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moonit3 · 7 months

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hii could i please get a part 2 of the yandere apocalypse survivor x reader? i love so much you could say im obsessed!! <33

of course you can! honestly i was already thinking in writing a second part and your request only made me more energetic to write it! i decided to write it like a story instead of the headcanons from the previously part. also, keep in mind this post contain noncon, so be aware of it! pt.1 here

SURVIVORS pt.2

➥ warnings/notices: yandere themes, nsfw, noncon oral, threats, gn! reader, obsession, male genitalia, reader! submissive, yandere! dominant, blood, rough, mentioned murders, reader is tied up and unable to escape, reader gets hit once.

➥ yandere apocalypse survivor x gn! reader

➥ synopsis: theo shows his true self and now you face the consequences of letting him inside.

➥ a/n: i consider this as my darkest post that i released, so be careful approaching this one, okay? don’t force yourself to read it if any of the warnings make you uncomfortable.

father was right. you shouldn’t have let anyone inside the bunker.

“t-theo!” with little strength in your body, you try to hold him back, creating a small distance between his thing to enter your hole. it’s inevitable that he will do it, but there is enough hope that he won’t do it today. “We can talk about it! Just wait—“

he slaps you, it’s hurts like hell. the expression on his face scares you, staring at you like you were nothing but a mere toy to his amusement. theo never saw you as a friend, has he? the duct he takes out of his pockets says all, he uses it to ties your hands.

this is getting worse every second goes by, but what can you do to fight him? you look across the bedroom to try to find anything to use against him, a knife, glass or something else to open the bunker’s door to escape. its doesn’t matter that creatures are outside to kill you, at least, you won’t be near theo.

however, you don’t see nothing that could help you escape from him, not a single glass bottle nor the small blade that you always put in the nightstand. he planned this, oh god. you are stupid to think this happened without a reason behind.

“now, now…don’t think of escaping from me, [name].” he made you kneel in the cold floor, making your skin shiver and how he holds you chin to look directly to his sharp eyes doesn’t help either. “you are mine, understand? from now on, you will live under my guidance and don’t ever think of stepping out of this bunker, now that you’ve become my love.”

“im sorry?” this wasn’t meant to be speak out loud, but you let it escape in the last second. you expected him to yell, maybe another slap, but he just caresses your [h/c] with a sickly smile on the lips. he brings your face closer to his.

“don’t worry, sweetie.” he said, moving your head to face the bulge on his pants, its growing large just because you are staring at it in a mixed of surprise and fear. “i know you are inexperienced in love. you have been for so long that you don’t understand how humans act with the person they are in love, but im here to help you with that.”

he forced you into kneeling again, but this time there is his cock right in front of your eyes. it’s big and there is the liquid already dripping from the top, a view you won’t forget so soon. theo smiles seeing your reaction, the fear in your face says that you already knows what is going to happen, but it’s seems that you need a little help from him.

“you never saw a cock, haven’t you?” he smirked, already knowing the answers. “I can help if you want to be less painful for someone who never suck a cock before. you want some help from me?”

you nodded. trying to contain yourself from crying, this wasn’t supposed to be happening. do you deserve to be treated like this? you didn’t got time to think of an answer as theo made you open your lips to accommodate his member, instantly choking you.

it’s to big! and his head holding the back of your head is making it worse, you mouth is reaching the base of his shaft, leaving no time to breath nor get used to his large size. theo is hurting your throat and he knows that.

you want to remove yourself away from theo, just to at least catch up some air, but every time you show some sign that you are removing your mouth away from his cock to inhale the air, theo keeps forcing your head to take part of his length of his member and for one last attempt, he makes you take all of him.

“don’t you dare ruin it!” he slaps your face without hesitation. a large mark is now on the left side of your cheek and tears are flowing from your eyes, blurring your view. “im almost done, so don’t dare to ruin it if you don’t want to die!”

there are few more attempts to remove yourself from theo as you could feel his thrust getting sloppy and the few faint moans escaping your lips his making him love this moment. theo won’t forget this moment as he finally gets to what he is having being waiting for so long while you will get nightmares of this whatever you close your eyes.

it took a minute or so to theo to finally come, letting his cum coming down your throat. it’s taste weird and salty, you won’t forget of this taste so soon. theo only removed himself when he was sure you had swollen til the last drop of the white liquid.

he admires you. how you are eyes are so shaken from this whole situation, your tied hands are incapable of protecting you from him and you even refuse to raise your head. theo broken you, just like he always wanted and now he will rebuild you to be his perfect toy partner.

———————\\——————

@moonit3 writings

#yandere oc #yandere #yandere headcanons #yandere imagines #yandere male #yandere male x reader #yandere original character #yandere writing #yandere x darling #yandere x you #yandere smut #yandere x reader #tw yandere #te noncon #my oc theo #yandere x y/n #gender neutral reader #yandere x gender neutral reader #➥·˚ ༘₊· ͟͟͞͞꒰➳ moon writings

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ao3commentoftheday · 5 months

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As a volunteer, do you have anything to say about what the OTW did to bjorn?

To begin with, I’m going to speak in generalities instead of specifics. This is for a couple of reasons. 1) I’ve been on hiatus from the OTW since August because my life got extremely complicated and volunteering wasn’t something I could continue doing right now. 2) As a result of my hiatus, I was not present for any of the events that transpired. This is simply my own opinion based on the available information, so you can feel free to disagree.

Now, as to your phrasing. You say “what the OTW did to bjorn” and I ask, “What did the OTW do to them?” From the meager information I’ve seen, all of which has been provided by bjorn themselves, they left the OTW of their own accord because they were unhappy with being talked to about their behaviour. This behaviour occurred in the OTW’s chat space which, for those of you who don’t know, is the OTW’s workspace. As a fully online organization, that platform is the equivalent of their office.

bjorn was in that shared workspace, and they set their name to include the phrase “Palestine will be free.” Later, they changed it to “From the river to the sea, Palestine will be free.” They were told that the first phrase made some people uncomfortable but that they were allowed to continue using it. They were told the second was unacceptable and that they should stop using it. bjorn chose to continue using the second phrasing.

Why is the second phrase seen as unacceptable? A quick google took me to the Anti Defamation League’s explanation of its antisemitism. That same google also provided me with Al Jazeera’s explanation of its complicated history. As a person who is neither Israeli nor Palestinian and as someone who hasn’t spent years studying the history of the region or the complexities of the conflict there, I’m comfortable with the idea that it’s a nuanced issue that different people will see in different ways, and I have personally decided that I should probably avoid using an expression whose interpretation varies so wildly.

Here, I will digress to remind everyone that the OTW is an international volunteer organization. That means there are volunteers there from all over the world - including Israel and Palestine. As far as I’m aware, bjorn is not from that region of the world.

So we have someone using a controversial phrase in a workplace setting where there are people who are immediately affected by the current conflict. My assumption is that they were not doing this to be intentionally aggressive. While I do recognize their name, there are nearly 1000 volunteers at the OTW so I’m afraid I don’t remember this one individual. I’m willing to give them the benefit of the doubt here, however, and assume that they were not calling for the eradication of all Jews.

I can also, however, understand why anyone who has seen this same phrase used as a justification for terrorist attacks would have difficulty doing the same.

From what I saw in the original post, bjorn was given a warning about their behaviour and then a more formal letter when it continued. CCAP (Constructive Corrective Action Procedure) has a pretty dystopian sound to it, but it’s basically just a conversation between a manager (Chair) and an employee (volunteer) when the employee has kinda messed up a little bit and the manager wants to get them back on track. If the CCAP goes well, then the volunteer is back in good standing and the situation can be put behind them. It’s only if the volunteer and their Chair are unable to get things back on track that the volunteer will be asked to leave the Org. As far as I know, that’s only happened a handful of times (but I’m no expert, and I’m still on hiatus so I can’t go and try to look things up)

bjorn apparently chose option #3, which is to leave the OTW rather than go through that process. That’s a perfectly fine decision to make, and I’m sure they’re not the first volunteer to do so. It was their choice, though. The OTW didn’t kick them out. The OTW didn’t force them out. The OTW told them “this is inappropriate behaviour in an international workplace setting,” and bjorn decided to leave rather than change that behaviour.

I have nothing against bjorn, and I hope their post-OTW life is a good one. However, I've seen posts that have been using bjorn's situation as a way to claim the OTW is a “Zionist organization.” I would like to remind everyone that the OTW is an organization dedicated to the preservation of fanworks. What role do people expect the OTW to take in an international negotiation between Israel and Palestine? How many international policy volunteers do people think they have, and which committee do people think they belong to? Technical Support? Communications?

I’m trending towards sarcasm here but it’s only because I can’t quite believe that there really are people who seem to believe that the OTW - again a fanwork preservation organization - is attempting to do anything at all with regards to an international conflict.

If anyone out there hates the OTW, I encourage them to avoid OTW’s various projects and to decline the biannual opportunities to donate, but please don't generate or share conspiracy theories. There are more than enough of them going around already.

#long post

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ceijoh · 2 years

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title: my wish is you

summary: where his best friend is in love with him

word count: 4k+

warnings/contents: angst, jealousy, insecurities, doubts, fluff (f!reader)

masterlist

You never once questioned your position in Atsumu’s life. You were his partner, his support, his home, the person he shares his weird jokes and thoughts with.

You knew that he loved you the most, but you weren’t his first love. It didn’t matter to you, hell, you had your first love before Atsumu but he just wasn’t in your life anymore. However, it couldn’t be said the same for Atsumu.

You knew their history; they were good friends in high school, became best friends in college and she’s stuck by him ever since then. She’s known Atsumu for longer than you have and that never bothered you. Relationships aren’t defined by time, they’re defined by feelings. You knew that they both held feelings for each other at some point but there wasn’t enough courage on either end to make it happen.

Everyone thought they would end up together, until you showed up. You caught his attention right away.. There was something Atsumu felt that he’s never felt before. You and him just clicked on levels he wasn’t even aware of.

When he told you all of this, Atsumu half expected you to tell him to never see her again, which would hurt him but if he needed that for your boundaries he would. Though you never did. You understood their feelings, the situation they were both in, but she never tried anything, so why should you tell him to stop seeing her? Besides, he was with you, he chose you and not her to be with.

He had enough courage to ask you to be his because even for one second, the thought of you slipping through his mind, he knew that he would have regretted it for the rest of his life.

You were very neutral towards her, you tried to like her at the start of your relationship, you did for the sake of yours and Atsumu’s relationships but she never did. Or maybe she did try but it was the bare minimum. While you tried to make time to hang out with her, she always came up with the excuse that she was busy, however when it was Atsumu asking her it was always a resounding yes.

You tried to turn a blind eye to some of her behaviours when you truly got serious with Atsumu. Calling him at night, the constant texts from her during the day, expecting to do the things she did with Atsumu before he got into a relationship with you. The way that whenever you three hung out together, or even in a group, she always made you somehow feel like the third wheel. Sharing the inside jokes that she and Atsumu have, the memories that you weren’t there to remember. It just hurt.

You decided to bring it up with Atsumu one night, after dinner. Putting the last wet dish on the rack, you turned to him. Noticing your eyes on him, he placed his phone down and grinned at you. “Whatcha ya thinkin’ ‘bout, angel?

Fiddling with your hands, you took a deep breath. “Remember when we first started dating, and how you told me that you and Sato-san had feelings for each other?”

Gone was the calmness Atsumu felt around you, and instead his heart picked up its pace. Where were you going with this?

Noticing his change in breathing, you quickly rectified, “I know that you don’t have feelings for her anymore, ‘Tsum,” reaching over to grab his hand and squeeze it gently. “I just don’t think that she’s over you. Actually, I don’t think she’s ever gotten over you.”

Now feeling at ease, knowing that you didn’t think of him being in love with someone else. “Does that bother ya?” At your glance, “Wait, don’t answer that!”

Shrugging, “I mean I feel uncomfortable with her always asking for your time, cutting into our dates. I know she’s your best friend, ‘Tsum, but she’s just always there asking for your time. It seems like I can’t even go on a date with you because she somehow knows and calls you and interrupts us.”

Atsumu knew you had a point but this was also one of his closest friends, “(Y/N), we just spent a lot of time together before, she’s just gettin’ used to it.”

“It’s been three years, Atsumu,” you knew that he was going to defend her, you would have been shocked if he just took your word. “Do you or do you not remember what happened on our first anniversary?”

Remembering back to the day, he did remember her texting him and calling him all day to remind him that they were supposed to have a gathering around Osamu’s place, something they often did. It just so happened that it fell on your anniversary night. The others were fine with it, knowing that your anniversary was more important than a casual night but she felt hurt.

“No one that just sees you as a best friend does that,” you reasoned out. “No one gets hurt if you’d rather spend time with your partner than your friends.”

Gulping you realised that this was probably the best time to let out all of the feelings you had about her.

“It’s just every time we hang out with her, it feels like she’s the one that’s dating you and I’m just your friend. The memories that you share together with her, the jokes, I don’t have those ones that you always bring up when we’re around with your friends, Atsumu,” feeling the familiar prick of tears in your eyes, you quickly brushed them away, something Atsumu took notice of silently.

“It makes me feel hurt, it hurts me. It feels like I don’t belong in this stupid little world that the two of you have together.”

“I don’t have the years that she has with you Atsumu, I don’t have the memories of you falling over in front of the ice-cream truck, and how that started such a great summer. I don’t have that!” Gone was the rationality that you wanted when you started this conversation, instead the hurt, the isolation, the inferiority you felt around her was speaking.

“I’m so worried that one of these days, you’ll wake up and feel like you made the wrong decision, that it was her all along, and I was just someone in the way of that,” noticing that you were crying openly, you brushed them away but it seemed like they never wanted to stop. Not able to speak anymore, you instead focused on your hands, tears still streaming down your face, a sniffle here and there.

Feeling a wave of defence over his best friend, Atsumu sighed. “Look, (Y/N). I don’t think Michi is in love with me, okay?” He looked at you intently, “Yeah, she gets touchy sometimes and she brings up these memories but that’s the way she’s always been.”

Flabbergasted that Atsumu just brushed your worries away, you scrunched up your brows. “Are you telling me that it’s all in my head? That her actions are just friendliness?”

Atsumu didn’t say anything, which you took as confirmation. “What would happen if I did that! What would have happened if I did that with Genji?” At the sound of your first love’s name, Atsumu subconsciously grimaced.

“How would you feel -as my boyfriend- if we hung out with Genj? The fact that I bring up all these memories that Genji and I share, that you weren’t a part of? How would you feel if I started hugging Genji longer than necessary, Miya?” You spat out. Yes, you were still hurt and angry but you thought your boyfriend would have at least pandered to your worries.

The feeling of his heart clenching at the sound of his surname and your ex-boyfriend's first name in a sentence made Atsumu feel queasy.

“I tell you that I’m worried that you’ll leave me for her, and you can’t even comfort me?” You spoke raising your voice, your nostrils flared and you clenched your jaw. “You were so willing to make up excuses for her, but you can’t even spare me some shitty words to comfort me,” scoffing you rolled your eyes.

You mumbled something under your breath and stalked off without another word. Atsumu, feeling ashamed of the actions he just did, sat down on the couch. Never had you spoken like that to him before, relaying the conversation in his head, he knew that he rightfully deserved it.

Why? Why did he feel such a need to make excuses for her? Why couldn’t he have just said the words he wanted to say? That he doesn’t care if they have a bunch of history together, his future only has you in it. He only wants a future with you and no one else.

Walking into the bedroom, he expected to see you in bed curled away from him but all he saw was an empty bed. Panicking and his heart beating fast, did you leave? Where did you go? He quickly walked to the bathroom, sighing in relief when he saw your things were still there. Moving towards the spare bedroom, he turned the handle only to find out that it was locked. Something shattered within Atsumu when the door didn’t open. This has never happened.

In the morning, Atsumu woke up, spread his hand out, ready to pull you into him. When he felt the empty space, he sat up, trying to get used to the sun, shaking his head. Where were you? When he remembered what happened last night, he clenched his fist and fell back into bed.

Walking into the living room, Atsumu noticed you by the sofa, a coffee in your hand. His heart felt like it could crack in any minute, and he felt like shit. This was the first time in your relationship that you two decided to sleep apart and fuck, he never wanted that ever again.

“Hey angel,” his voice was groggy, and he noticed that there was no breakfast.

“Sorry,” you shrugged, “I just woke up. Had a shitty sleep.”

Chuckling slowly, “Tell me about it.”

You both shared a look, and Atsumu felt a little lighter. Walking over to the machine, he could feel your gaze on him. He knew he needed to sort this out now but with an important practice in a couple of hours, he knows he can’t.

“I’m sorry about-”

“It’s fine,” you cut him off sharply. “It was my fault to bring it up.” Finishing up your last sip of coffee, you placed it in the sink. “I have a meeting today, I’ll be late so there won’t be any dinner but you have plans with her don’t you?”

You didn’t have to ask, it was their Tuesday night after all. Looking at your phone, you glanced back at Atsumu, “Actually, I’ll be in and out with meetings all day. Try not to text me, I probably won’t be able to respond.”

Without another word, you walked up to your shared bedroom intent on getting ready as quickly as you can.

Stunned at your cold and blunt words to Atsumu, something you’ve never done. Maybe in a teasing tone, but it was always accompanied by a smile. Just how much did he fuck up?

It was thirty minutes since he last saw you, sitting by the couch sipping his coffee, looking through his phone. He heard you and looked up. Fixing up your blazer and moving quickly to the door, you looked at Atsumu. “I didn’t have time to make your bento today, but maybe she can, if you text her.” Without another word, the door shut.

Whether it was a metaphor for your feelings with Atsumu, the man did not know.

“Tsum-Tsum, where’s your lunch that (Y/N)-chan always packs?” Bokuto asked, noticing that his teammate just had some store bought pre-made lunch.

Ashamed, Atsumu was quiet for a moment, earning looks from his three teammates. Hinata looked towards Bokuto and Sakusa who just shrugged in response, “Are you okay, Tsum?”

Nodding quickly, Atsumu smirked and threw his arm around Bokuto, “Don’t ya worry Bokkun!”

Tossing in a joke, Atsumu hoped his teammates would just let it go and not pay attention to the rising tension.

“(Y/N) has never once missed making your lunch, even when she had a fever she still made something for you,” Sakusa’s voice brought him out of his thoughts. Turning to the black haired man, Atsumu watched as Sakusa narrowed his eyes at him. “So, what did you do?”

Plastering a fake grin on his face, Atsumu gave him a thumbs up, “Nothing, Omi-Omi! Don’tcha worry!”

Blocking Atsumu’s sidestep, Sakusa glared the older man down, “I am worried because my friend is not responding to me.”

“But I am responding to you.”

“I’m not talking about you,” Sakusa snapped. It was weird for Atsumu, two people that he cared for a lot, who he’s annoyed until they’re red in the face but never snapped or raised their voice at him, just in less than 24 hours. “Iwaizumi-san says that she’s not responding to him either. Talk.”

Atsumu sighed in defeat, he knew that he wouldn’t be able to leave without indulging Sakusa with the problems with you. He didn’t want to tell more people about this, he wanted to fix this as soon as he could, and he’d rather not have other people interfering. Realising it was too late, as Sakusa and Iwaizumi knew of your behaviour, and knowing that if they knew, your other best friends and his brother would definitely know, Atsumu knew he was in deep shit. And maybe Sakusa can give him some advice.

“I mean, can you blame her?” He turned to Kiyoomi who was staring at him with distaste. “I mean, you basically told your girlfriend that her feelings weren’t genuine. That she was just making it up in her head.”

“I never said those words,” Atsumu spoke angrily.

Sakusa just shrugged, “You implied it though. By not acknowledging her feelings, you gave her the assumption that you don’t care about them. Just because you don’t see it, doesn’t mean that it’s not happening.”

The younger man brushed off the invisible dust, and sanitised his hands, placing them in his pockets. He looked at Atsumu once. “You’re lucky that she didn’t break up with you,” Kiyoomi stated bluntly. “I wouldn’t fault her if she did.”

Entering her house, something he’s done plenty of times, this was the first time it’s ever felt wrong. He could see her by the kitchen, she turned around giving Atsumu a beaming smile. He shouldn’t be here. This felt wrong. This felt like betrayal.

“(Y/N) thinks yer still in love with me,” Atsumu began, no point in beating around the bush. Rubbing his face, tired of the day, tired of the fight, “But I said yer not, yer just sentimental.”

Michi paused her movements, and turned around to face Atsumu. Heart beating in her chest, she tucked a piece of hair behind hair. This was it, this was the moment that she’s been waiting for. It was now or never. Taking a deep breath, Michi finally said the one thing she’s been dying to say, “But, Atsumu, I do love you.”

Atsumu sighed in frustration and ran a hand through his hair, “Why now? Why now that I’m with (Y/N)?”

“You knew, you always knew that we had something going on!”

“And we never took a chance, did we?” Atsumu spat out. “That was both of our faults!”

“We were supposed to end up together,” she mumbled, the confidence she had moments ago slowly disappearing.

“We were kids,” Atsumu rebutted, fire in his words. “What I have with (Y/N), this is serious. This is what I’ve been wantin’ all along.”

“We had that!”

“We never did!” Atsumu was tired. He was tired of all of this, he didn’t expect this to blow up this big. “Maybe we had a taste of what could be, but what you and I had, does not and will never compare to what I have with (Y/N).”

“I’ve known you for longer, Atsumu, I know you better than she could ever hope to,” she pleaded. “I’m in love with you, and I know that you’re in love with me. We were supposed to be together, it would have just taken longer.”

Atsumu moved his mouth to say something, but all he could do was stare at her. He wanted to say ‘maybe in another life’, but the words couldn’t escape him. And he knew that if he said it, it would be a lie. In this life and any other lives that he has, the only person he wants to share them is with you.

As much as Atsumu wanted to sit down and gather his thoughts, he needed this to get over as soon as he could. He needed to get back to you.

“I know that I wasn’t ready back then, but now I’m ready for you. I’m here,” Michi glanced at Atsumu, at the man that she’s been in love with for the past decade. “I’m in love with you Atsumu and I want to be with you.”

He couldn’t help but chuckle, there was his best friend, the person that once held his heart saying the words he once longed to hear. There was something disdainful in her tone, it felt wrong coming from her. It never did with you. It always felt right, like every time you said it a missing puzzle piece was completed inside of Atsumu.

If it was a couple of years ago, Atsumu would have jumped at the chance but that was before you. Before you turned his whole world upside down and he finally realised what being in love meant. Just because Michi knew Atsumu longer, and she thought that she knew Atsumu deeper, everyone knew it was you. It was you that fit right at Atsumu’s side.

You were the one that understood his moods, even before you began dating, you never once pushed him. You accepted how he felt and dealt with his emotions, and you were always there to give a hand if he needed or asked for it. It was the late night talks where he didn’t realise that he was already in love with you, it was the eagerness to see your face everyday. To talk to you everyday, to have those mundane and simple things that he despised before but then it was all he wanted to do, because he got to do it with you.

It was the feeling of being complete with you. Michi completed him in a way that Atsumu knew, she fit into his world, she was best friends with him. But you were his world. You filled in spaces that Atsumu didn’t even realise were empty. The cracks that were filled with your laughter and soft kisses, the void that he ignored was filled with your soft whispers about the future.

It never felt right until you.

It’s always been you.

With the lack of response, Michi bowed her head, “You’re choosing her, aren’t you?”

Without a pause, Atsumu responded, “Yeah,” looking at her, Atsumu felt nothing. There was an air indifference surrounding her. “I’ll always choose her, no matter what.”

Atsumu hopes that she understood what he said. Even if she begged, even if she pleaded for him to choose her, it would always be you. It’s always been you.

Atsumu straightened his back, “I think this friendship needs to end, Sato-san. My relationship with (Y/N) will always be the most important, she’s the most important person to me. I’ve loved her more than I’ve ever loved anyone, and will ever love anyone.” Taking a couple of steps towards the door, “And I can’t have anyone doubting that for her.”

It took ten years for her to say what she felt, and it only took Atsumu a couple of minutes to destroy her life, and a couple of steps to walk away from her forever. Dropping to her knees, Michi sobbed knowing that she was too late.

You were sitting at the dinner table, the dinner ready to be eaten at any moment. Looking towards the door once you heard it unlocked, you saw as Atsumu walked in, taking a deep breath and looking right at you.

Closing the door, he hastily made his way to you. Tugging you out of your chair gently, he wrapped his arms around you. “I’m sorry,” mumbling the words into your neck over and over again, you hesitantly wrapped your arms around him.

“I ended my friendship with Sato-san,” shocked at the words coming out of his mouth, shocked at the use of her surname and the formality, you moved yourself a little bit from Atsumu.

“‘Tsum, what?”

Repeating what he just told you, Atsumu looked you right in the eyes, willing to believe his truth. “I’ll always choose you.”

“‘Tsum, you didn’t have to do that. You could have just not spoken to her for a while, you didn’t need to cut her out of your life.”

Atsumu shook his head, “I never want ya to ever feel like I’m second guessing who I chose, and I know yer,” tapping the side of your head with his fingers, he smiled down at you. “Ya get into yer own head way too much. If she was around, I know you’d always be comparin’ or thinkin’ with that big brain of yers.”

“But aren’t you sad?”

“I am,” Atsumu said truthfully. “But I know that I’ll get through it, with ya around,” nuzzling into your neck he couldn’t help continue, “but if it was you.”

Looking at you, you could see his eyes watering, “If it was you, if I lost ya for some reason, I don’t think I’d be able to continue.”

Gently cupping his face with your hands, caressing the apple of his cheeks with your thumb, “You never have to worry about me leaving you, Miya Atsumu. I’m yours forever.”

“And I’ll always be yers, now and forever,” placing his forehead to yours, Atsumu felt his heart be at peace for the first time since last night. “I want ya for longer than forever, angel.”

Grinning, you moved yourself closer to him, wrapping your arms around his neck and pulling him down on the couch with you, him on top of you. “I’m more than okay with that.”

Pulling you into his lap, Atsumu held your hands in his, “I’m sorry,” was what he started with. Tightening his hands, “I’m so sorry I ever made ya feel like that. I don’t care if I have ten years worth of memories with her because that means nothin’ with the forever I want with ya,” Atsumu began. “Those memories were what I remember most when we were kids, those inside jokes are just that, inside jokes with her. What I want is the jokes we’ll pass down to our kids, the stories that we’ll share to our kids. The memories that I’ll repeat and say to you before I say ‘I do’. All the memories that I had with her, angel, don’t compare nothin’ to one memory I have with ya.”

“Miya Atsumu,” you started, you could feel your heart beating against your chest rapidly. You never expected Atsumu to stop being friends with her. You truly just wanted for them to take a break.

You knew he’s loved you since you first met because you were the exact same. The way he filled your world with his brightness, the way he always made you feel like his priority above everything else, when he made you feel seen and remembered. Above all else, you felt warm and safe with him. There was no one but Miya Atsumu for you.

“You’re a great big sap, you know that?”

“Angel, I just bared my heart out to ya,” groaning, he pinched your side, a cheeky smirk on his face. “And that’s why yer saying to me.”

“That’s my heart too, mister,” leaning forward you pressed a soft kiss to his chest.

Grinning down at you, Atsumu knew that you could feel his heartbeat, and he didn’t care. Whatever he felt for you he wanted you to know.

“Yeah, princess, it is,” kissing the top of your head. “It’ll always be yours.”

“Don’t make me choose between you and her.”

“Why? Because you’ll choose her?”

“Yeah. I’ll choose her.”

happy early birthday, miya atsumu, you absolute disgusting goblin (affectionate).

#haikyuu x reader #atsumu x reader #haikyuu angst #atsumu angst #atsumu fluff #miya atsumu x reader #atsumu one shot #atsumu imagine #atsumu scenarios #haikyuu fluff #haikyuu one shot #haikyuu imagine #haikyuu scenarios #miya atsumu

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olderthannetfic · 5 months

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Can I poke the bear for a moment and get angry? Because I'm seeing "posting as activism" more and more in fandom spaces, and tonight I saw a post that made me lose it.

There is a post about (current events) going around that says, "full offense, but in this time, your own comfort doesn't fucking matter, you should be uncomfortable about things that are happening, and I hope you can fucking live with yourselves if you are quiet. It takes five seconds to retweet or reblog, fuck your aesthetic, fuck your anything aesthetic."

And my god. How dare they.

Yes, there is severely fucked up shit happening. Yes, people should be aware that people are being killed. Yes, there are people who are just shrugging about it and pissing off. But how does reblogging a post certify someone as Good or Bad? How does this person know that someone hasn't already helped out meaningfully in some way, or is still helping out, but on other websites? How does this person know that someone isn't barely holding on by the skin of their teeth, and they would have a mental breakdown if they got closer to any more stressful things?

I know a multitude of people, including myself, who have recently either needed to call lines, check into facilities, move back in with their parents, or go on medication because of how insane things have become in their own lives. How does this person not understand that blogging; being on tumblr; engaging in fandom, having a small space that someone can control in its entirety, is a reprieve for people who are already at their wit's end outside of that space? And that's okay.

(We are not doing the relative privation shit in this house. I refuse to entertain that.)

Ironically, by insisting that people participate in sharing posts when they're already stressed and exhausted, that's a surefire way to make their problems worse, and potentially prevent them from acting helpfully in the future because suddenly, their exhaustion turns into full-blown burnout. That's how it works. Professionals tell you to dial things back if you are too overwhelmed. There is a reason for that. There is a limit to how much people can mentally process and handle. Compassion fatigue exists. For a lot of us, we are already at our limit. We need space to relax, and not have arbitrary obligations thrown on us. That is not our fault, it is not a character flaw, it does not mean we are bad people. And just because horrific things are happening elsewhere, it does not mean we can, or should, stop taking care of ourselves first. Yes, it feels shitty to think, "you know what, I can't reblog this". You bet your ass that I and my friends feel guilty about not being able to engage as much as we think we should, but that is how it goes. I can put my head underwater for a bit. But I cannot keep my head underwater forever. I will drown.

Not to mention the obvious part: guilt-tripping people to the extent of implying they are somehow contributing to genocide, just because they won't reblog a post, and implying they should not be able to live with themselves if they do that, is beyond revolting.

I am angry, and I am not sorry.

So many of those kinds of posts—and they turn up during every set of horrific real world events—sound like people who are in a country far away from the events, diaspora at most but probably just randos, venting their impotent rage because it's the only way they can feel productive in a situation where nothing they can do is productive.

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opal-owl-flight · 16 days

Text

Gonna be interrupting the ongoing Neo3 saga for a bit, because something serious needs to be addressed.

Its come to my attention that there have been some serious allegations against me and another member of the Magoverse server. The posts were brought to us by someone in said server and that’s how we all found out.

Im here to provide proof against them.

TLDR: There has been a person lying about some very serious matters. I will discuss and provide proof against their claims below.

A former member of our server, giyagas-strikes-back, has claimed that I have been generally harassing them while they were there. They have stated that they have no proof of their accusations. There is no evidence of this because it did not happen at all.

I did not abuse or harass them. All I did was address the behavior that was making other members of the server uncomfortable. We were not once rude to this individual. We had spoken with them regarding their disruptive behavior multiple times, including their disrespect towards our members when they had asked them to tone things down and failed to regard such wishes.

Seen below:

For this next series of screenshots, they were involved in an rp involving sudden angst/violence that made members in the server uncomfortable. I was not the one who addressed the concern, but I did agree with the point of the one who did.

Another event where they commented something negative about something and someone else talked to them about it. Again, I was only agreeing with someone else, I did not speak harshly to them at all:

We never held a grudge against them, and only spoke to them in this way when they made someone uncomfortable.

Additionally, they told us that they were at least 13 (minimum age for joining the server) when we talked to them. We all thought we were speaking to an individual who would handle criticism we gave them seriously. We found out later that they were lying about their age:

Because we weren't notified, it only came to our attention much later into their membership, as is shown here. (Edited Discord notifications do not provide an "unread message" tag, and with a massive influx of members coming in at that time, this message was quickly buried.) We do not accept members under the age of 13 in our server. Every member under the age of 18 must inform us that they are a minor (no specific number required, just that they're under 18), and they are given a tag indicating that they are a minor. Additionally, we have multiple guidelines in place regarding minors and VC manners. We all mind our distance. To note: Before we could confront giyagas-strikes-back they left the server. We are unsure if they left because they caught wind we knew about them lying about their age, or if they left because of the multiple times that members of the mod staff had been forced to step in to handle behaviors or statements made by them that made other members uncomfortable.

An extra note to add, giyagas-strikes-back claimed that all this happened in a server where the “mod was always away”. We are the mods, and they were fully aware of this. The status of our mods is very apparent and in no way shape or form secret. Even our nicknames are given a specific color to indicate that we are the mods of the server. We only ever interacted with them on the specific server that we mod, so I am unsure if this is another lie, or if they legitimately didn’t realize we were mods and that is why we kept addressing their behaviors with them.

They also mentioned that I associate with Blaze, who they claim said weird stuff to them/is grooming them. But doing a quick search on a statement they made proves otherwise:

I believe these allegations are an immature act of retaliation due to our addressing their ill behaviors.

Theres one more thing I need to address. It was also brought to my attention that someone is claiming I stole an AU. I was never approached about this, neither has Blue as far as I am aware, and honestly have no idea what AU they're referring to, so I'm going to assume it is CtyH (Close to Your Heart, the au where Mags marries a god). We first discussed this au last January 26, 2023 -- here are screenshots of the first discussions about it. This AU started off as an offshoot to my interp and evolved from there. If anyone ever felt I had stolen something, it was never brought up with me or Blue, and I never wrote this AU with anyone elses in mind.

In closing: A healthy reminder. When people are accusing others of something, never take just their word as fact. Always look into it before making your own decision about the person in question, even if it comes from someone you trust. Never let anyone's opinion be your opinion. Always, ALWAYS, find the facts and discern for yourself! Make your own choice. Don't allow others to choose for you. Take this evidence as you will, but please, if you know those responsible for damning our names and making these baseless claims, we ask that you do not harass them on our behalf. We will not tolerate anyone speaking ill of them in my name. Yes, what they are doing is bad, but would any of us be better if we reciprocate in the same manner? That helps no one. Instead, simply inform and educate others. Be peaceful, be respectful. Be polite. Do not attack these people under any circumstances.

#opal owl hoots #negative #please dont attack anyone over this.

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arc-misadventures · 10 months

Text

The Cats Armoured Coat

Blake: Okay, how are your guy’s plans going?

Pyrrha: Not good. Jaune just complimented my armour on how nice it looked, and how it will provide me additional protection the next time we have to fight.

Blake: Well, he did compliment you on how nice you looked.

Pyrrha: I know~! But, I thought my armour would help seduce him with its subtle curves, and metal plating. You think his eyes would have been mesmerized by the sight of the skirt as I shook my hips at him.

Blake: Well, he did compliment you, he never did it before so he is aware of your new armour. Unlike before where he wasn’t aware of… anything.

Pyrrha: That’s true… I guess I’ll take the wins when I get them then.

Blake: That’s the spirit! So how goes things with, Yang’s new armour?

Pyrrha: Well… she’s having some… issues…

Blake: Like… what…?

Blake looked over, Pyrrha’s shoulder to see, Ruby struggling in vain to shove, Yang’s massive breasts into the armour breast plate, then to try, and connect the armour to the rest of the suit.

Ruby: Grrrr! They. Won’t. Fit!

Yang: Yes they will!

Ruby: No they won’t!

Yang: YES THEY WILL!!!

Ruby: Ahh! This breast plate should have at least been made into a, B Cup, why did you want it to be an, A Cup?!

Yang: Because watching my massive tits pop out would be so hot!

Ruby: There are more effective ways to may a, Double G Cup look like a, A Cup. This isn’t one of them?!

Yang: It will work!

Ruby: Rahhhhhhhh!

Yang: Ahhhhhhhh!

(Click)

And with that final scream the armour plate fit into its slot locking itself in place.

Yang: Ah! See, told you it would work~!

Ruby: Not for long. That things like a coiled spring; one good bump, and that thing will come flying out like a sling shot.

Yang: Pssh! That won’t happen. Good gods… It’s been years since I could look at my feet like this. Is this how you, and Weiss feel?

Ruby: Hey!

Yang: Haha! With this I can finally seduce, Jaune! He’ll no longer be going after that washboard, Weiss as soon as he sees my amazing mommy milkers~!

Ruby: Okay…? Just, stop bouncing like that; you might dislodge the chest piece if you keep doing that.

Yang: I can’t help it; They were always jiggling now they’re doing nothing at…?!

Like a ballista releasing its crossbow bolt, Yang’s breast plate came out flying at an insane speed slamming into, Ruby’s face knocking her off her feet, and knocking her out cold in seconds. Leaving no time to marvel as, Yang’s bounced free from their confinement.

Ruby: Gahh?!!

Yang: Oh shit, Ruby?!

BP: …

Blake: Well, that was inevitably going to happen…

Pyrrha: The jiggle they gave as they broke free was pretty nice.

Blake: Oh it was salivating to the senses. Anyway, want to come with me while I seduce, Jaune~?

Pyrrha: Oh~? And, what exactly are you planning on doing?

Blake: Follow me~!

~~~

Jaune: Lotters~! Looters~! Looters~! Loot… ers?

Blake: Oh! Hi, Jaune~! What do you think of my new… Body armour~?

Jaune: Looks incredibly uncomfortable, and highly impractical.

Blake: Eh?

Jaune: Actually it would be good if you wore an undershirt, and a cap. But, I doubt all that heavy chainmail is comfortable on your cat ears now is it?

Blake: It is a little heavy on my ears.

Jaune: and, you really should have worn an undershirt under all that chainmail. How they link the chains together may inadvertently scratch up your back, and you should probably have a shower too since they use oil to maintain the quality of the chainmail. Don’t want to ruin your lovely skin now do we~!

Blake: Oh… T-Thank you… I’ll go do that later…

Jaune: And, as for that… skirt…

Blake: What about it…?

Jaune: …

Blake: …?

Jaune: …

Blake: Jaune?

Jaune: It really compliments your amazing a…?! I-It’s highly impractical! Take it off!

Blake: I’ll go do that…

Jaune: Good. Now if you’ll excuse me, I was going to meet, Nora, and Ren at, Looters. Till later then.

Blake: B-Bye, Jaune!

Blake: Well… That failed…

Pyrrha: I’ll say… He took one look at you, and critiqued everything wrong with your outfit.

Blake: I know… Dammit… I thought this would rock his blocks off…

Pyrrha: Well, yeah, but look at the bright side.

Blake: And, that is?

Pyrrha: Jaune thinks you have an amazing ass~!

Blake: …

Blake: Hell yeah! Bellabooty for the win!

“Smack!”

Blake: AHH?! It scratch my butt! The chainmail scratched up my ass! Oh gods that stings!

Pyrrha: Well, he did warn you. So…?

Blake: Not helping!

Pyrrha: Sorry.

#rwby #jaune arc #yang xiao long #blake belladonna #pyrrha nikos #nora valkyrie #weiss schnee #ruby rose #lie ren #jaune x yang #yang x jaune #blake x jaune #jaune x blake #pyrrha x jaune #jaune x pyrrha #rwby dragonslayer #rwby knightshade #rwby arkos #rwby colourguard

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silverskye13 · 2 months

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Hi, I just came from reading the last chapter of RnS, and I am once again shaking by how strong it made me feel, which is also finally giving me the strength to ask this, finally.

How do you write compelling, logical emotions? Like, you are writing as you go, and yet I go back and everything reads with such a sound conclusion, like the characters are feeling what they're meant to be feeling, like their emotions are deeply complex and it's just, how? Are there any tips you can give?

Have you studied any writing theory, or have you got any advice on dissecting pieces of writing for improvement? Because I feel like there's oh so much I can get from "improving from writing more"

Thank you for the kind words. Gosh I'm glad the emotions all make sense. I feel like that's one of the harder things to juggle -- especially when posting chapter by chapter, where sometimes weeks go by between scenes. It gets easy to lose things.

Answers to questions [as best I can] under the cut, because I can see this getting long and rambly.

How do I write compelling, logical emotions?

Uhm! This is a bit hard for me to articulate, because writing emotions is very intuitive to me. I'm a very emotionally aware person -- generally speaking I can recognize how I'm feeling and why very quickly within myself. That, I think, helps being able to write them. But some tips that are hopefully helpful:

Study yourself Emotional intelligence aside, the best way to write feelings is to figure out what they feel like. It doesn't have to be in-depth. You don't have to psychoanalyze yourself. It is enough to be able to go "I'm nervous. My stomach feels tied in knots, my throat is dry." or "I'm happy. I feel like I could dance, there's energy I need to get rid of. I feel full to bursting." Any time you've read something and gone "Oh god, that's exactly what that feels like!" It's because someone sat down and studied it for a few minutes. Sit with the uncomfortable feelings, or bask in the good ones. Root yourself in the moment and really stew. It doesn't have to be for big life events. If a movie makes you feel excited, just take a second to describe how it feels. If a book makes you cry, give a thought to what the tears are like. The next time you sit down to write a feeling, you might not be able to remember exactly what it felt like, but you will probably remember the words you attached to it.

Emotions in real life aren't logical, but stories are If you've ever gotten really angry, or really sad, or just any Big emotion, you know they're often overwhelming and paralyzing in their own special little ways. It is so easy to get swept up in the feeling of a thing that your brain turns off, and your body does crazy irrational things, and then its hours later and you've calmed down and it feels like you'll never get that emotion back again, because it was just so... much. That is allowed to exist in a story, but writing incomprehensible feelings takes your reader out of it after awhile. We need something to stay rooted in, if only so we have a reason the character is feeling as they are. Story emotions have a beginning, middle and end that you can chart. We see what causes them, we feel them, they come down from the high, and then they get a resolution. All of that doesn't have to happen at the same time. The character can feel anger over something and it drives their progression for the rest of the book. But, if at the end of the story, we don't see a resolution, it gets harder to believe -- even if in real life, emotions aren't always nearly so neatly tied. [Depending on the type of story you're writing, sometimes you might choose to intentionally leave emotions unresolved by the end, but generally they're still addressed in a "X was still angry, and would always be, but life moves on" sort of way. As long as it was an intentional choice that thought was put into, and that's evident in the character, people will believe it on a writing/empathy level.]

Emotions keep your character relatable, so keep them reasonable Emotions are how your readers connect with your character. Its the little moments where you get into their head and empathize where your attachments grow. Being able to see not only that a character is feeling something, but also see why they feel that way, does a lot of heavy lifting for making you like a character. Even if their feelings are inherently irrational [ie. thinking your friend hates you because they don't want to hang out one day], if you know why the character would feel that way [main character has social anxiety, which has been a problem through the whole book] you can sympathize with them, and care about their struggles.

Think about body language There is so much more to emotion than just "his stomach tied itself in knots" and "his anger was a lightning strike." Emotions are movements and mannerisms. Even something as simple as pacing can convey a thousand different things: quick steps, talking with your hands, in fast circles, leaning forward, beaming [Excited, sharing ideas]. Slow, ponderous steps back and forth in a line down the hall, hands clasped behind your back, brow drawn, gaze low [Contemplative, troubled, turning an idea over and over]. Stomping, storming, glowering, fists clenched, stopping sometimes in front of the door you're pacing in front of, scowling and turning back to your solitude [angry, bracing yourself for an unpleasant confrontation, could be calming down or could be building yourself up to something]. Body language can sometimes convey more of an emotion to the reader than writing how the feeling feels can, especially in a limited POV where you're only inside one character's head.

Physical pacing to show emotion, through word choice Make. Your readers feel things. With punctuation. This is where reading poetry will really help your writing, tbh. Poetry is where punctuation gets really contemplative, really intentional, and you can use that to your advantage in prose too. My thoughts are running. You can tell they're running because I'm in a rush and the words are longer and this sentence is running just like I am. It's one step over and over and over, and ignoring periods for commas because commas feel a little more like a step and less like a hard rest -- and sometimes you do breaks because it feels like a tumble what does this make you feel? It's breathless your readers are waiting for you to stop so they can stop reading and it feels distressing like maybe it's panic or thinking too quick and -- There's something. Creeping. Up on you. A hesitant feeling, like a predator in the grass. There is something disjointed here. In the sentences. The hard stops make you pause. The longer sentences lull you into something. It feels off-balance. Unsafe. Are you scared? Hesitating? What is it, exactly, creeping? You can also get really crazy with it. A character isn't thinking clearly so y o u s ss t art b r e a k i n g up t he wo r d s. You have to be careful. It has to be legible still. But it can be bold, and it can mean something and it can be eye catching and it can be a thought without acknowledgement. Play in the space! Words are toys.

Emotions are your stakes, just as much as bodily harm is If your readers care about how your characters feel, you have a compelling tool to drive their care for the rest of the plot. It's not just bad enough that they could be physically hurt by a situation, putting them in emotional distress makes your readers distressed. This does, however, need balance. In the same way you wouldn't keep your foot on the gas in a car at all times from point A to point Z, lingering too long on one emotion when your readers are invested emotionally drains your readers. There needs to be periods of rest and happiness, to balance the periods of emotional turmoil, guilt, and apathy. If you've ever read a book and thought "Man this character is a crybaby, they never stop whining" or "this book is making me depressed. Everything keeps going wrong all the time!" the balance is skewed too far towards the sad/depressive emotions, and you are emotionally distancing yourself as a result. Something similar happens the other way, if you ever read something and feel like the characters are never in danger, or the plot isn't taking itself seriously. Everyone's tolerance for this is different, but generally speaking, adding small moments of comedy and levity to temper hardship can go a long way to keeping your characters emotionally relatable -- so many people cope with humor anyway.

Read and analyze what you like in other works For the same reason people trace a drawing when they're trying to figure out how the original artist drew it, for the same reason you first knit a pattern instead of knitting a sweater from scratch, pick up a book you love, that gets you emotionally invested in the characters, and really pick apart why you like it. Write down words or descriptions you thought hammered an idea home. Reread a scene once or twice and feel your heart squirm over it and ask yourself why? Just, sink your teeth in and analyze. It helps a lot.

And on the subject of analysis...

Have I studied any writing theory, or have I got any advice on dissecting pieces of writing for improvement?

Also kind of hard to answer! Specifically because I haven't studied much writing theory, outside of reading comprehension classes in high school that I'm 10 years removed from now. If I had to give advice, I think it would have to be from my experience which is: Read a lot and take notes.

You're correct, "practice writing" can only get you so far, in the sense that anything in a vacuum is hard to learn from. If I've only ever eaten a PB&J, it's gonna be real hard to learn how to make spaghetti. Chances are I don't even know tomatoes exist. So, read a lot, and read critically, and take notes.

When I say read critically: I mean read with your eyes open. Ask yourself "why?" as often as you can. A book makes you cry, why? Is it specific to the character? Is it because you want them to be happy or because they're going through something you've been through? A book makes you frustrated, why? Was an important plot point forgotten? Are the characters hard to understand? If so, why are they hard for you to understand? Does the author not explain their motives correctly, does it feel like you skipped a chapter? Or is it because their motives are understandable but you still think what they're doing is stupid? I recommend going back and reading your favorite book with that lens. "This is the best fight scene I've ever read!" Why? Was it important to the characters and therefore important to you? Did it wrap up a plot point well? Was it just fun watching the bad guy get beat up?

I learned how to do this first with descriptions. A few years ago I was reading Kings of the Wyld, and about halfway through the book I realized I thought Nicholas Eames was the best writer I'd ever read. That's objectively untrue, I'm sure there's some better, but it's how I felt and I wanted to know why. So I read the book again. I figured out it was because his descriptions were great. It wasn't just that I could see what was going on in my head, the descriptions told me things about the world.

"The wheat was as gold as the Summer Lord's beard." It's autumn, the wheat is ready to harvest and they have a god named the Summer Lord who is cloaked in gold. That's a lot of information packed into one sentence.

"He had learned long ago that harboring regrets was akin to stashing embers in your pockets: hopeless and bound to hurt." That says so much about the character. He has regrets, ones he's worried over so much he's learned how futile it is. And the image of someone holding onto embers because maybe they deserve that pain is poignant and relatable. We have all done something we regret.

I started writing down all the descriptions of his that I liked, picking them apart to see how they work. I like descriptors that inform you about the world, that are unique to the character, and that are rooted in the physical. I think that's successful writing, so I emulate it.

If you want to get better at writing, really study the stuff you like and ask yourself why you like it. If you can't do it in your head, if you can't just read a book and figure out what went well, write it down! It doesn't have to be a 10 page paper. Just writing "I loved X character and I think xyz reason is why" is enough to get you started. The more you practice figuring out what you like, the better you'll get at identifying and describing it. The more you know about those things, the better you can transfer it into your own work. Study can be really fun when you really dig your elbows into it.

I also think it's equally useful to do this to media you don't like. Pick a book you hate and do the same thing. Why don't you like it? Is it because you don't like the themes, or because the characters were too frustrating to relate to? Was it because the plot seemed forced? Were there plot points and ideas that seemed awesome that the author just ignored? Figure out what you don't like, what you think doesn't work, so you can figure out how to avoid it.

The thing about studying anything is: everything has rules. Learn the rules. Learn why the work [or why they don't]. That's studying.

Learning when its appropriate to follow or break them, that's writing.

This turned into a very, very long rant! Hopefully it helps :'D if not, my apologies.

#writing advice #answering asks #anonymous #writing #long post

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digitalgate02 · 4 months

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Okay so, being honest here -- sorry in advance -- but Daisuke's crush on Hikari IN THE ORIGINAL VERSION does not make Hikari herself "uncomfortable" like in the American version.

Yes, you heard me right: Hikari does not feel he's hostile around her, or that he makes her uncomfortable -- She's pretty much fine around Daisuke in 02 and its 02 material. Why? Because he does NOT impose himself on her, he does NOT claim her as his gf or something.

Daisuke RESPECTS Hikari's space pretty much, and even a little too much (ep 4 he's concerned about her wellbeing imo). The fact he never had done anything like, claiming she belongs to him or idk, treat her like a prize should be enough proof for that.

Also: Hikari and everyone else knows he got a crush on her. Except Daisuke himself, who keeps believing this is a secret and nobody knows (check ep 5 and how he reacts to Hikari's question to him being delusional about being alone with her for a second.)

Since Hikari is full aware of Daisuke's crush on her, she tends to take advantage of it in ep 6 and possibly in other scenarios as well: Because he wouldn't deny her something. If the others ask him some favor and he denies it, Hikari can change his mind if she asks said favor instead.

"Okay Ni, but then why does she dodge the romantic feelings he have for her?"

Probably because: 1- she's not interested in having a relationship at this age; 2- she does NOT want to reject him out of the blue, because he didn't simply make a move yet

(and he NEVER made one, lol)

"Daisuke did make a move in Natsu e no Tobira story and got rejected!"

No, he didn't. Narrator is Daisuke himself and he does not imply he had asked her out and she rejected him. Who does imply that is Chibimon not Daisuke.

Daisuke in that material is hella upset about a chain of disappointments, it's not entirely about Hikari "dumping" him. Also, since the narrator is Daisuke and he tends to turn everything more and more DRAMATIC, i don't trust his info to be accurate (lol, "Iori going out with a girl" srsly Dai?)

Besides, in the Kizuna drama CD we clearly see he hadn't given up on her yet. And this is the drama CD in which he barely mention his crush on her for the rest of the track -- and he also gets a compliment from her by being his usual self.

AND THEN HE JUST… FREEZES. yup.

Daisuke just freezes like if he had no idea HOW to react to that. He finally got his chance aaaaaaaaaaaaaaaand he just froze with her calling him "cool". He never thought what would happen next if he ever got her attention. Yup.

So yeah, she's not uncomfortable around him in the OG version. thanks✌️

#digifood for thought #digimon adventure 02 #digimon adventure last evolution kizuna #motomiya daisuke #yagami hikari #ni's digitheories

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ben-talks-art · 1 year

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Trapped and Dreaming Freedom

So I've been reading these two webtoons lately about female leads stuck in very toxic and unhealthy relationships (while being aware of it), and I'm loving every second of it!

If you know me, you know I just love a badass cool female lead and I also love seeing characters stuck in very difficult situations and watching how they use their brains and/or skills to get out of it, and both comics excel at these aspects!

First series is "Trapped", a comic about this taxi driver who got tangled by accident with a vampire who develops an obsession with both her and her blood after she manages to outsmart him a couple of times, something that hasn't happened to him in years.

It feels very "Tom and Jerry" with both characters trying to get the upper hand on their relationship, and you would think it would be super one-sided but vampires actually have quite a bit of annoying rules on how they work that severely limit their freedom and our female lead exploits as many of them as she can to make him eat sh*t! It's just glorious!

"Dreaming Freedom" is... somehow less dark, and at the same time way darker of a series.

It's not as violent or gory but it deals with more realistic problems that hit closer to home for some like school bullying, abandonment, harassment, family abuse, and so on.

The premise is that our female lead teams up with a guy that has the power to use dreams to affect people in the real world, and they use this ability to get revenge on all the girl's classmates that harassed her, but the more our female lead does that, more the male lead gets obsessed with her and we later find out that he has some serious anger issues making him extremely dangerous.

Our lead basically goes from "I can use him to get payback!" to "Oh my God, I'm the only thing that's keeping this dude under control and away from people!"

It feels like you're being handed a living knife that you just pray won't run out of control or turn itself against you. It's so uncomfortable but at the same time so thrilling!

While I really don't like when unhealthy relationships are glamorized and used to send some kind of "Oh, he's kinda dangerous... But at least he loves you, so it's okay, right?" message, I do like it when the unhealthiness of the relationship is the focus AND is painted as a problem that needs to be fixed.

I like how both female leads always call the male leads on their bs and keep them in check whenever they start going too far, and it's fun to see how they use them whenever they're backed into a corner by the antagonists of the stories.

Also like the themes these series explore, about how when you keep dealing with people that act like monsters you see yourself slowly turning into a monster yourself and start to attract other monsters as well, eventually making you question how far can you go? How far should you go? Can you get back from it? And so on.

But most of all, I like that both series make sure to show that these "bad boys" were their last freaking options. Not the first, not the second, but the very bottom of the barrel. They went to them only after they felt they had no other choices and were sure that nobody else would take their side.

This isn't just "Oh, I went to him because he's a hot bad boy", this is "The world turned its back on me so I'm gonna use the only cards that I have left."

They basically made a deal with their devils and now the fun is watching to see how/if they're gonna get out of it.

This is how I like to see problematic relationships. You don't paint them as something normal or something good, you paint them as a hardship that needs to be dealt with and use it to do clever commentary on the worst aspects of humanity so we can learn how to be better and as a source for good and intense drama to make us worried for the main characters and invested in seeing them get out okay.

#dreaming freedom #free in dreams #trapped #olgami #webtoon #Kkum-eseo Jayu-ro

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mdhwrites · 4 months

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I saw a post a while ago lambasting Amphibia for having its characters 'do the most horrendous shit imaginable' for the sake of comedic plots and get off far too easily for it. In their view, Amphibia took slapstick comedy way 'too far' sometimes. I thought this was quite hyperbolic; the protagonists made serious mistakes, but rarely anything I'd call unforgivable, especially since they'd almost always show a level of remorse. But it did make me think about the way immoral acts are portrayed in comedic shows, and how we, as viewers, can tolerate and forgive things we probably wouldn't in real life because of the way these acts are presented to us.

I mean, think about Hop-Pop using mind control on Anne, Sprig and Polly in Children of the Spore. If anything like that happened to you in real life, chances are you wouldn't react to someone violating your body and mind by shrugging your shoulders and going 'well, guess we pushed you pretty far.' You'd probably beat the shit out of HP and never talk to him again. But that episode is kinda self-aware about the awfulness of it all (which I love). Polly flat-out says the old frog crossed all kinds of ethical and moral lines XD

Going back to the whole 'too far' accusation, though, I'm pretty sure we're smart enough to understand the difference between a silly frog show and real-life crimes. I don't think there needs to be super realistic consequences to everything (as the post I mentioned was suggesting) when your focus is on writing a slice-of-life fantastical comedy. I guess the only real argument you could make is 'but it's teaching kids to forgive absolutely atrocious, unforgivable things!' And...maybe? But I'm pretty sure any kid with their head screwed on straight understands not to replicate or forgive immoral behaviour too easily.

I guess what I'm trying to ask is, do you think characters doing awful things for the sake of comedy or plot can go too far, in that they can unintentionally make characters far too heinous to sympathize with, or do you think complaints like those of the post I mentioned above are a result of taking something far too seriously? Is there even such a thing as 'too far' when it comes to slapstick comedy?

So let's talk about intent, tone and framing because these things REALLY matter to a story. It's actually part of the problem with fandoms wanting everything to be realistic, darker, etc. because they're really asking for one thing: For them to all be the same. To not be what they are because, you know, the fact that these are comedy cartoons for kids MATTERS.

But first let's actually shift gears AWAY from cartoons for a second to talk about things being genuinely irredeemable for comedy. MANY people are really against prank style reality tv because it preys so completely on human suffering. Because these people are doing terrible things to just normal people. I personally don't like the premise... But I like Impractical Jokers. That show frames it DEMONSTRABLY more about terrible things happening to these four friends, by these four friends, and usually the worst they do to others is leave them a little confused or a bit uncomfortable. One of the big elements to changing this is that all the challenges are effectively dares. Someone either commits to the bit or if it becomes too much, they dip out but they are ALLOWED to dip out, minus the final jokes which are always pretty much purely at the Joker's expense.

Are these four people bad people? No. But part of why we also know that is because it's television and they're doing it to entertain as part of being comedians. Bizarrely enough, a lot of modern cartoon fandoms seem to want to act like fiction IS reality. It's where you get people going "Oh, you're being so cruel to a 14 year old, nuerodivergent girl!" and me going "I'm being critical of a character in a narrative. Can you please stop telling me, an actual human being in the real world, to kill myself because of a fictional character?"

Because shock of all shocks, PEOPLE CAN TELL REALITY FROM FICTION! In fact, even kids can! The fucking video game industry had to go through this hell HARD to prove that killing people in a video game is not the same as having psychopathic tendencies in the real world. Do you know how many kids play CoD? And those kids are fine. At least most of them.

So with all of that preamble out of the way: When can a morality focused show fuck up?

It's actually incredibly rarely in the terrible things the characters do because the show USUALLY addresses these elements as part of the moral of the day.

For the example given of Hop Pop's mind control, it is shown as... Eerie to put it mildly. Even from go, Hop Pop only enjoys it so long as he doesn't have to interact with it. It is never framed as a positive besides a bit selfishness. However, Hop Pop is a good enough person to show genuine remorse and try to fix this. He puts in a lot of effort, is admonished as the lesson of the day is learned to not try to control people and to potentially compromise and then it MOVES. ON. Because they live in a fantasy world where anyone could die at any second. A day of none thoughts is not actually that big of a deal, especially since it wasn't done out of malice or even really on purpose. It's a part of the fun of the setting and of the fantasy genre as a whole that you can just do these weird concepts like this and move on because magic happens sometimes. You might grumble for a day or two but hey, at least it was your neighbor and not the king, am I right!? Hail King Andrias.

A big part of this though, and why so many morality driven shows can have characters do terrible things without imparting the wrong lessons, is because it's addressed. Pretty much explicitly. It is framed as wrong, addressed as wrong and then fixed because it was WRONG. Even if it gives momentary gain, that gain is almost always also included in being wrong.

It's actually a formula that Amphibia purposefully breaks for an episode, carrying it over from directly the one before, because there genuinely was one crime committed that hadn't been addressed and by the time it was, that sin had grown to a point where it was too reasonable to have a character still be mad to ignore it: The music box. Hop Pop hiding it is actually an AWFUL thing to do because it dooms Anne, it means her parents will never get closure, dooms the rest of Anne's friends, etc. etc. Hop Pop has to be okay with Anne never quite being fully happy because of always wanting to go home while also living with this false hope that he implanted into her. A trust he has not earned because of the lie.

So even after they theoretically have their morality episode about the box, Amphibia takes this time for such a PERSONAL attack on Anne to stick with her for another episode during The First Temple. It actually acknowledges that you don't get over everything immediately. That sometimes you need space. I don't even like that episode but the break in formula is actually meant to make the message more powerful, and does so successfully, especially because the crime was different. It wasn't of indifference or something quickly fixed. It was of long term AGONY and a complete breach in trust that would make one question what relationship they can have with another person. There's pretty much zero other crimes in the show like that besides Sasha/Marcy's betrayals, which aren't treated as easy fixes, and Andrias' betrayal is the heel turn that makes him the primary antagonist. These crimes, these personal, genuinely awful things to do to other people that could be replicated, unlike so much of the fantasy violence, are usually seen as something you do have to work on. It's a great, nuanced take on being a morality one off show while also being able to elevate some issues to being dealt with more seriously and consistently.

Also, quick note from someone on my Discord: They NEED to do bad things in order to teach! They are meant to be the bad example so when their actions lead to things going wrong, you understand not to copy that behavior. This is honestly storytelling 101 for most... Plots. Not just morals but plots. If the characters do NOTHING, nothing happens and nothing will be learned.

You want a show that will teach kids bad lessons and then reinforce there are no consequences for those? WELCOME TO THE OWL HOUSE! Specifically: The show that tells you to lie and keep secrets because your fear justifies keeping them!

I know that sounds shitty but like... Luz is the main character. For half of the show, she is portrayed as the second most moral character in the show behind Willow. She admonishes stealing, cheating, etc. as her contrast with Eda. Then after Yesterday's Lie... She literally can't stop lying and never faces consequences for it.

The closest actually comes in Falls and Follies where Amity at least forces a promise out of Luz to be more open with her. This actually though doesn't fix the problem, it just makes it WAY WORSE because one of the main targets of these lies, that kids can easily replicate, especially because Luz is almost always lying about things that might upset others which is the most common thing kids will lie about, is Amity. So now we have both lying and breaking promises. You know, two of the most basic morals any kids show should impart on the audience!

In Reaching Out though, Amity gets a little mad but then it's excused because of her dad! In Thanks to Them, no one gives a shit that Luz has been keeping secrets and lying for months. Camila makes sure Luz DOESN'T tell her friends the truth either about her plans. You know, Luz's MOM who should want her daughter to be an honest person. The show then constantly keeps cutting Luz off from telling anyone anything because it literally can't without revealing how bullshit what she's doing is until by the end of the show... Luz hasn't been punished in any way and the lies just... Drift away.

Completely unaddressed.

This causes a problem because while the lies theoretically hurt Luz... They hurt less than losing her friends. Hurt less than disappointing a parent. Hurt less than making her look bad. And this is the main character. The one kids are supposed to connect with the most. The one who usually most explicitly defines the morality of a show. And she is never punished or stopped from all. Of. Her. Lies.

(As a note: This is also how you get a lot of guys taking the wrong lessons from anime perverts. Sure, this guy gets smacked but he never loses his friends. Never faces real consequences. In return... He gets way more ass than the main character does, doesn't he? *gags violently*)

THAT is how you impart bad morals. It's not surprising to me that the fandom for TOH hides behind excuses so much for their show because their literal main character was justified, in fiction, to have all of the terrible things she did, all the choices she didn't have to make or the people she discarded, because she ALWAYS had an excuse. And so long as you have an excuse, by what TOH says, you can get away with fucking anything.

And mind you, that last part is NOT Luz specific. Have a bad uncle? Don't worry Hunter, the fact that you literally hunt, oppress and potentially kill wild witches can be entirely forgotten and ignored. Have a mean mommy? Don't worry Amity, we literally never have to properly address the literal years of bullying you did to another character or even how attempting to kill Luz was wrong. Collector? COME ON! You just had bad friends/family so now you just need good ones and we can forget all about you oppressing people for fucking months!

This isn't addressing these problems. These are excuses. And excuses can seem REALLY appealing to people. After all, how many hide awful acts or statements behind: "Come on, it was just a joke." Shields are useful for trying to avoid criticism after all. If you never acknowledge you were in the wrong, you don't have to feel bad for having done something mean, let alone terrible.

Just to bring it back to Amphibia: Sasha tries to do this. She believes she knows best so she feels justified in all she does because it will make everyone the happiest, at least in her own eyes. Then in Turning Point, she realizes the folly of her ways, addresses that she was a terrible person and plants her foot down FIRM. No more acting the part of protector while actually being a tyrant. She will risk her very life in order to right these wrongs. And we see it also in Commander Anne where she is taking the change seriously. These are two half episodes, a single episode in full, that lets us know that her actions were inexcusable and that they were wrong and now she is allowed to be a part of the good guys now that she has made sure the audience knows that they can look to her as an example.

One full episode to ADDRESS the fact that what Sasha did was wrong and to not excuse it but to learn from it.

That's why all these terrible things protagonists do in shows is fine. They learn from it. They genuinely regret their actions. They show the audience why they shouldn't have done it. It's never okay to the show that they did. Not that it can't be forgiven, because people should be allowed the chance to grow, but that it still wasn't okay.

For a kid's show, that is pitch perfect. It's why moral of the day storytelling exists and I can't really think of any huge errors in this department on Amphibia's side. It's pretty damn good at smacking someone over the head when they act like a jackass. At bare minimum, there are WAY worse examples out there.

======+++++======

This is absolutely one of those criticisms that has me look at the person making it and go "Just admit you don't like cartoons. Or children's media in general probably." Admittedly, there's actually plenty of adult stuff just as childish, no one stays mad in Family Guy, so it's probably just "You don't like cartoons." It's the sort of bad faith criticism that just reveals you as not having actually wanted the product but whatever you thought the product should be.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

#amphibia #toh critical #the owl house criticism

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altschmerzes · 10 months

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hey saw ur comment on the man city fix it fic ab Jamie’s fathers death & was wondering what u disliked ab the Jamie’s mum and Simon part? not judging or anything im just curious!!

yeaaaaaaah so! from what ive seen at least this is a not particularly common opinion which is fine, im aware i have some particular biases and priorities and whatnot in this area, but it just… i didnt like that stuff at all. it really put me off actually, for a couple reasons. i'll get into why, but i know a lot of people like Really Loved that stuff and especially his mom - and it also gets a little down on season 3 and the writing team as a whole at some points lmao - so i'll put it under a cut.

(this got. very long. im so sorry.)

it basically boils down to a couple things: 1. what they presented us with doesn't hold water if poked literally at all in any direction, 2. it made me feel a little uncomfortable given the way everything else in jamie's arc played out, and 3. if they were going to do something like this, they needed WAY more time and narrative space to execute it well in general and specifically for ME to execute it in a way that didn't leave a bad taste in my mouth.

there are a few things that i generally dread when you have a character who's presented to have some serious trauma related to their family and specifically to an abusive parent, and one of those things is the sudden inclusion of another parent in there who is just. everything is totally fine and normal and happy and not at all complicated with them! it always makes me feel weird and bad when that happens, especially when there is no explanation provided for how that like. fits in with the abuse we know they experienced as well. that is a matter of personal preference, and i can own that. i just don't like it, and it makes me feel weird and uneasy. and that's part of it here, but what's also part of it is that i think that - my personal feelings about this type of character choice overall aside - they did not execute it well given the story they'd already presented us with, the way they used these new characters, and how much time they spent on it.

the image they presented of jamie's mom and stepdad is like… very simple and positive and shiny and uncomplicated. it's just good. they just love and support him and are a positive and affectionate active presence. and that might seem like an unfair characterization of it because we saw very little and we know very little of what their relationship is actually like - we don't know what might be complicated, what might be messy, how often they talk, etc - but that’s honestly part of my issue here. we were given a sliver of a glimpse into jamie's mom and his relationship with her and his stepdad when jamie as a character is someone who is hugely defined by his family history and the baggage and trauma and danger associated with it. if they were going to do this, they needed to spend way more time on it. they needed to introduce her earlier, do something to make it jive with what we were already presented about her: some vague mentions, half of which were in past tense, and all of which seemed to imply very strongly that if she were alive (which there was a lot of confusion about!) then they were likely to some degree estranged, because it seemed pretty clear with the 'i don't know if she would be [proud] lately' bit that he literally did not know what she thought of him in recent years. and like. it seems like i'm nitpicking, but again, this is a character who has been so strongly based in and defined by his family and the like. past and current danger and trauma associated with it.

especially given how little time or attention was given to everything else with his family, it was just way too late in the game to introduce these characters and be able to do them and their relationship with the existing characters justice. like you’ve already got a complicated story you’re skipping most of and not giving its due do you really need to add more really complicated stuff in there. and then just go actually it's not complicated don't worry about it :) like. that just doesn't work for me.

so that's where i'm at like, not only do i inherently dislike this sort of element introduced with this type of character, which is a me problem, i also think the story they presented in that episode with his mom and simon just flat out didn't make sense and they did not have the time to make it make sense even if they'd tried, which they didn't. like... if things are just fine and normal and easy with them and she’s just great and loving and supportive it’s like i. So What Happened, Then.

it makes his entire arc make less sense. if she's just Been Here what happened? why did he need to be reminded that not EVERYONE in his life was out to get him? why did keeley have to tell him to stop battling everyone that was just trying to help him? why is he so isolated and adrift at the beginning of season two? why did she never attend a single match? why did we never see him text or call or mention her in a contemporary way? like there COULD be answers to those things that make sense with what they presented, but we didn't get any of those answers and those are big questions to me given they comprise like... all of jamie's character arc lmao. at the end of the day, throwing in the stuff with his mom feels... really disrespectful to the story they wrote with him (that they already fell down on the job with) to just throw that in there with no consideration or attention paid to how it fits with or impacts anything already established.

i truly don't think that every question needs to be answered in a story. i am not saying that. i'm not saying someone needed to turn to the audience and go here's the logistic details of exactly how and when everything that happened with jamie and his parents happened. but there are some serious issues with like, telling a coherent story, and utilizing the extremely limited narrative space that a secondary character in an ensemble show can be afforded. (especially when in season three it really felt like they were already racing through characters and plot lines and backstory stuff like the goal was to just drop info just to Have It and then never address or do anything with it at all.) why did they do that, is what i keep going back to. you're telling a story with very limited space and a lot of characters. so what was the reason for that stuff to be there? so that someone could lay the 'yea he was a dick but he made you into this person! you're so strong now!' foundation for ted telling jamie to forgive his dad and 'disappointed teacher face' him into saying 'thank you' after the 'fuck you'? or was it just fanservice that you didn't think needed to fit with the rest of the story narratively or thematically? because that's where i keep going back to as well.

it just... and this is the bitchier, more spiteful part of me saying this, the part that was PROFOUNDLY let down by the way they handled the aspects of jamie's arc to do with his family and with the abuse he suffered, but it feels like an attempt to use happy sparkly fanservice-y funny and feel-good scenes with his adorable mom and sweet stepdad to like. pull way back on the rest of his whole situation with his family like see no he’s fine! isn’t it great how funny and adorable his mom is! isnt his stepdad fun! everything is fine actually things with his dad are just ~complicated because james drinks :) (and then all he needs to do about that is grow up and forgive, he's just a melodramatic mama's boy, the pain is his fault and he'll be fine once he Forgives, and rehab fixes everything). i don't have some kind of conspiracy that this was their actual reasoning but that's how it hit to me - whoops we don't actually want to deal with the abuse so we're gonna sweep it way under the couch and look! see! here's his cute fun mom isn't she great! (He's Fine Don't Worry About It, His Family Is Actually Sooooo Supportive!)

but yeah that's the bitchy and unfair part of me so. that's not really my main point.

(i also gotta say everything about that sequence with jamie and company at his mom's house feels like... tissue paper thin and very fucking weird from both a narrative and a logistical point of view. the stuff with the actual people of his mom and stepdad aside, what the hell was up with his room? what was that poster of keeley doing there. when did that go up. how old was he when he put it there. yeah she's older than him by a fair bit but not THAT much older. and if he was putting it up as like, a teenager or something, why is the rest of that room decorated for a seven year old. parents preserve their kids rooms like shrines this is true but the idea of a like, jamie in his mid/late teens or whatever putting that poster of keeley up but also sleeping in a little kid's bed still is like... did you think about this at all. it really does not seem like you did. At All. it just goes to my spiteful fringe theory about that whole sequence which is “oh this is pure 100% gratuitous backpatting fanservice that nobody actually thought about in any real way whatsoever”)

sorry this got so long but i have a lot of thoughts on this and they get kicked up every time i see posts gushing about how much people loved georgie or those scenes or whatnot like everyone is of course entitled to their opinion and i don't hold it against anyone! but that stuff hit way different for me and just added insult to injury in an episode that generally seemed to handle jamie and his situation in a way i found cringeworthy and weird at best and offensive and victim blaming at worst.

#gav gab #gav answers #ted lasso spoilers #abuse cw #long post #augh. anyways. if you disagree with me on this you don't really need to tell me so i know most of the fandom like #loved that stuff #and please dont yell at me (general request)#just giving some thoughts as they were Asked For #and i appreciate you asking anon!! i like talking about my thoughts and opinions on stuff #even if it makes me nervous lmao

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curator-on-ao3 · 25 days

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Hey, Curator. I wanted to do this by ask instead of by comment on AO3, because I have *so* much respect for your work on Autobigraphy of Kirsten Clancy. Your creation of Martian culture? Exquisite. Your depiction of a healthy relationship between two peers striving to be part of the same organization they love and also raise a family? Fantastic. Your depiction of grief and trauma? Amazing. So since my question feels a bit critical, I wanted to emphasize that I'm not trying to start an argument or score points - I genuinely, privately want to know.

I could say nice things about the story all day. But one thing in it that I felt disappointed by was the decision not to just challenge the moral attitude of Picard and the Romulan relocation effort, but to actively change the facts of it. I think the question of whether the Federation should be allowed to break up over saying a billion lives or more is a serious one, and one that deserved the argument between Picard and Clancy. Having a narrative that says "Well, nobody really died because the Romulans evacuated them using their own resources" seems to really gut the whole moral concept of the argument - as if to say Clancy can't win it on those terms so we have to change the facts, when frankly I think she *can* win it.

Do you mind me asking what your thoughts were behind making that change? Is it supposed to be the product of unreliable narration on Clancy's part, or are you describing a different universe?

Anyway, thank you again for a wonderful story.

Oh my goodness, @ruckafangirl, your praise for that story means so much to me — and the elements you mention are quite close to my heart. Thank you, thank you! ❤️

I welcome questions (I feel like it’s an author’s dream to be asked why they made writerly choices), though I must admit I was confused at first by yours. The narrative in that story is 100% in our universe with those millions of Romulan deaths happening. Clancy’s argument with Picard following the destruction of Mars and Utopia Planitia — and her view that the Federation can save either itself or the Romulans, and the Romulans should have the resources to save themselves — is meant to be in light of readers knowing that Clancy won the argument at the cost of the future of the Romulan relocation effort since the Romulans did not turn out to have (or use?) the resources to save themselves.

I went back to the story to try to figure out what could have given you the impression that the Romulans didn’t die. Because you’re exactly right that Clancy is an unreliable narrator. She doesn’t lie whole cloth, though, and she’s painfully aware that most of her life is documented via official records and logs. I therefore worked to make her omissions both visible and sensible (e.g., she only reveals the extent of her closeness with Edward Jellico in the acknowledgments because, as she explains, he didn’t want her to talk much about him in her book). I wonder, was it Clancy’s press conference following Picard’s TV appearance that suggested the Romulans didn’t die? Because the journalist’s question, “What is your response to Picard’s critique of Starfleet’s decision to cancel the Romulan rescue?” is a fair one. And Clancy��s answer, “Starfleet is proud to have successfully handed off the Romulan evacuation to the Romulan government, which ensured the safety of its people,” is truthful, yet glosses over what “its people” means. Not all people. Not most people. And what about that handoff would have been proud in any way? I attempted to show the unreliable nature of Clancy’s glib, soundbite-oriented, political theater press conference answers by immediately having Clancy reflect on her training for press conferences from both Admiral Brand and her mother. Clancy, per her explaination of that training, focuses her press conference answers on what she views as “relevant information” while knowingly avoiding mention of deeper, uncomfortable truths — including what she perceives as Picard’s erratic behavior and his need for a brain scan (begging the question: Does Clancy know about Picard’s Irumodic Syndrome diagnosis or are her instincts that good?). Clancy correctly believes that the Romulan government took over the relocation. She possibly incorrectly believes that Starfleet therefore has no responsibility for the relocation’s failures. So she doesn’t mention them.

I hope all this makes clear that I wholeheartedly agree with you, @ruckafangirl: the moral concept of Clancy’s showdown with Picard requires those Romulans to die. And they most definitely do.

Note because of the times we live in: The Romulans die due to canon consistency. Their deaths are not a statement on my personal beliefs, their deaths are a fact of the Trek universe.

#i love asks #thank you again for asking #ruckafangirl #i am considering changing ‘which ensured the safety of its people’ to ‘which was responsible for ensuring the safety of its people’#i don’t usually change things other than typos but this ask definitely has me worried the narrative wasn’t clear enough on that point #also #i feel like the math would make more sense for it to be billions of romulans dead but the transcript says millions #i don’t think the math works for the number dead on mars either so i did some authorial tap dancing to help that make sense within the story #the autobiography of kirsten clancy #kirsten clancy #star trek picard fanfic

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thecameronchronicles · 1 year

Text

The Words I Never Said

TW: Fluff. Angst. Language. Hints of smut.

SUMMARY: Rudy stands up for you when his ex goes too far.

WORD COUNT: 900

REQUESTED

Hey could you possibly write pls Rudy Pankow x Reader where him and Elaine.. (no hate to her, I think she’s a lovely girl, love her) but she and him break up.. before you join on set. You are JJ Maybanks love interest.. You and Rudy get closer, everyone can see it and teases about it. However You keep quiet about Elaine making you upset by saying stupid comments to make you feel uncomfortable.. Rudy finds out and confronts her infront of everyone, telling his true feelings towards you. Thank you so much, I love your writing.. it is so inspirational ❤️❤️❤️

*THANK YOU SO MUCH! HOPE YOU ENJOY!*

The Words I Never Said

Even though they had broken up long before you joined the cast as JJ's love interest, the tension remained as if it had just been yesterday. Where you were welcomed by the cast, teases made to how close you and Rudy had become so quickly, it appeared as though the characters you played began to bleed over into reality, the crew was often a means for their usual whisper campaigns, all lead by Elaine.

And usually you were able to brush off the remarks as you knew they existed from a place of such insecurity. But as she explained how 'even Rudy told me he imagines anyone but her in the scenes' and it's awkward for him because he 'sees her as a sister and a friend and she can't take the hint', these words existed well in your mind along those she spoke to your face. These ones would be from pure manipulation as she spoke of your ensemble being bold and even commendable for being brave enough to play such a promiscuous character. Mentions of body image were tossed to make you question if you needed to eat dessert along with the dinners you would go out and attend with the cast, all while Rudy would pull you from reliving those words, even if he wasn't aware they had even been spoken.

But there was someone you had confided in. JD. Unintentionally, as he has come to you on set, his trusting eyes and loyal reputation had been a reason for such peace as he would quickly learn the reason behind your tears. But within an hour of that pestering secret weighing slightly less on your shoulders for being able to talk about it, you caught the sight of Rudy making determined steps towards the producer's tent.

"Where do you get off?!" He shot as the laughter of some former joke simmered to silence.

"Rudy, can we talk about whatever this is-"

"What's the point?! You don't care what you say or who it hurts. What makes it worse, Elaine, is YOU were the one who ended things. So where do you think you can tell me who I can start to fall for?" You caught each and every word as well as the reactions of cast and crew alike, all while your mutual friends would then look at you.

"She doesn't deserve that. But you make one more comment about her and you'll find working here VERY difficult." He turned to face you, unaware he'd been the reason behind such a crowd gathering, before moving towards his trailer.

"Rudy?" You questioned as you knocked on the door to find it having remained ajar from a quick entrance from its owner.

"I am so sorry about all of that...If I would have known-"

"I didn't want you to..."

"Why?" You looked back to the direction you'd both just come from.

"I didn't want to be the reason for tension..."

"God, why do you always have to be like this?" His aggression seemed to turn to you, "Always so sweet and considerate...I mean if the things you told JD happened frequently...I can only imagine the things you didn't tell him and you still don't want to hurt her...I want her out of here...I don't want her to hurt you anymore. Because she's so fucking wrong, you know...About your acting, the way I see you as a friend and can't get the hint...and your clothes and weight. My God, I can't focus half the time because I'm trying not to think about all of the things I want to do to you-" He stopped, realizing his rant had confessed far too much.

"Shit, I'm sorry, I-" You were quick to close the distance between you, his face in your hands, and a soft kiss to his lips. Even though you had kissed before, it had been staged and completely fake. Done so in repetition, it was almost enough to feel numb to the excitement you used to get from it.

Almost.

But now, it was new. As if you'd never kissed him before. And it was quickly reciprocated with a hand to the curve of your back pulling you closer.

"Did you mean it?" You asked as he rested his forehead to yours once breaking the kiss.

"What?" He asked sweetly.

"That you were falling in love with me?" He looked to the side before shaking his head.

"I've already fallen." You returned to kiss him, fisting the fabric of his shirt beneath your grasp while leading him in to you.

"Then lock the door, Rudy..." He obeyed and returned quickly as you pushed him to the couch.

"Let me show you that I've fallen for you too.." You were on your knees, hands running up his thighs as you reached his belt. A devilish smile mirrored on his face as you would prove without question just how you'd desired him.

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nogu-d-reamers · 9 days

Text

CAN YOU PROMISE...

THAT WE WILL BE TOGETHER?...

(Or... And angel and Dogday a bit of Lore).

ABOUT "THE PLAYER"...

Patrick Perry Layer or "the player" was an employee of the factory that was in charge of the internal financial management of the company who worked at playTime Co. between the 80's and 90's.

Due to his work, he had to pay attention to the game station and playcare initiatives; Which he hated because he wasn't the biggest supporter of the idea of children in an industrial factory, so he was actively hostile towards them.

He had an "if it's none of my business, I don't care" mentality; Therefore, even though he had to be aware of the existence of experiments in the factory, the problem with the employees due to their treatment and that there were even spies trying to leak information about it to the public; He couldn't have cared less, it was beside the point.

Regarding whether he had family or someone close... due to the great time of conflicts that he lived through, he only had himself his entire life; which further substantiated that thought of not being interested in his surroundings if not for his work.

He mainly went to playcare when they insisted that he go to playcare at the suggestion of one of his subordinates upon learning that he was alone in adopting one of the orphans.He went reluctantly and being extremely uncomfortable with the excessive good treatment they gave him in the playcare.

Patrick and Libby...

as mentioned earlier; He met Lilibeth Faith one day when she was hiding, a girl who was particularly shy and defensive at first but who at the same time did not allow herself to be intimidated by the hostility of Patrick himself.

When he gave up on seeming hostile to her and it was approaching bedtime, he caught her attention with some of Barry's books and asking her if she liked the cart with eyes too.

Libby, not knowing what the "kind gentleman" was called (from her point of view), began to ask about "Mr. Angel." The confused caregivers did not know what or who he was; until the next visit she came running up to him shouting «MR. ANGEL!!! YOU'RE BACK! » leaving everyone stunned to see that he was referring to him, including Patrick himself.

Patrick asked the minor why she referred to him in such a curious way, which made all the sense in the world to her; I explain: «Brother once said that angels are kind and honest with those who need it, you seemed like both to me and you even wanted to play with me; why wouldn't you be?». Patrick didn't know what to respond and preferred to introduce himself formally so she wouldn't call him that again, but Libby still continued calling him "Mr. Angel."

when in starts 1992 and Lilibeth began to be a subject of experimentation or "testing" and they found a way to make her susceptible to experimentation through the "carmine serum" (it will have its own explanation later); I wasn't going to question much and I was just going to visit her since due to a very hectic Christmas season I hadn't had the time to see Libby with a gift... but I just saw her again and saw that she was so emaciated and that the only answer I had was Libby gave her «the white manss said I had something wrong, and they are trying to fix me, but hurts... Hurts too much...» he could no longer maintain his apathy and began to investigate more about what was happening to the girl.

When she found out WHAT Sawyer was doing to her, to the other orphans and that she found out in more detail about the things that he allowed due to her apathy, she put pressure and haste to protect Libby and speed up the procedures to get her out of playcare; then with the information kept and knowing of various irregularities at playtime Co. to at least mitigate some of the damage he allowed them to cause...however...

The day of the tragedy...

July 21, 1992, what was supposed to be the day Patrick took little Lilibeth Faith away from playcare, Dr. Sawyer called Layer to his office; while Libby had to wait for him; The girl was absolutely nervous, he didn't want him to leave her alone although he promised that it would only be for a moment and then they would be together.

Patrick and Harley had an dispute when he called him into the office, and at one point Harley critically said, «I'm sorry, but you didn't leave me any other choice.» Layer did not understand those words until minutes later when an employee in the maintenance area commented that a girl had suffered a serious accident in the gas production area. that girl was Libby.

At no time was Patrick allowed near the medical bay, and a doctor on Sawyer's team told him that unfortunately there was nothing to do; He allowed him to see the recently deceased body of her minor to identify her and that a priori through the adoption process she would let him take the minor's ashes.

Patrick, after seeing her "dead body" and being given a container with part of the Libby's ashes (with the parts that were not used for dogday), never set foot in the playcare again.

He blamed himself for the incident for a long time and over the years he stopped going to the company's special events because they were the only days in which the playcare children went out to the rest of the factory other than the games station, which ironically also included the event of August 8, 1995.

Loses this sunshine again...

some point in 2005; Patrick was in the eye of several investigators for what happened with playtime co (as well as his former employees); However, he had preferred to remain anonymous, out of the eye of suspicion and enduring as best he could the feeling of guilt for the disappearance of so many people (so much so that he bought a piece of land adjacent to the factory's wooded land just to know when he would feel ready to return). ; until one day the tape arrived with the "find the flower" letter, he guessed, he knew that he should not run away from playtime co anymore and he got ready to go to that place again…

If Patrick's mind was in chaos; when he met Dogday and the nickname he used to refer to him, of all the ones he could use, was precisely "Angel"; The same way and tone of speech that Libby used to refer to him was so shocking that he could only react again when the giant dog in the end could only say "JUST GO! RUN!" seconds before being attacked and possessed by the minis. If in itself the terrible coincidence of terms that Dogday used left Patrick in shock; when in the council building he finds the conversion papers for several experiments, including how his little Libby was used to be experiment 1202 - also known as Dogday; You can imagine the rage and helplessness of not only not having been able to get her out of playtime before her, but he has seen her die twice

after defeating the prototype; Before leaving she had gone to the playhouse one more time just to be able to lay watch over Dogday's body; finding himself surprised that he was still alive, even though he was devoured; but alive. He couldn't help but hug him and cry, thanking him for being alive and forgiving him.

The most difficult thing of all was how to accommodate Dogday with the grabpack; because although the canine was in half and was terrifyingly light for his size, the half-dog was still larger than his body. and that although he could help him, the slightest mistake would cause him to suffer more damage; It was a difficult process to get him out of Playtime Co.

side note: a constant visual device is that Dogday does not see player as a human, but insteants he sa him as a dummy or "Dogday's POV"; It has an explanation. Since as a human DD' suffered abuse before and after arriving at playcare, the process of your conversion to a bigger body, the 10 years she was in the factory and due to several attacks from the specialists sent by Leith Pierre, she unconsciously sees the adults as a threat, something that can and will do harm. Therefore, as a method of defense and not attacking them directly because of that internalized panic; Dogday has lost the ability to recognize adult faces and see them instead as something more "safe" and has forgotten several adult faces. which is why them doesn't know that "poppy's angel" and "mr angel" are the same person.

A UNEXPECTED HOPE... OR A THREAT WITH THE DEVIL?...

Since Patrick has Dogday with him, because of the paternal love he had for him and the level of guilt he has for leaving him behind so many times when he needed him most, he tries to compensate him by showering him with the attention and care he deserves; something a little difficult because due to the scientists and his years of dogday confinement he hardly allows himself to indulge in feeling guilty for being alive (something that Angel has been working on so that that feeling is mitigated).

Patrick knows he has entered dangerous territory; not only because now the eyes of the researchers will be on him, but even though he tries to cure dogday (even being able to recover the lower part of the experiment), however; The amount of damage he has is absurd and the few medical examinations he performs indicate that he will not survive for long.

However, on one occasion where again a group of investigators contact him before he can send them to hell, they bring him a tempting proposal: "We have in custody former workers who were part of Sawyer's team and we know that you guard an experiment; and we need witnesses and information that only someone of your rank can tell, be the witness we need and in exchange we will give you the help the experiment needs."... Layer accepts with three conditions =

#1. do whatever you have to do to save dogday; except using him as an experimental subject behind his back #2. If you need dogday to testify, unless you promise absolute anonymity it will be denied and #3. fulfill Dogday's whim and remove that CENSORSHIP Sawyer voice box.

Now... this threat... Was it a good idea… or something else that will make Layer regret it?

#poppy playtime #smiling critters #poppy playtime au #dogday #lilibeth faith #poppy playtime dogday #the player #angel #poppy playtime angel

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