been through hell so i will let you get away with literal war crimes you deserve ultimate immunity'' #BUT. in the line right before the quote i use the phrase ''AIDS generation'' not as a derogatory term but being like. #this horrible thing impacted the entire generation y'know? and bellini and scott and their friends call themselves that it's just the term #but when i said the phrase ''AIDS generation'' in front of my gen z audience i heard gasps and felt like they all hated me #and when i did the same line in front of millennials it wasn't quite as striking but their eyes did widen #like i was suddenly an ''edgy comedian''. but like this is a part of our history and it does inform the story i'm telling #the story i'm telling is comedic but it's grounded in this real world context #and i'm like. @ the audience who was offended: when was the last time any of y'all spoke to a gay man over the age of 50 #bc bellini loves that section of the monologue and was offended that people would even take offense to that phrase

[wishingeel]

Grimwalker basilisks?

This might be a reach, but I realized this yesterday. In “Yesterday’s Lie,” Vee explained that basilisks were extinct (just as people assumed), but were “brought back.” Unfortunately we never got to dive into that (probably because the show was shortened), but I thought of a potential explanation. The basilisks could, maybe, be grimwalkers.

I mean, if they really did go extinct, then bringing them back would either involve cloning or raising the dead, and grimwalkers are a combination of that. Plus, our good ol’ boy Belos has already been doing that with the golden guards.

Also, grimwalkers don’t seem to have a “required” base form. The recipe book showed a human-like form, but it would make more sense for that to be of a witch, since grimwalkers are a Demon Realm thing. That means that the process HAS to work on multiple species because it also worked on Caleb, who was a human. Therefore, it should be possible to make grimwalkers of other species as well.

The only issue/roadblock with this theory that I see is the magenta eyes bit. But I think there are ways of getting around that (e.g.: different kinds of grimwalkers have different weird eye colors; these basilisks could have been second-generation or something and technically not grimwalkers but their ancestors were, etc. etc.).

#the existence of grimwalkers and basilisks is also giving me jurassic park vibes lol #and okay like... another explanation could totally be that basilisks were not ACTUALLY extinct #and there was like one left and belos cloned it or took its children idk #but that's not as interesting to me as it's more common to see #'plot twist this extinct species actually has one left hidden in the Secret Cave World and we just didn't know it' etc #i think this could just make sense given the context of the show #belos created both the basilisks and the golden guards so why not use the same process? #toh #the owl house #sam says

[jacksintention]

Automaton angel

#WHAT A CONCEPT #The imagery is soooo good #Anyway I caved. I've read the chapter without further context. I couldn't help it I loved the concepts it played with #Very Rufus the thing the guy with the brooch did at first. The panel of the archivist girl was so Lacie I could have kicked the wall #The play on the significance of names and existence and the role one plays in the world/notions of self I loved as well #And that is so 👀 when later on it's mentioned off-hand that... Olivier is actually named Romeo? Have I understood that well? #It was so cute that little throwback with him and Roland as kids. And that he knew of Astolfo meeting a friend but didn't tell due to that #And wow there was rape everywhere in this chapter? I didn't know Astolfo had been raped. I had heard about his... mother? sister? #But not him. I mean‚ maybe they were victims of sex-rape‚ but the talk about several vampires biting him and drinking his blood #and how the mark never leaves and how dirty and maimed in ever sense he feels sure seems to imply that at least metaphorically #The angel-like being also having gone through that is interesting again in its potential implications and ramifications. The very concept #Anyway... That pretty guy telling Astolfo that he knows what he's going through and recommending him to kill himself #because life is hell from that moment on... Wow he was so real and seemed so... sincere? But who knows. He sure is alive #That + the angel-like figure's words make it so intriguing given his position as chasseur? paladin? whatever the name was #Anyway I loved that he said that in any case #I liked Olivier on the verge of getting violent with the guy who was being a dick too I can't help it. Leave the kid alone #I'm rambling but yeah I loved the concept around this angel-like being both aesthetically and narratively for what we got #I talk too much #I should probably delete this later

[malkaviian]

mica and caspian thoughts........

#mostly thinking about the fact that cas was -madly in love- with mica; but i wouldn't consider him -obsessed- per se. #i would categorize obsession as it being unhealthy. i don't think he ever had unhealthy feelings towards mica; but he was his entire world. #and given their context i think it makes sense. they lived together for 5 years. mica gave him a place to stay away from his shitty family. #cas considered him some sort of savior and was very grateful for his existence. so yeah. #i also think about how mica's treatment towards caspian was different than how he treats everyone else; in a good way (for mica's standards #mica has a massive crush on zachary; but he annoys him and makes him as uncomfortable as possible for fun. he acts really childish with him #but with cas he acted surprisingly mature despite not really reciprocating his feelings. when caspian confessed he stayed silent #because he didn't wanted to upset him but also didn't wanted to lie to him. when mica's entire thing is feeding from people's suffering. #to be fair he did feed from his pain when cas vented to him and by being there when cas was self-harming; but he was also comforting him. #in a weird way. #i like them a lot actually #oc talk #sh tw

[inbarfink]

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

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

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

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

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

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

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

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

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

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

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

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

#adventure time #atimers #fionna and cake #fionna & cake #at #at spoilers #fac spoilers #f&c #f&c spoilers #simon petrikov #the winter king #adventure time fionna and cake #adventure time spoilers #adventure time simon #fionna and cake spoilers #fionna and cake series #fionna and cake simon #fionna and cake show #fionna campbell #fionna the human #adventure time fionna #cake the cat #adventure time cake #cake adventure time #simon adventure time #scarab #the scarab #fionna and cake scarab

[ellionwrites]

“Why not just let Gojo take care of everything himself from now on?”

This reads a bit like a throwaway line from Nanami, but it’s actually a meaningful thing for Gege to insert here.

For context, Nanami asks Geto this question after coming back from the failed mission where Haibara was killed.

This scene is also immediately before Geto's village massacre / defection scenes.

This is the very next set of panels: (It’s the continuation of the thought Geto started above, then cuts to to the mission where he kills the 112 non-sorcerers)

So, what Nanami says to Geto is the last thing we see anyone at Jujutsu high saying to Geto before he makes that final decision to turn away from being a Jujutsu sorcerer.

Geto’s thought about the “mountain of corpses” is the last internal monologue / insight we get into his mental state before defecting.

In Geto’s mind, who is in the hypothetical ‘mountain of corpses' created by Jujutsu society?

- - - - Read more cut - - - -

Let’s start by acknowledging that Nanami’s suggestion to make Gojo handle all the missions actually makes sense, from a strictly pragmatic perspective. (Why let weaker sorcerers die doing something that Gojo could easily handle?)

Even before Gojo learned Reverse Curse / Hollow Purple, he (and Geto) were given the Star Plasma Vessel mission on special request from Tengen. Presumably because they were the strongest sorcerers.

It’s reasonable to assume the higher ups in Jujutsu society have thought about optimizing the mission assignments this way. And, by this point, Gojo is getting sent on missions, alone, without Geto.

But even though he’s the strongest sorcerer, Gojo is not unbeatable. He’s not even as powerful as he’ll become by JJK0+

Here’s what Gojo told Geto just days before the mission where Haibara dies:

So Geto knows that Gojo can’t always run limitless, and he hasn’t perfected domain expansion. Gojo can’t protect himself against poisons.

Geto also already knows what happens when Gojo’s power is overestimated - when he is overworked and spread too thin. Last time that happened, he got stabbed through the chest by Toji.

“Impossible!” is Geto’s reaction, because he’d been lulled into a false sense of security, thinking that Gojo was untouchable.

Nanami suggesting that Gojo handle all the curses is sort of like Toji putting up a bounty for Riko. Each weak assassin wasn’t enough to take Gojo down on their own, but en masse they could distract and wear him down.

The same would be possible with a never ending onslaught of curses to exorcise. Then, all it takes is one mistake before Gojo's corpse is added to the mountain.

Don't get me wrong, Geto had many reasons for defecting, and Nanako, Mimiko, and Riko’s treatment by non-sorcerers were probably the main ones.

But Geto must have also believed that the world he was trying to build for Jujutsu sorcerers was a better, safer world for Gojo, too.

#to be totally clear: this is not Nanami’s fault #jjk #jujutsu kaisen #satosugu #gojo satoru #geto suguru #gojo x geto #stsg #satoru gojo #suguru geto #satosugu analysis #satosugu canon #my jjk thoughts

[howtofightwrite]

I love picking at plot holes like scabs so i want my fight scenes to be as realistic as possible. However. There’s a creature in my head that says a buster sword is SICK AS HELL. What modifications would it need to be even remotely wieldable while still keeping its central appeal (huge sword big blade cool and sexy) intact?

You’ve made a mistake. You mistook suspension of disbelief for realism. This is a common problem that gets in the way of a lot of fantasy and sci-fi authors. So, don’t worry. It isn’t just you. However, realism vs believability is where your hangup is. Stories don’t need to be realistic to be believable.

The quick and dirty (and possibly unhelpful) answer is to create a world that justifies your buster sword, not a buster sword that’s trying to justify itself in a world that doesn’t want it. You step back from the sword itself and away from a world where reality dictates that it’s too heavy, too clumsy, too slow, and ask yourself: “in what type of world does this thing make sense?” And there’s about a billion different ways to create that.

The hangup with the realistic argument is that all of fiction is a lie. Good or bad, that’s what stories are. They can be very compelling, addicting, manipulative, feel incredibly good, and still be fake. The goal of a creator isn’t just to create stories that are believable, but for your audience to want to believe in them. Storytelling is always a joint venture between you and your reader. You are the salesperson asking your audience to come along for the ride. To keep their attention, you’ve got to spin up a good yarn. Build trust. The world has to feel right, but it doesn’t have to be right. Reasonable, not right. The goal is to take a cool idea and work backwards to how your society got here so that when seen from an outside perspective, the choice ultimately looks like a reasonable conclusion given the surrounding context. One of the better ways to build your reasonable conclusions is by studying the history of technological invention from the beginning to the midpoint rather than starting with the end point—the results.

History is full of weird, wacky, wild attempts and failures at creation. You’re not the first person to look at a human sized sword and wonder if it could, in fact, hit good. Or, really, better than swords that currently exist. Or, fulfill a battlefield role the sword was currently not occupying. Or, as we like to say, have real battlefield applications. The Claymore, the Zwhihander, the Zhanmadao are all real weapons that saw real, if not necessarily extensive, use. Like all weapons, they were specialized tools meant for particular battlefield uses. In this case, mainly as anti-cavalry support.

Ask yourself, why? Not just, why would I want it? Ask, why would I use it?

What actual purpose does the big cool blade serve beyond looking big and cool? What function does it fill on the battlefield? Why use the big cool blade instead of other weapons? What does it do better? What are some offsets which might account for the massive size? Technology? Superhuman enhancements, mystical or otherwise? Gravitic fields? Magic? Why is the big cool blade better suited to ensuring a character’s survival? What advantages does it provide? What is its practical value to warriors within your setting?

The initial defensive reaction is that we don’t need a reason because we have the Rule of Cool. That could be the reason, but I challenge you to go deeper. Go deeper than, “this was the weapon my character was trained to use.” The followup question is: why were they trained to use it?

In the real world, we can answer these questions both from a personal and from a larger social perspective. We may not be able to answer whether we’d use a gun, but we understand why humanity developed guns, why we use guns, and the purpose they serve both for personal protection and in their military applications. The answers don’t necessarily need to be good or smart. What matters is that an answer exists to feed your audience. When your reader starts struggling to believe, they begin to ask questions, they pick at the fabric of the narrative trying to figure out why their mind has rejected the story they were previously enjoying. What we, the writer, want to create is a chain of logic underpinning the narrative and its world. This way, when questions are asked, a reasonable answer is ready and waiting. While we won’t win over everyone, trust that your audience wants to believe. Trust that they’re smart enough to figure it out without being spoon fed. That way, you won’t fall into the trap of infodumping.

Worldbuilding always involves a lot more happening under the surface than ever makes it onto the page. Your characters will be the ones to demonstrate and act on the internal logic that’s been created for them without needing a billion questions to lead us from Point A to Point B.

If we look at human history in a wide view, we find that weapons are a fairly steady march forward that matches a civilization’s technological growth. We keep what works and discards what doesn’t. The crossbow replaced the bow as the main form of artillery in martial combat, but we still kept the bow. The bow still had practical applications. Guns eventually replaced the crossbow just like they replaced the sword, but it actually took a very long time. We had functional firearms in the Middle Ages.

Ease of Use

Ease of Training

Lethality

From a military standpoint, these are the three most important aspects for widespread adoption of any weapon. Easy to use. Easy to train. Lethal. The longer it takes to train a soldier on a weapon the more time your army is losing out on using that soldier and the more effective the weapon needs to be in order to justify its expense. Why give your soldier a big cool sword if they’ll never get close enough to reach the forward line to make the assault? Why have them use the big cool sword if operating the laser cannon is more efficient, effective, and keeps them alive longer? In the coldness of battlefield calculus, it’s often better to have cheap, efficient units rather than more expensive ones that might be more lethal but take longer to produce. No matter how good they are, you’re eventually going to lose them. Therefore, easy replaceability becomes a factor.

If you can answer those questions (and the myriad of other similar ones) you won’t just have a weapon, you’ll have a world. You’ll have more than a justification, you’ll have battlefield strategy, tactics, and a greater understanding of how the average layman characters in your setting beyond your main character approach warfare and possibly a technological history. You might even have several functional armies.

Ultimately, this is a game of value versus cost. Most settings that use big cool swords sacrifice ease of use and ease of training to amp up lethality. The weapon having a specialized function or only being usable by a specialized unit helps if that unit’s battlefield effectiveness is justified. Or, you could just have a weird technological outlier where its effectiveness doesn’t quite justify its cost even if the individual warrior is effective. A good example of this is in shounen anime where one character has a specialty that no one else has, a really cool, effective weapon that never appears anywhere else, because the length of training, high skill floor, and finicky nature of its use make it difficult to justify widespread adoption.

The danger is assuming there’s a right answer. There isn’t one. The value in learning the rules of real world violence is so you can break them. This way you can tell the difference between the vital rules necessary for suspending disbelief and don’t accidentally break the ones you needed to keep your audience invested.

-Michi

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#writing reference #writing advice #writing tips #michi answers #how to fight write

[brayneworms]

prompt: l lawliet + food play + pink

wc. 2.8k. gn!reader, foodplay, virgin!l, handjobs, sliiiight come eating, reader is a wet cat in a cardboard box kinda, safe sane and consensual, no real power dynamics.

L contextualises things in the way he sees the world.

Strings of numbers, statistics, behavioural patterns that he's memorised to a 'T' until he can tell guilt from the aversion of an eye or fury from the remnants of nails pressed into the palm of someone's hand. It's why maybe something like sex or desire is a struggle for him. It's not that he doesn't understand it, it's more like he doesn't see the—the need for it, or whatever. You chalk it up to him being extremely busy and also probably totally asexual and don't think about it.

(Don't think about it much.)

It sort of surprises you that it's you he corners with his questions about. Maybe he's more embarrassed than he lets on—as it is, he looks cool as a cucumber save for the faintest shade of pink across his cheekbones. There's no way he would escape a conversation about it from anyone on the squad without a degree of ragging. Misa would squeal like a pig if L dared to broach the topic with her, you're sure. Matsuda would blush bright red and trip over all his words, and Aizawa would probably stare at him like he'd set his firstborn on fire.

And Light is Light. He probably knows little more than L, for all the airs he puts on.

So it's you he comes to. When it first starts, you think it has something to do with a case or lead he's hunting. Tell me, have you had sex before?

Perched like a frog, licking whipped cream off his finger. You don't know if he's doing to be provocative or not; don't know which is worse, that he's aware of what he's doing or not.

"This isn't exactly proper workplace conversation L."

A flicker of a smile. Cheeky, omniscient. "Feel free to report me to HR, in that case."

You do answer—honestly and concisely, if not with a shade of awkwardness. He's essentially your boss. But L seems so far removed from the worlds of sexuality and desire that it seems harmless, occupational, and eventually it stops feeling embarrassing. Out of nowhere—what is the purpose of restrains in an intimate context? Why do you think some people like to feel as though they have no control in the bedroom? Would you say that visual pornography has given watchers unrealistic expectations of actual intercourse?

One night, the two of you alone in front of a big glowing screen, turning to him and asking. "Why do you ask me this stuff, anyway? Is it for a case?"

"No," he says neutrally. A quick glance from his dark eyes you could almost describe as coy. "I'm just... curious."

"Curious," you echo, deadpan. "You?"

"Does that surprise you?" he murmurs. You almost feel that your honest answer—yes—would be insulting now, so instead you just shrug and mumble something incoherent under your breath. "You're not completely wrong. I thought having a better understanding of things like sex and power dynamics would be beneficial in the long run. Most people have a greater knowledge of it than me, which—puts me at a disadvantage." He says these last words with an air of revulsion, as though the very concept of knowing less than someone sours in his mouth, and you chuckle at his childishness.

"That makes sense." You pause. Wonder if you're reading this all wrong, then barrel ahead anyway. "Wouldn't actually experiencing it for yourself lend a better understanding than anything else, though?"

L's eyebrow raises. His smile has vanished, leaving him bug-eyed and unreadable. "What are you suggesting?"

He's not stupid, and you're not subtle. He knows exactly what you were suggesting. The fact that he's trying to get you to go into more detail rather than firing you on the spot is probably a good sign, and further than you expected to get. You squirm in your seat.

"You know. It's like being told about how something feels rather than knowing," you say awkwardly. "I'm just—can I ask—"

"It only seems fair," L says slowly. "After I've been badgering you with my own questions for so long." His chair spins; he rests his wrists on his rucked-up knees, fingers steepled in front of him. "Please."

Hot-faced, you spin your chair aimlessly. "Okay, well, uh—have you? I mean, before?"

L hesitates before he shakes his head, an almost imperceptible twitch that has his dark hair floating. You swallow the sudden large dry lump in your throat.

"Okay. So. Probably somewhere to start," you mumble.

L seems to consider this. "Would you be willing?"

You don't have the right to be surprised, with all the dancing around the subject, but you are, still. You choke on your spit and fly around to look at him, which is a mistake. His gaze is so dark and intense, and you think he can see right through you before you even open your mouth to answer.

"I'm not—" you stammer, with no idea what you're going to say. "I mean—"

"I had assumed you would be," L goes on calmly, but you catch the slight flicker of his eyes, a ghost of uncertainty that makes your chest squeeze. "If I have read your responses incorrectly, though, feel free to forget I asked. I can guarantee no awkwardness tomorrow."

"It's not that," you blurt. L blinks at you, go on. "It's just... do you have any idea what you're, you know. Into? Where to start?"

L's eyes flicker, the barest furrow knitted between his brows. You can tell he hasn't thought too hard about it. "What would you suggest?" he asks, curling his long fingers over his knees.

You swallow. "Well... anything you like the idea of, I guess. Something familiar, to ease you into it."

L's eyes roll over to his desk, where a perfectly glistening slice of strawberry cake waits for him. Pink sponge and halved red berries, topped with pale pink cream. "Familiar," he echoes. "I may have a suggestion."

-

So you feed L a strawberry just to get started.

Hold it up. It's distinctly awkward; L just stares at it for a moment, the berry dusted with frosting that glistens between your fingers. You tell him, "If you're not comfortable with this, sex is probably going to be—"

He leans forward and plucks the fruit from between your fingers; you feel the barest ghosting of teeth, the sweep of his tongue sharp and curious against the pads of your fingers before he leans back again. You watch the motions of his jaw and throat as he chews and swallows. Pins you with his headlamp stare, wide and dark.

You deconstruct the strawberry cake carefully, removing the berries and setting them to the side. Cast a look over at him. "Take off your shirt?"

L twists the hem of this shirt for a few moments before removing it. It feels so strange to see him devoid of clothing, like a knight removing their armour. Pale ribs, pinched waist. He's not whipcord-thin like you had imagined—there's lean muscle packed under the skin, his stomach flat and somewhat soft. It flexes almost nervously when you look at it. He reclines back on his bed without being told, bracing his weight onto his elbows, legs dangling off the side.

"You sure about all this?" you ask, glancing from the smooth planes of his white skin—shit—to the plate of crumbling pink dessert. "Didn't think you'd be into, you know. All the mess."

"I have a shower," L says reflexively.

You take that as permission to approach with the plate. You place the strawberry halves in a red dotted line, starting at his clavicle, watching him shiver and flex at the cold touch. Down—one at the bottom of his ribs, one above his bellybutton, one at his naval just above the low sling of his jeans. He's started to flush, prettily pink down his chest. It makes you slightly dizzy.

"Okay. So. Okay." You try not to feel so nervous, but it's more like you feel out of place, or time, or space. It feels surreal, basically. Standing between L's legs with your fingers stained pink from fruit and frosting. Him looking up at you like that, all big dark round eyes and slightly parted lips. Damn it. You take a deep, steadying breath. "Okay, so, I'll start now if you're okay. And just say if you don't want—if you want to stop, or if you don't like anything, just say, okay?"

"I understand the basic premises of consent, if that's what you're trying to affirm." The words are all L, but there's an element of breathlessness to them.

"Just making sure we're clear," you mutter. You lean forward and smooth a palm over his collarbones. They're sharp, they jut up to meet your hand like cut diamond, and you hear and see his breath hitch, which is slightly intoxicating. His skin is warmer and softer than you thought it would be. You run your hands over his shoulders and neck, which he squirms away from with a wrinkled nose.

"No neck?" you ask.

He shakes his head. So no neck.

Once you're done exploring this part of his body, you lean forward, close your lips around the strawberry and bite the end of it, sinking your teeth into the flesh. Pink juice runs down your chin; L's eyes follow it, transfixed, as you tilt your head forward and push your mouthful against his lips. They part unquestioningly, and you push the strawberry into his mouth with your tongue. Your lips brush together, tantalising and sweet with sugar. A mimic of a kiss, a palimpsest of intimacy. You don't want to overwhelm him, anyway.

This goes on; your hands over his chest next, the soft pectorals. An experimental brush of your thumb over his left nipple that makes his whole body shudder. He's so sensitive, reacting to every prod and touch and tweak with a jerk and a shiver. Gooseflesh blooms up his skin, pebbling his nipples, and when you tweak the other one gently he lets out a choked sound.

Finding the strawberry nestled under his ribs. Taking it between your teeth and passing it to him. His face gets pinker with each one. Stomach, concave, flexing with every hard breath. A ticklish spot over his belly button. Strawberry, bite, pass. The flex of his jaw as he chews.

Fingers over his waist, indenting the skin as much as you dare. You try not to think of how easily he would bruise. Brushing your touch over his lower abdomen makes his breath catch again. You find the strawberry, hold it between your lips. L cranes his neck, searching this time—he thinks he knows the game, has memorised the steps, found the pattern, the sequence. He doesn't know that the best sex is the unpredictable kind. This time, you press your lips against him and when your tongue pushes the strawberry into his mouth it stays there. His lips part, slack against yours, either in shock or inexperience. You allow yourself the briefest twirl of your tongue against his before pulling back with a wet pop.

L stares at you as you retreat. The strawberries leave pale pink residue on his skin. Pulling back fully reveals the hardness between his legs, pushing up against the dark denim of his jeans. He grunts when your eyes land on it, either out of embarrassment or frustration. You swallow and its like sandpaper.

"Still want me to...?"

"I have not changed my mind," he replies, slightly hoarsely and a beat slower than usual. You shrug, smooth your hands over the tent at his crotch, and he whines. It's the most searing noise you've pulled from him yet, and all from some halfhearted palming over the jeans. It sends a thrill zipping through you, hot and addicting. His arms shake with the weight of holding himself up, neck craning to follow as you sink to your knees between his legs.

You unzip him, pop the button, and he groans slightly at the freedom from the constraints of his clothes. He's fully hard, straining against his dark underwear. You experiment, rubbing at the tip, feeling for the wet spot, and he keens and thrashes, losing his stability and crashing to the mattress. He makes a frustrated noise just after, as though cursing himself for his own lack of control.

"That—" he swallows hard, breathes shakily. "That feels..."

Your hand hovers. "Am I stopping?"

"No, I don't..." He scrambles. L scrambles over his words. "Please, continue."

You stroke him over his underwear for a few concentrated minutes, mostly enjoying the way he twitches and huffs and occasionally makes soft, whiny noises, the way he starts to rut his hips against your hand. No technique, no rhythm, just some sort of baseless desire that you find incredibly hot. There's almost a frustration to it that makes you want to laugh—of course there would be nothing more agonising to someone like L than seeing what he wanted so close to him but being unable to accomplish it himself.

When he starts gritting his teeth, you pull his boxers down to his thighs and he makes a choking, embarrassed sound. When you wrap your fingers around his cock for the first time, finding it velvety-soft and leaking, his eyes roll back and his hips arch into the loose wet tunnel of your hand. "Oh," is all he says. Small and soft like he's surprised. His neck twists and his mouth presses into the starched white sheets. "Oh," he says again as your fist moves slowly, stroking with intent, up and down. He's not overly big, fits nicely in your hand, makes swiping over the head where the pre beads with your thumb nice and convenient. And you love the way he shudders and thrashes when you do it.

"How does that feel?" Your voice is lower than you remember it being. L cracks a bleary eye open; his face is flushed bright pink now, a flush that bleeds all the way down his chest, blending in with the strawberry stains.

"It feels," he starts, before his brow pinches. "I—I am not sure how to—how to describe..."

"It's okay," you tell him. His thighs shake, flexing against the edge of the mattress. When he tips his head back the cords in his pretty throat bulge, so biteable. "You can come whenever."

"I wasn't—oh," he gasps, squirming. "I wasn't aware I n-needed your—permission, oh."

"Yeah, well," you say intelligently, a little struck dumb by the sight before you. "Just making sure we're on the same page."

"A-and what page is that?" he pants, thrusting his hips messily into your hand. He's so fucking sensitive that you swear you can see his eyes growing shiny.

"The one where I help you out, so don't be a brat," you murmur. L laughs breathlessly, trying, you think, to summon some retort. You twist your fist around him and it died, half-formed in his brain, his eyes rolling back and fingers flexing hard in the sheets.

After another minute, he reaches out and grabs your wrist hard enough to bruise. He doesn't say it—can't, maybe. But you know. Your pace speeds up just a touch and he honest to god moans, spilling out of him soft and breathy before he comes, streaking over his stomach in pearly arcs. You watch him flinch at the contact, fingers slipping on your wrist. His chest flexes—in, out, in, out.

You collect a big scoop of pink frosting on your finger and dip it in the come starting to cool between his pecs before pressing it to his lips. L's brow wrinkles, startled—but he opens his lips and lets your fingers pass into the hot cavern of his mouth. Like a cat he licks your finger clean, pointed pink tongue prodding with no technique or flourish, just something steadfast, something stubborn.

You do him the dignity of tucking his softened cock back into his underwear and zipping up his jeans. Unsure how to proceed until L sits up rather abruptly. His hair is even more tousled from his tossing and turning as he reaches for a tissue to wipe himself down.

He looks at you. "I understand it's customary to offer some sort of equivalent exchange in these circumstances." A pause whilst he gathers his breath. "You'll have to forgive me. I'm not quite feeling up to the task."

His tone is normal, if a little shaky. You rock back on your heels. "Did you like it?"

L blinks at you. "My curiosity has been sated," he says, carefully. "Yes, I believe I did enjoy it."

Well, that's a relief if nothing else. The pink remnants of the strawberry cake it on the plate; the shade matches his blush.

#death note x reader #l lawliet x reader #l lawliet smut #death note smut #🫀.scribes #dom!reader #gn!reader

[ewingstan]

Going into Ward, one of the things that interested me is that pretty much everyone who read it, no matter what the felt about it as a whole, seemed to like what it did with Tattletale and incorporate it into their understanding of the character. To a certain extent this makes sense, outside of Amy people's problems with Worm usually aren't that characterization had been changed. But few other aspects of Ward have been talked about with so much relative positivity, or influenced so much retroactive analysis of Worm.

After reading her interlude, I'm starting to understand why.

From the bat we're given blunt and effective portrayals of how alone Lisa feels. Half of her descriptions of other characters focused on how they reminded her of people she's lost. The Heartbroken are primarily described by the ways they do and don't resemble Alec. Aiden by how he does and doesn't resemble Taylor. Imp and Rachel get mentioned but don't get to make an appearance at all, furthering the effect—reminders of her closest connections are everywhere, but the connections themselves are nowhere. She's left with the "expanded Undersiders," and is painfully aware of how they either dislike her or will never form a close connection with her.

There's a lot more emphasis here on how her power is a separate entity than there was in Lisa's Worm interlude. She's snarking at it, talking about it as something that interjects, drawing a clear divide in her head between what it figures out and what she figures out. Is that her knowledge of its nature developing, or simply a new way of looking at how it always worked?

The framing in the passage above seems to suggest that its encouraging her to distance herself from others, pushing her to interact but specifically feeding her information that will prevent close connections. Questions of agency and identity aside, I do like this as an aspect of powers-as-coping-mechanisms: she was triggered by failing to save someone she was close to, not recognizing the signs that he was unwell. Her power helps her see the signs she couldn't before, but it also seems to try to prevent those close connections from forming so she can't be hurt the same way. Not that its successful. Can't stop betting on losing dogs and all.

What she calls people internally is interesting. I figured she had been calling Sveta "Garotte" earlier to needle her, but she continues to call her that in her own thoughts, as does her power. Valkyrie gets to be "Valkyrie," and Vicky isn't called a cape name at all. There's a few ways to interpret this; I'm tempted to say that Lisa sees Victoria as a relic of pre-Gold Morning days, and sees Sveta largely in that context. Though I also feel like there's some refusal to see her or Rain as people who are separate from what they've done in the past. A lot of the comments I've read while reading the last few chapters are people debating whether she should've gone "white-hat," and I get the sense that she sees something dishonest in that. Leaving behind the things you've done isn't something she can do—even Lisa Wilbourn can't leave behind the failures of Sarah Livsey.

That might be something to think about in the context of Victoria claiming Tattletale is awful because she represents "giving up on something better." Its kind of baffling in that context; many people have pointed out that cutting the number of overdoses in half was way better than anything the heroes ever did, but Victoria resents that TT saw merely halving it as acceptable. She prefers methods that highlight a certain attitude towards a problem over methods that are effective at dealing with a problem. Having zero tolerance for overdoses and being able to do fuck-all about it becomes preferable to halving it, because not giving up on an ideal world is better than actually making the world better. As little regard as I have for Victoria's position, it seems that the text is giving it some credence by positioning Lisa not just as pursuing the methods that will make an actual difference, but also as rejecting the idea of "something better." Sveta can't be more than Garotte, overdose rates can be halved but not lowered further. Its weirdly reifying of Victoria's position, making Lisa a foil to it rather than a reflection of an entirely unrelated worldview.

There's a few team leaders in the parahumans-verse who get characterized as encouraging and benefiting from chaos within their ranks. Jack Slash had a self-image of himself as a master manipulator who knew just how to keep the Nine at each others throats to keep them in line, though of course his power was pulling heavy duty there. Trickster exulted in sowing chaos, but while he could use it to his advantage when working alone it explicitly got in the way of the Travellers as a whole during their operations. Lisa incorporates aspects of both; she seems to be cultivating a "this chaos is all part of my design" air for Faultline and Victoria while actually always being on the cusp of losing control of her own team. It seems less like something she's doing deliberately and more like something she has to deal with, even if she later frames it as part of preparing Aiden or something similar.

Man, her relationship with Aiden. First explicit mention of Taylor we've had since the beginning and its for a blunt confirmation that she sees herself as failing Taylor in the same way she failed Rex, and is terrified of doing with Aiden. It feels both like she's holding him at arms length and that she's desperate for a close connection with him.

#lisa wilbourn #wardblr #wildbow #parahumans #leo says #leo reads ward