Every time I try and draw Bora (my stupid oc) I can’t get it out of my head that his ass looks like a (modern-ish) human Narinder.

I do think it’s incredibly fun when people say my oc looks like “insert character from something else” but I am an outlier. Don’t tell this to other artists who aren’t me.

Some fantasy traveler inventory details (like what they would carry in their bags), based on two of the recent costumes I did.. love finding random little scraps and items and putting them together lol

So I saw Dune Part 2 yesterday and I was initially super crushed because of the deviation from book canon but the more I think about it the more I sorta like it…

So without further ado here’s a list of stuff I liked about Dune Part 2:

- all the scenes initially of Paul growing closer to the Fremen. You can clearly see that they become friends, accept him as a Feydakin, that they’re laughing, joking, hanging out. (And contrast that to the end of the movie, where Paul has no more Fremen friends, only followers. In the book, this is echoed, where Paul recognizes that he has lost his friends to the Muad’Dib religion. Take book Stilgar, who truly embodies this… by the end of the book, Paul says: “I have seen a friend [Stilgar] become a worshipper.”

- giving Chani explicit rejection of Paul’s messiah status was an interesting choice. Chani’s main thought over part 2 is that they don’t need religion to save them, that through Fremen power and desert power, the Fremen can save themselves. She recognizes that this fanatical worship can be a vehicle to control and enslave her people, and I sorta wish we saw Paul lean into that more… that they found a way to stay together and ‘fight’ the prophecy together based on Chani’s ideals…

- also, I love how engrained this rejection of religion and prophecy is in her character. Book Chani takes no issue with her Fremen name, Sihaya (desert spring), but movie Chani hates it “because it’s part of some prophecy.” Later, we see that despite her rejection of prophecy and religion, that the prophecy does indeed come to pass— the tears of desert spring save Himx aka, Chani saving Paul after he drinks The Water of Life. (Interesting how Jessica has to force Chani to save Paul using the Voice… another example of Jessica explicitly forcing Paul to become the messiah).

- adding more depth to Fremen culture— the South being the more religious fundamentalist tribes vs the North being more secular. Early on, the movie paints this immediate divide between the tribes of Fremen who accept Paul and Jessica versus those who treat them as offworlders (who murdered Jamis). In the books everyone accepts Paul and Jessica after Paul bests Jamis and Jessica quotes some scripture, but I think it makes more logical sense that there’s be friction over these two random offworlders coming in

- I love love loved Paul speaking at the meeting of the Fremen tribe leaders in the South. He fully accepts his messiah status, exercises his power of the Voice + his prescience as a way to command all the Fremen under his name

- I’m a big fan of omitting the two-year time skip, so with that I’m glad Leto II was skipped over entirely. I always felt that Leto II was an unnecessary character addition to the book, especially when he just dies and everyone sort of goes “oh well” and moves on, so I’m glad it’s omitted.

- another interesting choice was to paint Jessica as a straight up villain in comparison to her book counterpart was. The Jessica we see here is seemingly corrupted by the Water of Life: she walks around talking to herself (Alia) and scheming Paul’s ascent to Lisan-Al Gaib. She knows about the Holy War, which is the very thing Paul is trying to prevent, yet she expresses no concern about bringing it to fruition. (Probably because Jessica knows it’s impossible to prevent, but still.) The very last line of the movie, where Alia asks Jessica what’s going on and Jessica says “The Holy War has begun” is just total villain in my mind— explicit acceptance of the Holy War, like it’s just another stepping stone in her plan. Plus, the fact that Paul has visions of Jessica leading him into this period of great starvation totally cements her as a villian.

- going off of that, I like that we see Jessica undergoing actual agony when she takes The Water of Life. When book Jessica and Paul take The Water of Life they accept it calmly and without obvious pain (book Jessica was sitting with her eyes closed, as if sleeping), so this physical reaction that Jessica has to the poison adds to the idea that The Water of Life did change her in a negative way.

- I feel like so far we’ve been introduced to Alia as just a weird talking fetus who’s been consorting with Jessica, so Paul’s vision where Alia says “I love you” really strikes home, that she really does care for Paul which we might not have understood otherwise

honestly tho om lucifer is such a comfort character

you know mammon's my all time all around favourite no contest but like

lucifer just hits different

he's so tired and he's so overworked and he loves his family so much it makes me sick he's willing to kill and die for them at any chance he made the misfits of the celestial realm his family despite being the perfect example of an angel himself he thinks his brothers are adorable he just wants them to have one quiet day

he's such a bastard he's arrogant and prideful and he'll willingly meow like a little kitty cat because his boybestfriend is sad

he's got daddy issues he's terrified he's traumatised his greatest fear is his father he spent years fighting a pointless war and never questioned his father about whether they ever even tried to find a way to end the war without just mindlessly trying to kill people who really aren't that different from them for a reason no one knows he's willing to be given piggyback rides by another high profile man in a public area

he's a dog person he's weak to puppy dog eyes from everyone he cares about he's constantly done with Mephisto's shit he gets jealous because one of his friends complimented their mutual friend's cookies

he's willing to villainize himself in the eyes of his family to keep them safe he's sadistic his first response to being cornered and scared is to kill anyone who's making him feel that way his love language with his brothers is being a little shit to them he's somehow connected to/the starting point of all the issues/trauma his brothers have he has empty nest syndrome even though all his brothers live at home he hasn't realised the extent to which his actions and words have fucked up his brothers and is constantly surprised and devastated by it when he realises

he has a son he pretends is his brother whom he only ever canonically acknowledged as his son twice which led to huge blowout fights one of his younger brothers bullies him into going to the pub with them once a week his son runs a club with his youngest brother dedicated solely to making his life miserable

he's sadistic he genuinely enjoys seeing people suffer he's so polite he'll allow himself to be poisoned by food he knows is bad he bought dinner for a whole restaurant because it was the owner's birthday he wore a silly outfit and worked at a themed restaurant as a favour for a friend he gets visibly more aroused when he's ordered around he insults his brothers but gets upset whenever an outsider does the same

he loves his human so much and he's so annoyed at them he's so frustrated with them he's so angry at them and he's so worried about them so protective of them so incredibly proud of them he has tried to kill them many many times

he's a borderline alcoholic he's immortal he's greying he gets migraines he forgets to eat and he sleeps at his desk he does the mom thing and orders takeout for his children when he goes out to eat without them he likes dad jokes his greatest wish is to visit a factory he likes good socks he's a grumpy old man

he's over 10 million years old he's an eldritch horror he's the personification of the sin of pride he needs glasses to read his childhood friend? ex-boyfriend? kind-of-brother? old coworker? brother in arms? calls him luci

he's a naggy paranoid perfectionist he removed the entire bathroom because one of his brothers forgot to clean it he had to literally be kidnapped to send him on a vacation he ripped out multiple sets of his own wings he doesn't like being seen shirtless he lectured jason voorhees about him not killing efficiently enough

he's a respected and recognised drag queen he believes love is love he's canonically so beautiful but no one ever makes a move on him because the whole realm thinks he's in a committed long term relationship he refuses to believe his best friend is in love with him despite multiple people saying so

he's the type of person you want to please the type of person you want to make proud the type of person you want on your side because you know no matter what he'll always have your back you're safe that as long as he's there everything will be okay the type of person you want to be held by while everything is falling down around you

he's even queer

Someone needs to say it: The "Heaven is actually bad" plot line that Hazbin is based around is useless when you spend more then 2 minutes thinking about Vivzie's Hell and her characters.

Besides it being much too early for this idea, the revelation that Heaven or at least the beings running it aren't good people has little to no impact when the people who are being harmed by this are all horrible people. Stay with me here. None of these people are people who were unfairly brought into hell and we are never ever introduced to someone who was either. Why should we care that Heaven is "evil" and blocking redemption when all the sinners in hell we see are the worst of the worst who would have never gotten in even if it was fair.

For the "Heaven is bad" plot line to actually work, you need people who were just one sin away from Heaven, who would've gotten into Heaven if circumstance hadn't forced them down a path that stole it from them. You need characters who aren't comedic villains but land in the middle of morally grey. Those who deserved to be in Heaven but because Heaven refused to consider their circumstances, they were tossed to burn with people much worse than them. Those are the people who should be your main cast cause those are the people who would actually be impacted by Heaven being bad/ Heaven lying.

Angel dust, for all his trauma, was still part of the mafia and likely had killed people before (showing to almost take joy in it). Husk became an overlord and gambled souls, so he had to have had blood on his hands before hell. Alastor is a serial killer, and the list goes on and on. Sure, these characters are (somewhat) interesting, but they don't make for good characters to have when the key plot line is that Heaven is a scam. Even if that fact is true, none of them were ever going to get there in the first place and this is something we also se in every single background sinner shown in Hell too. They were never close to getting there, so why would they or we care that Heaven is bad when all sinners are shown to be horrific people who are at best in the dark grey area of morality.

If you look at it from the "angel's are unfairly killing sinners" route, it still doesn't work. If the angels are killing them, what makes it different then the sinner on sinner violence that hell is full off? Why is them dying by angels this bad thing when they are just as likely if not 10x times more likely to get knifed in the back by other sinners in hell the other 364 days, especially when everyone here apparently is just as horrible as the next person. You cannot condemn the angels for killing demons and then make a joke of out sinners killing each other and never show sinners who doesn't want to kill people. Life either matters or it doesn't and when the main cast doesn't even show a care for life (outside of Charlie's who's entire flaw is her naivety), why should the audience.

On top of that, Vivzie's whole overpopulation aspect and the Heaven plot line would connect better if she actually had people like those I mentioned above, people who stole to survive but got tossed out cause stealing is technically wrong, people who killed another to protect someone else but were still sent to hell because even though they saved that person's life that person wasn't supposed to be saved, people who passively engaged in sins but never really did anything harmful under them. This would add into how Hell is so overpopulated and highlight why its so important that Heaven is evil/ why Charlie's plan isn't just a naive pathetic fever dream.

In the end, Vivzie should have never made Heaven the central plot of this show nor tried to assign this blatant good vs evil to that conflict. Neither her characters nor her writing choices are able to respond to this conflict in a way that will end or even tell the story in a satisfactory manner.

(madoka magica / rebellion spoilers below. TW: suicide and controlling behavior)

I don't know the direction in which walpurgisnacht rising will take homura's character but I can say with confidence that from at least where rebellion left off that I truly believe that homura made the decision that she felt was the most correct one even if it meant she had to become a monster in the eyes of every person that loved her. she felt that if things were left in the way the law of the cycle was currently running things that it was inevitable that kyubey would eventually capture madoka in her goddess form, study her, and use her to as a source for mass amounts of energy at the suffering of herself, the others within the law of the cycle, and magical girls at large again. this is something he explains very clearly when talking to homura before her transformation into homulilly.

I get so exhausted when I see people try characterize homura as an actually evil person with completely selfish desires and no regard for others. all of her actions, while not explicitly explained outright, when looked at closely always indicate that she does things out of her care for the other girls but feels like she bears the burden of having to do it alone because she believes she's the only one who doesn't let her emotions get in the way of protecting madoka and the others from kyubey and sometimes each other.

I will always use the scenes of her interactions with mami and sayaka in rebellion as huge examples of this. she has no reason not to kill them if she's a completely selfish and unemphatic person that only cares about madoka and no one else when given many opportunities to do so. I also don't personally think she keeps them around JUST because of madoka's happiness either. she very easily could have suppressed their roles in madoka's life with the world rewrite and clearly choose not to. I believe her mocking sayaka and acting in a clearly "evil" manner is deliberate acting on her part to frame herself as a villain. she might believe this would her actions more palatable and will create distance between herself and everyone else to protect them as well as allow her to assert more control in this situation. it is further emphasized how she truly feels with imagery displayed in homura's new world around herself (shoes abandoned on the side of a building to potentially indicate suicidal ideation, a half moon alluding to homura feeling unfulfilled and unhappy with this decision, her dancing around happily before stopping and slowly falling off the cliff side with a similar implication as the shoes).

homura's relationship with the others is incredibly complicated but she cares for them deeply too as they are also people she considers friends, she just had a particularly strong attachment to madoka. we don't get to see as many instances of her interacting with them as we do them interacting with each other as we are unfortunately only really privy to homura's life after she began looping for the most part but we can see it in the way she has expresses concern and distress for them in moments where she believes they are in real, tangible danger of being hurt (she's winces and tries to turn away when aiming for mami's leg and screams out when she believes mami is about to be truly harmed after their gun fight, which neither ever had the real intention of hitting one another with any of those bullets in the first place). her entire witch's labyrinth is one where everyone is happy and gets the lives they desire. why would her labyrinth, which is meant to reflect in-part her inner feelings and desires, appear that way if she didn't truly want that for everyone?

rebellion is so compelling to me for all of this and so much more!! (I could write a whole other post on the way it presents it's freedom with danger vs control with safety question at the end of the film) she is a girl who has repeatedly suffered incredibly traumatizing events and longs for a world where the person she loves and the friends she considers dear are safe. homura is not really the devil, but she wants to appear to be because being the devil would be easier than being a human being in these circumstances.

Daylight

A/N: Before you read this story, be aware I am from Germany and can't write a bit of English. That's why I'm sending this through an app that translates it for me. 

A/N2.0: In this story, the characters are all a little older. 

Summary: Y/N Swan tries everything to keep her promise to stay away from Demetri Volturi. But can you stay away from the man fate bound you to?

Demetri Volturi x Female!Swan!reader 

Words: 2,8

Part 1 of Daylight Masterlist

Main Post / Twilight Masterlist / Request list  / Playlist

18+ I am new to the whole smut writing so please be nice 

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“ You and I drink the poison from the same vine Oh, I love it and I hate it at the same time Hidin´ all of our sins from  the daylight” - David Kushner 

"You have to promise me that Y/N." Bella looked at her younger sister with piercing eyes. However, the latter did not understand what her older sister and the Cullens family had. Confused, the young girl looked up from her place on the couch. "Why should I promise you to stay away from Demetri Volturi? I don't even really know this man?" "Y/N..." Carlisle began, but Bella interrupted him. "The less she knows, the better it is for her!" Y/N jumped up angrily. "Tell me Bella are you kidding me?! I didn't know anything when you dragged me to Italy with you. I didn't know there were vampires or people who could turn into giant wolves. I was normal, I was happy." The young girl stopped, took one deep breath and wrapped her arms around herself. "Now I'm scared of what lies ahead, being bound to a vampire who is apparently the villain for you? But instead of explaining everything to me, I'm supposed to bluntly forget what I've seen, heard and felt because it's easier for you and your oh-so-great Cullens? You want me to make a promise I don't even understand just because you don't like the Volturi?" Y/N took another deep breath. Her vision blurred from tears she wasn't ready to let Bella see. "Let me tell you something Bella, I don't like Edward either. Yet I'm not telling you to stay away from him or how to live your life!" Y/N turned on her heel and left the Cullens' living room, leaving the entire family in stunned disbelief.

"She's right." Carlisle was the first to find his voice again. "Y/N has been through a lot the last few days. We should have explained everything to her calmly first and then..." "And then what? Demetri Volturi won't leave her alone. Not when she's his mate."  Rosalie looked at everyone around once, her gaze stopping on Bella. "You pushed her into this world, now you can't just kick her out. That's not how it works." "I'm just trying to protect her!" Rosalie raised an eyebrow. "Then you shouldn't have taken her with you." Esme looked at Rosalie warningly. "What happened can't be undone. Blaming each other doesn't change that anymore." The vampire turned to her husband, placing a hand on his arm as she did so. "You should talk to Y/N, after all, you know the Volturi best." Slowly he nodded, "But not today. Y/N needs to process what all happened from today first."

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Humming to herself, Y/N was just turning around in the kitchen of her home to get to the fridge when, out of nowhere, Carlisle stood in front of her. "Jesus Christ! Do you have to scare me like that!" Amused, the blond-haired man looked at Y/N. "Sorry. I forget sometimes that not everyone, can hear everything that's going on around them."   Nodding, Y/N looked at Carlisle, which turned into an uncomfortable silence that the young girl was the first to break.  Sighing, Y/N let herself sink down on the chair in the kitchen and looked at Carlisle. "My father isn't here." "We both know I'm not here for your father Y/N." He lowered himself to the chair across from her. The latter tensed slightly. Reassuringly, Carlisle placed his cold hand on the young girl's. "I'm here to give you an idea of why Bella and my family want you to keep your distance from Demetri and the rest of the Volturi." Y/N just nodded and looked at Carlisle tensely. "You should know that the Volturi clan that Demetri belongs to are kind of like our supreme ones. They rule over the species of vampires and have done so for a very long time. Led by the three kings you met in Italy. Aro the head one, he can see everything you think, what you have experienced or what you have planned with one touch. He can be very overwhelming. But I think you have already witnessed this. He's occasionally..." Carlisle searched for the right words, but Y/N filled the void for him. "Extreme when you're not used to it?" Carlisle smiled, nodding as he did so. "Aro is extreme when it comes to enforcing the rules and can get too brutal in the process. But Caius is the one who has the most fun punishing those who have done wrong in his eyes." "What is his ability?" "He has none, other than his viciousness, he is simply loyal to Aro. Marcus, on the other hand, is the calmest of the three. His passion for life was taken from him when his wife was killed. His ability is to see the relationships between individuals." Y/N nodded. "And what does that have to do with Demetri?" Carlisle sat up a little straighter. "Demetri is part of the Kings' main guards with Felix, Jane and Alec. They do jobs and make sure no one can overthrow the Volturi. They do that by wiping out entire clans or individuals." "So he's an murderer?" Carlisle winced briefly. He hadn't expected Y/N to answer so directly with such a neutral expression on her face. "You can look at it that way, yes. But the main reason Bella wants you to stay away is because the Volturi feed on human blood. They don't see humans as equals, they just see them as something to feed on. Bella...we're all worried that Aro will see you as a threat to Demetri's loyalty and will have you killed."

Y/N let herself sink against the back of the chair with drooping shoulders. Several minutes of silence passed until the young girl cleared her throat. "Marcus lost his wife and became sad, absent and quiet after that?" Confused, Carlisle nodded and was about to ask why, but Y/N kept talking. "Was she his mate?" Again Carlisle nodded. "Is this what happens to vampires when they find their mate and can't be with them?"  Carlisle was startled by these thoughts. "I don't know. But I suspect this may lead to that." Y/N looked closely at the man in front of her. "Then you must really hate the Volturi if you wish such a fate for Demetri."

"Y/N..." Bella stood in the kitchen doorway. "I just want what's best for you." Defeated, the young girl looked down at her hands, which she had folded in her lap. "I won't say I understand this whole vampire thing, or if I even really want to understand it. But I do know that I don't necessarily want to be dragged into the middle of this whole thing. The Volturi thing is your thing, not mine and even if you think that the visit to Italy has dragged me into it, you are wrong. I have my life and I will live it how I want." Bella and Carlisle both wanted to say something, but Y/N's raised hand stopped them. "I will promise you Bella and the Cullens that I will do my best to stay away from Demetri." Bella smiled at her. "As long as you're here in Forks, nothing will happen to you. We'll all make sure of that." Y/N twisted her mouth into a pained smile. "There's something you should know. Our father already knows, and he supports me completely in this. I'm moving to Seattle next week." "What are you going to do there, and by yourself? Does mom know about this?" "I got a school offer, which I can't refuse. Mom was the one who helped me to fill out and get everything I needed for it. I'm going to start packing today." "Y/N you can't just leave now" Bella spread her arms, setting to say more. But Y/N simply got up to leave the room. "You willingly entered the world of the supernatural. I didn't, that's what you decided for me, and now I'm deciding for me to leave."

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"Are you settling in okay?" Y/N set her phone down on her desk and saw Bella making herself comfortable on her bed. "Bella I've been gone for six months. I almost feel like I'm home already." Bella laughed. "I still can't believe my younger sister is the first of us to live alone." Smiling, Y/N looked around her one-bedroom apartment. It wasn't much, however it was nice and big and cozy. Everything she needed to get by on her own. "Now tell me what is Seattle like and your school?"

Y/N's face was barely noticeably twisted as she began to talk about her school. She loved Seattle and the people she had made friends with. They helped Y/N get out of herself and enjoy her life like the young girl never had before. But the feeling of constantly having eyes on her didn't leave her. As if someone was constantly in her shadows. Several times, she could swear she thought she saw Demetri Volturi. The first time, Y/N was sitting in a café with friends, relaxing after a long day at school. The second time was at the library and the last was at a club where she had gone to celebrate a Friday with her class.  However, she did not tell Bella about it. She didn't want her to worry or make up anything so that her parents would send Y/N back to Forks. Because she was sure her sister would go to such lengths to keep an eye on her. Especially now that Bella had calmed down a bit when it came to the subject of Demetri Volturi.

"Damn!" Y/N looked around at her desk, "What's wrong?" Bella looked at her sister with concern. The latter, annoyed with herself, just shook her head. "I have to turn in this homework tomorrow, and the book I need to do these assignments is in my locker at school." "Then just ask for more time." Y/N shook her head. "I can't, but the library is still open and I know they need to have that book there." "Be careful, will you?"  "I always am Bella!" The addressed raised an eyebrow and was about to say something, but Y/N pointed her index finger at her sister, "People who jump off cliffs voluntarily should be quiet!" Defensively, Bella raised her hands. "I'm not saying anything anyway!" "Better that way."

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Y/N shakily rubbed her hands together as she walked down the street. Seattle was cloudy as the smell of a coming rain worked its way to the surface. The shivering came, but not only from the cold air, but also because of the renewed feeling of being watched. Discreetly, she turned her head from right to left. But she could not see anything that seemed strange to her. Shrugging her shoulders, Y/N looked for her headphones in her bag and put them in her ears, hoping to get rid of the feeling as quickly as possible. In the library she asked directly at the entrance if the book she needed was really here and was relieved when the librarian said that the book was in the back of the library.

Again with her headphones in her ears, Y/N walked past the many bookshelves. Every now and then she let her fingers glide over the various book spines, while she hummed softly along to the melody. The shadow that followed her stayed out of the young girl's thoughts. Nor did she notice him standing almost directly behind her as she stopped in front of one of the shelves, her eyes roaming over the various book spines. Annoyed, Y/N pulled a frown from her face. The book she needed was on the top shelf. Standing on her tiptoes, she reached for the black leather book, but only her fingertips touched the spine. With a sigh, she stood back up properly and was about to turn around to go back to the front to ask for a stool or other help.

Y/N froze, however, when a body came up directly behind her, or rather when the upper body of a stranger nestled directly against her back and she saw a pale hand reaching for the book. Startled, Y/N pushed the air out of her lungs and turned around. At the quickness of her turn, her headphones fell to the floor and rolled away in different directions. But the young girl no longer cared, because when she looked up, Y/N saw into a pair of red eyes. Demetri Volturi stood not two inches from Y/N, looking down at the young Swan. A smile had settled on his lips, which was more akin to a Predator having his prey where he wanted it than pure friendliness.

"Demetri..." Y/N sounded breathless, which only made the vampire smile wider. "Good evening mon amour. Is this what you needed?" Demetri ignored her questioning look and held the book between them, but Y/N didn't even notice it. She was too distracted by his closeness and his eyes. "What are you doing here?" The blond-haired vampire tilted his head slightly. His smile softened as he lifted his left hand, the one not holding the book, to brush a stray strand behind Y/N's ear. "I came to check on you." Unwillingly, Y/N closed her eyes as Demetri slid his cold fingers back over her cheek. Instantly, goosebumps spread all over her body as she leaned a little further into his touch. Y/N couldn't help it, it was almost as if something was pulling her towards Demetri.

"This isn't your first time here, is it?" Slowly, her eyelids fluttered open. Slightly, Demetri shook his head. His hand lingered on his mate's cheek. "You've just never been alone." Absently, Demetri placed the book, behind Y/N on the shelf. His hand he placed as a support on the edge of just that. In this way he enclosed Y/N and at the same time came even closer to her. His lips were just above hers. "Demetri, what are you doing?" Panic slowly spread through Y/N. Her hands went to his chest, where she tried to push him away. But Demetri just stopped, no matter what Y/N was trying to do. When the vampire put his forehead against hers and closed his eyes, she gave up. Y/N curled her fingers into Demetri's jacket and studied him. His left hand rested on her waist while he slightly strengthened the grip of his right hand on the shelf, making the wood creak in protest.

"I tried to stay away from you after I overheard your conversation with Bella. After I listened to you promise her to stay away from me." Demetri stopped. Still with his eyes closed, he moved his forehead away from hers. He tilted his face slightly forward so that his lips were only millimeters from hers. Y/N drew in a sharp breath as Demetri let his lips move further over her skin to her cheek, to her neck. There he found her pulse point and placed a kiss directly on it.

Y/N's eyes widened in shock as her fingers clawed tighter into his jacket. "Demetri?" Her voice trembled. "Don't do this, please!" Now the young girl sounded tormented. Demetri released his lips from her neck and looked at Y/N again. "Admit it Cheri, you were thinking of me as much as I was thinking of you. Of my hands on your waist, my voice close to your ear, like in Volterra when I finally found you." Again she closed her eyes, almost as if it caused her pain to admit this simple truth.

Y/N still remembered clearly the day she met Demetri Volturi for the first time. His arms wrapped around her so that he could better protect her. The way he had whispered in her ear that she shouldn't be afraid because he would keep her safe. The way he didn't let go of her until he was sure the danger was over. Nor had she forgotten the feeling of safety and security that Demetri had triggered in her.

"Tell me you haven't thought about me for a second and I'll let you go. You won't see me again." Demetri came closer to her lips again. Y/N opened her mouth to tell him to leave, but nothing came out. So she closed it again. Because the truth was, she hadn't stopped thinking about him. Demetri released his right hand from the shelf and let it wander to the back of Y/N's neck. He pulled her a little closer to him. Prevented her from looking away. "Say it!" He challenged her, his eyes falling on Y/N's lips. "Tell me you hate me!" "I can't." Demetri's eyes settled on hers again. He saw the confusion and at the same time the craving he himself felt when he was near Y/N. Demetri broke eye contact, lifted his lips to Y/N's forehead and placed a lingering kiss there. When he released his lips from her skin, he lowered them to her ear. "How long can you hide your sins from the daylight?"

Confused, Y/N wanted to know what Demetri meant by that, but in the next moment he was gone and so was the feeling of his closeness.

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A/N3.0: Please let me know how it was and if you want a second part?

@hc-geralt-23​

BSD 109 Spoilers!!!

I will always always ALWAYS come back to this panel when talking about Asagiri’s storytelling.

At its very core, BSD is an absurdist text, Kafka Asagiri having been inspired by many absurdist authors. Franz Kafka, who he took his pseudonym from is one of them. Albert Camus, basically the most well-known absurdist is referenced with the Mersault prison, the name of which comes from a character in his most famous absurdist work, The Stranger. 

Absurdism is the belief that the world around us is irrational and inherently absurd and that explicitly seeking meaning is pointless. In his essay The Myth of Sisyphus, Camus explains, that there is value in the act of rebellion, though. Sisyphus, who has been doomed to roll a boulder up a mountain only for the boulder to tumble back down each time he reaches the peak, finds meaning in the act of continuing to push the boulder. Even though he will continue this cycle for all of eternity, he doesn’t just lay down and give up, he rebels against the absurdity of his situation by continuing to push the boulder, despite the seemingly futile nature of the act. 

As I said earlier, BSD is an absurdist text. All of the animanga’s main characters are on a journey of discovering their meaning in life, and their place in the world, and they do this by rebelling against its absurdity — especially Dazai. 

Dazai sees the absurd world for what it is, and when he was in the PM, he hated it. Thus, he sought suicide as a solution. I will note here that absurdists generally view suicide as a failure to rebel against the absurd, just giving up and giving into hopelessness. But ever since Dazai left the PM and took Oda’s advice, he’s been rebelling against this, doing good despite his inherent beliefs about morality and the world, and he’s absolutely gotten better for it. 

Other characters embody this idea of rebelling against the absurd, hell, that’s kinda what this whole arc is about. The world is literally ending, and things seem to be at their absolute worst, but someone like Atsushi still has hope that he can change the minds of the hunting dogs and save reality as we know it. He even has hope that he can get through to a vampiric Akutagawa when the guy is literally brainwashed and attacking him. Aya as the “last hope” right now embodies this, too, deciding that she can’t just sit around and do nothing and then trying to remove the sword from Bram even though the effort appears futile. 

But everything is going wrong right now. Fukuzawa is bleeding out, Dazai has just been shot through the forehead and appears to have died, Atsushi’s had his limbs ripped off and is at Akutagawa’s mercy, and Fukuchi is literally going to end the world! How can we have hope?!

Think about BSD. Think about the story that’s been told so far. Surely Asagiri isn’t killing everyone right now, surely the world isn’t gonna actually end. I’m not entirely convinced Aya’s plan is gonna work— but please consider that the point of absurdist storytelling is that even when everything seems to be at its worst, even when life seems completely meaningless, there is inherent meaning in still continuing to fight against this. 

BSD has never been a story where the villains win, and I don’t think it’s gonna start being one. I think, as usual, Asagiri wants to scare us, to make us feel hopeless about the situation, only for someone to pull through and completely turn the tides.

Dazai laying down and accepting his death at Chuuya’s hands is not going to be the end of his story, because it goes against everything Asagiri seems to stand for. Dazai wouldn’t just give up in his fight against Fyodor, because he needs to prove he’s right about what he says in this panel:

"The ones who actually make the world turn are those who scream within the storm of uncertainty and run with flowing blood."

I think this reflects Asagiri's own beliefs and is also the reason why he is not going to let Dazai die like this, because in a way, that would be proving that Fyodor is right. From a storytelling perspective, it’d be saying “everything I’ve communicated up to this point actually means nothing and life is truly hopeless!” 

Dazai has cheated death before, as has basically everyone else in danger right now. I promise you, something is going to happen and they’re all going to survive, because BSD is not trauma porn, for lack of a better term. It’s a story about how a group of people fight against the absurdity of their reality, even when everything seems completely and utterly hopeless. 

There’s a lot of theories circulating about how things could work out, especially Dazai’s “death,” and I’m not here to repeat all of them, but I will say that a lot of them have credence, especially because Asagiri isn’t the type of author to make mistakes, every single detail has a distinct reason. 

So even though I don't know how things are going to work out, I have full faith that they will, including Dazai's current situation. None of these characters are done just yet, they've got too much fight left in them to just give up.

[original twt thread]

BL Challenge 2k24 ✨Day 7✨

Hello and welcome to @negrowhat's 15 Day BL Challenge! Full challenge can be found here.

Favorite Villain: Korn Theerapanyakul

It isn't often that we get an actual villain in a BL. We have plenty of love rivals but those are rarely ever villains in the true sense of the word. We also have a large, unfortunate array of shitty parents and parental figures, some of which absolutely do fall into the villain category, but they don't deserve my effort or your attention.

But then we have Korn.

Korn is a villain. Make absolutely no mistake about that. This man has dedicated his life to playing 4D chess with everyone around him, including and especially his sons, and he's brilliant at it. There is never a moment where he isn't in control, there is never a moment where he hasn't thought at least five steps ahead, and he has very few blind spots.

What gets me—and what makes him that much more insidious in my opinion—is how he presents himself to the world.

♡ gif by @guzhufuren from this set

"This man, a villain? Never! He's just a nice, soft-spoken dad in a sweater vest! Sure he's a bit intimidating but he's in the mafia, it's to be expected. And just look at how accepting he is of his gay sons! He's looking at a photo of his son and his son-in-law and smiling, isn't that lovely?"

False!

Korn's image is perfectly curated and if you only look on the surface, from the outside that's exactly what he is: a nice dad and a respectable businessman. He's rational, calm, and level-head, especially when you compare him to Gun—which you can't not do. It's impossible to have a conversation about Korn without talking about Gun, who is absolutely just as bad and who I easily could've chosen.

The difference is that Gun's evil is overt and in a way, it's more...honest because of it. He's not out here pretending to be a good person or trying to be anything other than exactly what he is. What you see is what you get. However, I chose Korn precisely because of that insidiousness, because his evil appears so much more subtle but only when it remains in the shadows.

♡ gif by @kinnbig from this set

Because when everything gets brought to light? Hoooooo BOY.

This man kept his foster sister in isolation under lock and key for years after he killed her husband and took her away from her two little boys. Then he left those little boys in the care of a degenerate gambler and watched them sink further and further into debt. And that's only the thin end of the wedge! If we got into all the ways he fucked up his OWN boys, we'd be here all damn day.

Kidnapping on perhaps more than one occasion, a hit squad, Kim's entire personality, Kinn's emotional range, need I go on?

But getting back to Porsche and Chay, Korn could've helped them at literally any point but he didn't lift a finger until they grew up and became useful to him. He could've cleared their debts, paid for Chay's education, provided for them, kept them from getting remotely close to a situation were men were beating them and trashing their home. But he did exactly none of that because whatever sense of obligation Korn might have felt toward them absolutely pales in comparison to his need for control.

♡ gif by @kinnbig from this set

That's what this all comes down to: control. The world is a chessboard and everyone in Korn's orbit is a piece on it. He proposed an outcome for himself and he got it.

He made sure Kinn was cemented as head of the main family and found a way to cement Porsche as head of the minor family. He got rid of Gun and the threat he presented and succeeded in burying the truth of what happened to Porsche's parents with him, because the truth that Korn gave simply is not the whole truth. It never will be because divulging the truth means giving up control, and that is something he will never do.

I could literally talk for hours about Korn. He's a fascinating character. He's got so many layers. Bottom line?

Este señor es el mismísimo diablo. This man is the living breathing devil.

Writing Villains (Advice from Jane Austen)

One of the reasons that I find Jane Austen's novels so wonderful is that they have amazingly realistic villains, some that are fully fleshed out characters. Austen's biggest strength is that she gives her villains clear, logical motives. In fact, for many of her villainous characters you can turn the entire story around and see a rational story from the other side.

For example, Lucy Steele. She doesn't attack Elinor out of mindless evil, but because Edward Ferrars is her golden ticket to wealth and she knows that Edward loves Elinor. Lucy might twist the knife a little on Elinor out of sadism, but generally she attacks Elinor in an attempt to secure Edward. When it comes to other characters, Lucy is overly sweet if she wants something from them, otherwise she acts normally. As an example, she leaves Marianne alone because Marianne is not competing for Edward and also can't do anything for Lucy. Anne, Lucy's sister, likes her. Lucy has friends and family she stays with, she's a fairly well-rounded person.

You can put yourself in Lucy's shoes, you can turn the entire narrative on it's head and play it out from her perspective and it would make complete sense. You could even make Lucy sympathetic! She probably sees herself as a hardworking underdog, trying to wrest her one chance at prosperity away from the conniving Elinor Dashwood. I'm sure she thinks the pain she causes Elinor is justified.

If you can't do that with your villains, then there is a good chance they are just evil for evil's sake. I picked Lucy Steele on purpose because I hate when the entire motivation for a antagonist female character is "bitches be crazy". Bitches may be mean, but almost always for a good reason.

Even Mrs. Norris, who is probably the most cruel of Austen's female villains, can be perspective switched. Her life is about being useful to the Bertram family so she can feel important because her married status/wealth is lower than she wished. As she must always be deferential towards the Bertrams, she takes out her negative emotions on those below her, the servants and Fanny, while also showing off how good she is at "managing" those people. (And yes, she is your childhood bully)

We often hear her perspective and she clearly sees herself as a useful part of the family and a defender of Sir Thomas's wealth. She thinks she's a good person! Which is also an important point: most people doing wrong do not believe that they are doing wrong. That is what really makes a villain scary. Mrs. Norris thinks she's helping Fanny in a very twisted way by teaching Fanny her station in life. If you asked her, she'd give you a self-justified answer and she'd probably actually believe it.

Another way to do a good villain is to just make a person very selfish. Henry Crawford doesn't sit around all day laughing about how much pain he causes women, he doesn't think about it. He only thinks about the fun of flirting for himself, not the harm to others. The glimpses we get into her perspective are not cruel at all. It's the same with Willougby, he thinks only of his own pleasure and tries very hard to ignore that he has crushed Marianne and destroyed Eliza Williams. When he is forced to accept that people were hurt, he blames everyone but himself.

Wickham thinks that he's a victim, Caroline Bingley is ambitious and doesn't care who she steps on to get to the top, Mr. Elton is insulted that Emma could even dream he's a match with Harriet but he can't touch Emma so he punches down at Harriet. They all make sense, they all probably believe that their actions are justified.

Also, imagine taking the heroine/hero right out of the story, would the villain still act the same way? If Anne didn't exist, Mr. Elliot would still try to bring himself into the Elliot family because he was afraid of losing the title. If Elizabeth didn't exist, Wickham would have had another favourite in Meryton. If Fanny didn't exist, Mrs. Norris would have found some other puppy to kick. The villains don't just appear for the plot of the main characters, they have their own reasons for moving around and messing shit up.

Lastly, explaining but not excusing (though unfortunately some people will excuse anyway but that's not your fault). Mary Crawford is mercenary and doesn't seem to believe that love is even a real thing. It's pointed out several times in the novel that her defects have to do with being raised in an immoral environment and a broken home. She was taught by her aunt to marry for wealth and disregard love. Austen doesn't excuse Mary, she doesn't give her a happy ending, but she does explain how she came to be. She's not just greedy, she has been taught that wealth is the best recipe for happiness. As an adult now, it is her responsibility to question that maxim or remain a villain.

Austen wrote amazing morally grey characters and "villains" (a term I used a little liberally here, some of them probably only count as antagonists, not full blown villains). I love how real and human she made her characters, it's something I aspire to myself!

Linking my Caroline rant because it's related, people remove her motives so often and flatten her into a "bitches be crazy".

Names in The Hunger Games series obviously hold a lot of symbolic meaning. Whether it be a particularly on the nose name for characters like Peeta or the complete absence of one for characters like Mrs Everdeen, Suzanne Collins puts a lot of thought and care into names. One that I haven’t seen people talk about so far is Livia Cardew.

Livia Cardew is a rude, cruel classmate that Snow despises. When we are introduced to her character, Snow thinks that she, "had always been prone to gloating," (tbosas). She is assigned Facet, a strong boy from District 1 with a good chance of winning the games, and Snow hates that she acts, "As if the plum assignment was solely a reflection on her, and not on her mother running the largest bank in the Capitol," (tbosas).

The character Livia Cardew is named after Livia Drusilla, wife of the first Roman Emperor Augustus and mother of the Emperor Tiberius. Livia Drusilla came from a powerful Patrician family in Rome, with her father inheriting a substantial fortune around the time of her birth. She was married prior to her marriage with Augustus, giving birth to two sons before her divorce and subsequent remarriage to Augustus. Although he believed these sons to be proof of her high fertility, Livia was only able to give Augustus one stillborn child during their marriage. Livia Cardew reflects the early life of her namesake Livia Drusilla, in that she comes from an influential banking family that helps her get ahead in society. The advantage she has being assigned the District 1 boy only widens the gap, making her a frontrunner to win the scholarship. However, just as Livia Drusilla loses her child with Augustus, Livia Cardew's tribute dies before the games even begin, removing her from the competition entirely. Moreover, Livia attempts to "steal" Clemensia's tribute while she is ill, "demanding new tributes be brought from the districts, or at least that she be given Reaper, the boy assigned to Clemensia, who everyone thought had been hospitalized with the flu," (tbosas). Similarly, Livia Drusilla campaigned with her husband to make her son Tiberius his heir after she failed to give him a son, though she was only successful after the death of his nephew Marcellus and disgrace of his daughter Julia.

Further connecting Livia Cardew to her historical namesake, it is implied that Snow marries her after the events of tbosas. In the epilogue, Snow thinks, "If he ever married, he’d choose someone incapable of swaying his heart. Someone he hated, even, so they could never manipulate him the way Lucy Gray had. Never make him feel jealous. Or weak. Livia Cardew would be perfect. He imagined the two of them, the president and his first lady, presiding over the Hunger Games a few years from now," (tbosas). Just as Livia Drusilla became Empress of Rome, Livia Cardew would become the First Lady of Panem. Livia Drusilla was seen as the ideal matron in the early Roman Empire, as a steadfast and supportive wife who oversaw domestic affairs like the home and children. In the same way, Livia Cardew is Snow's ideal wife, a girl with an advantageous family name and no emotional ties to get in Snow's way.

Finally, Livia Drusilla was often villainized by Roman authors the same way Snow villainizes Livia Cardew. Annals by the author Tacitus portrays Livia as a murderous, evil woman in cahoots with her son Tiberius to steal the Empire after Augustus' death. Over and over he reveals his own prejudice against women in ancient Rome, inserting his personal opinions into a work he claims is unbiased truth.  He often uses negative language to describe Livia Drusilla, saying that, “There was also [Tiberius’] mother with her female unruliness,” (Tac. Ann., chap. 1).  Tacitus’ choice to specify that Livia’s shortcoming relates to her gender highlights his lack of respect for women, and his expectation that all Roman women fit a specific mold. In the same way, Snow constantly thinks the worst about Livia Cardew, thinking things like, "Unlike Livia, Clemensia received news of her good fortune with tact," (tbosas). Livia Drusilla was often associated with poison (a "woman's weapon"). There were many rumors about her killing enemies of herself or Augustus using the very method Snow adopted as his own by the events of the original trilogy.

tl:dr Livia Cardew is based on Livia Drusilla, wife of the first Roman Emperor and holds a lot of similarities to the historical figure

Remember when I said I’d make some informational posts about the Cryptid au? Well, here’s some lore! I originally wanted to talk more about Wind. But I can’t talk about Wind without also talking about Legend! So buckle up while I tell you about an old, old war.

Legend is Mer. Wind is an original species that I call Aquili. On my character sheets, before I came up with the name, I called him a Sea Monster. But then I thought about it for two more seconds and realized that in a world where monsters are in fact real, tangible things that are always evil and are constantly being fought, doesn’t calling someone a monster sound a little derogatory? And then that SPIRALED.

So throughout Hyrule’s history, there have been many creatures that make their homes in the sea. Among these are the Zora, an amphibious group that make their homes on land but close to water; the Aquili, an amphibious group that make their homes underwater but close to the surface; and the Mer, an entirely aquatic group that live 100% underwater. They rarely interacted with each other, peacefully keeping to themselves until an influx of monsters started driving them out of their homes.

The spike in monster population took place just before the events Ocarina of Time. The Zora were least affected affected because their homes were on land, but the Mer and Aquili struggled. They fought back the monsters as they invaded their territories, and eventually, the threat of the monsters led them to cross each others borders. And suddenly, they had a turf war on their hands. They simply didn’t have enough space to coexist while the monsters lurked. And so they fought.

The timeline splits. Legend and Wind both know different conflicts, but neither end well. In Legend’s era, the war is won. The Mer were victorious, they drove the Aquili away and lowered their numbers enough that they aren’t a threat anymore. The term “Sea Monster” is Mer propaganda, meant to villainize the Aquili and turn any sympathizers away. The war might have been won centuries ago, but the Aquili are still out there, still scraping by, weakened but never defeated. Legend has been taught all his life to fear them. He’s been taught to call them monsters and to fight them on sight. He’s been taught that there’s a reason that the Mer were able to win, and he must live up to that standard.

Legend was attacked when he was young. He was chased out of his territory by an Aquili scavenger, forced above the surface to escape. Except it’s law in Mer controlled areas that so much as breaking the surface tension of the water is grounds for banishment. Since Mer are completely aquatic, it’s dangerous for them to go on land. Plus, Aquili, being amphibious, go above the surface on occasion. Anyone following them is seen as a traitor. Unfortunately, even though Legend was only a child and only trying to escape a very dangerous situation, the law was strict. He had no loophole. He was banished, forced to take refuge in the surface kingdom of Hyrule. And that experience did not help him see Aquili in a kinder light.

Wind, on the other hand, had an entirely different perspective on the war. In his era, the war never really ended. There were no victors, no losers. When Hyrule flooded, the war just sort of… fizzled out. Of course, with the extra ocean comes even more, even bigger monsters for the Mer and Aquili to try to manage. There are still skirmishes between the groups. A lot of fighting around borders. Occasional battles and invasions. The conflict, while it might not be as intense as the war in Legend’s era, is still very much ongoing.

Except… there’s this little place in Wind’s era. A little island where Aquili and Mer alike seek refuge. A common ground, an area of peace. Outset Island is populated entirely by both Mer and Aquili who wanted an escape from the war. The ones who gave up on holding any territory underwater and settled on land. There, everyone’s welcome. Wind’s parents left him there with his little sister and his grandmother to save them from the constant fighting. But they believed in their cause, and so they left to reclaim their territory- their home. They never returned.

Wind sees the war as something that’s far away. He lives in a bubble of peace. He’s friends with Mer. He doesn’t have these prejudices. He knows not to venture too far into the ocean (hence why he sails on a ship instead of swimming everywhere), but other than that, he doesn’t have to worry about it.

When Legend and Wind meet, immediately their cultural differences are made very, very clear. Legend is cold to the young boy (colder than usual, that is) and no one can figure out why. Wind’s such a little bundle of energy! His laughter is infectious and his enthusiasm is contagious. Why does Legend avoid him so much?

I had this idea in my head that Wind’s so far separated from his culture, he doesn’t even know that he’s called ‘Aquili.’ All he’s heard from everyone in his life is ‘Sea Monster.’ On Outset, the Aquili called themselves that with pride as if they were never anything else, so Wind never saw any issue with that.

So one day, when talking to the rest of the Chain, Wind calls himself a Sea Monster. And Legend LOOSES IT.

Suddenly, Legend rushes over and pulls Wind into his arms and just hugs him as tightly as he can. Because this child should not be saying such things about himself. Legend’s been dealing with his own prejudice this whole time, but hearing it come from Wind’s own mouth actually breaks him. He cannot pretend anymore. He cannot separate himself from the conflict, he cannot use the blanket description of ‘Monster’ for all of the Aquili, he cannot blame the child in his arms for the desperate soul that chased him from his home.

“You’re not a monster,” he’d whisper into Wind’s shoulder. “Don’t ever say that. You’re not a monster.”

Wind’s just confused because he didn’t say he was a monster. “I called myself a Sea Monster. There’s a differen… oh”

And Legend has to watch the light leave his eyes as Wind realizes what he’s been calling himself… what everyone he knows has been calling themselves… is so fundamentally wrong.

It’s Legend who tells Wind about his heritage. As much as he can think of that isn’t propaganda. (Which… isn’t much). Legend tells Wind that he’s called Aquili, he tells Wind about the Aquili that he knew in his era. He hates that he knows so little.

And then they start to bond. Wind is definitely in shock about the whole thing, maybe a bit of denial. Legend just feels so sorry for being so harsh towards him in the past. But they go swimming together, they catch and eat seafood together. Each of them are learning from each other. They heal.

Okay that was long. I have many more thoughts about this! Like what the war looked like in Lorule, what it means for Legend and Ravio. But I’ve rambled long enough haha! I’ll make a post about that later if you’re interested, but for now, thank you for reading haha!

Crushing on a fellow teacher

Characters: Shota Aizawa, Toshinori Yagi

CW: work place romance, gn reader, reader is also a hero, mentions of injury, mentions of death?,

WC: 620+

A/N: Wrote this in school cause I'm tired, and sick of these people

Shota Aizawa

It really just starts off with his concern for you being higher than the other teachers

He'll check in on you more often, maybe bring you tea or coffee if you're working late

He knows that hero work comes with obvious dangers, even for one working as a teacher, but he can't help but feel bad when you get hurt, thinking he should've been there to help/protect you

That's about when he realizes that he likes you more than the others

Or Present Mic mentions it

He's generally good at hiding how he feels

To the outsider, one would think that you're simply a friend he cares for a lot

He cares deeply for his friends, but everyone who knew him could see that his care for you went deeper

He doesn't really think to confess, cause it might affect his work quality (and yours), and his work comes first

So he just sticks to quietly pining over you

You'd probably have to confess if you want your romantic relationship to go anywhere

If you do confess, he'll tell you the feeling is mutual, and he'd do one of two things

1, decline you offer to start dating, but only because of the work situation, but he'll fully communicate that he likes you too

Or 2, he'll accept, but ask to keep the relationship under the radar so you both can continue teaching and working like normal, and so his co-workers don't treat either of you any different (even though they suspect the feeling between the two of you)

But

If you end up teaching somewhere else, or just stop working at UA, he'd be more comfortable with making your relationship more open to his friends

Either way, very caring and understanding, if you confess or don't confess <3

Toshinori Yagi

Reckless fuck (affectionate)

He doesn't entirely understand why he's feeling this way at first

Like, you should just be a co-worker and friend, but for some reason he's feeling more

Also thinks of it as "I'm willing to die for anyone, but why them even more???"

He really tries to play it off like he just cares for you in a platonic way

I believe that throughout his life, he was too focused on hero work, or training to be a hero to think much about romantic relationships

But he's not entirely clueless about romance

He's seen a lot of stuff in media, and might've had a few small relationships in the past, but nothing as serious or intense as the things he's feeling towards you

He tries to act casual around you, but he really doesn't know what to do with himself

He'll occasionally bake things for the staff just to see the joy on your face when eating the sweets

He feels somewhat insecure about his true form

He hasn't exactly been directly body shamed

But that generally insecurity definitely lives in the back of his mind

Can't help but check in on you more often and help you with things

Because of his past hero work, helping you comes naturally to him

The other staff notice his actions, and they quickly catch on

A few students catch on as well

He tries to keep his emotions and feelings on the back burner, so he can focus on his students and teaching

But eventually it gets overwhelming, and he forces himself to confess

It's most likely after hours when you're both tired and stressed

He just needs to get if off his chest, whether you'll reciprocate his feelings or not

You're probably not super surprised, cause of all the clear signs

He's so happy when you say the feelings are mutual

You'll probably end up keeping the relationship under the radar, cause he doesn't want villains using you hurting you or using you against him

Though the staff find out relatively quickly cause the soft looks you give each other pretty much gives it away

|| Intro || Masterlist ||

Can I just point out something again.

How am I supposed to care for the main protagonist in Tsams. When they use the woes of the antagonists for their own entertainment?

I don't care how much better of a person Monty has become. I don't care how much better of a person Moon has become. I get and understand that they have every right and reason to be upset with eclipse and blood moon. They have every right to be angry. But do they have them right to laugh and point out the villain sorrow? Am I supposed to feel happy when they tell me every reason and understanding of why I feel sympathy for the villains as a joke?

This is the epitome of Batman laughing at joker for going insane. There is nothing good about joker being insane. For many villains and hero relationships. None of those heroes laugh at the misery of their villains. They will be angry. They will shout. Hell they might not even feel sympathy for whatever the villain had to go through. I can get that. But most don't play it off as a joke. Most don't go haha, that murderer's brother died. Most don't go haha, You're a little twerp that never should have lived.

Those sentences sure don't feel gratifying or hilarious when said in a void does it? Call me a villain kisser. Call me a moon/Monty hater. Have you wondered why some people would be like that? You can hate the killer but you never laugh at what life brought them there. You can wish for their death but you never celebrate the misery of their lives. You may celebrate their death, But you certainly don't mock about it with an air of jokery to those that are left behind in the aftermath.

There is one thing I get from watching real life crime reviews. People will get angry. People will shoot it in the villain's face. They will celebrate the villain's death with cry's and triumphant yells. But no one looks at their life and giggles. No one flonders their death around family no matter how involved they are. You don't do that. There is usually nothing right with how they were treated, And there certainly is nothing right about packaging someone's death certificate in a present, and handing it over to whoever was closest.

I don't care how sweet or better Monty has gotten. I don't care how different of a person Moon is. I don't care how understanding the soft Sun's anger is. I don't care if puppet is some primal entity who was expecting this from the beginning. I don't care if Lunar's jokes are just an expression of anger. At least he has an excuse. At least it feels like lunar is legit joking out of a fit of anger. Everyone else up there has made plenty of jokes and jabs without some sort of anger to cover it up. Sun maybe. But everyone else? Especially our oh so wonderful Monty?! No! I could get it maybe in the sanctity of his home. In the quiet of his friends. But he literally takes the time to drive these villains out into the light and play with them for a bit.

I feel like I'm being force fed this idea that I'm supposed to be okay with this. Like it's entirely okay to look at a villain's backstory and laugh at it! That I'm not only supposed to celebrate a murderer's death, but also joke about it to their family and friends! Everyone in this goddamn fandom hops and skips around that issue because surely it can't be. Surely I can't look at these wonderful characters I've been voting for for ages, and realize that they're jackasses. But they are promoting the worst behavior I have ever seen. Let's just laugh at the jokes. Let's just jear at the expressions. Let us ignore every possible reason why this is the most fucked up shit.

Because for some reason. As long as they have a reason to hate. They have a reason to joke. And while I might understand it as some sort of self therapy. Talking to the villains about it and even there friends is cruel!

Hello, hello! The Ghostie with the penchant for long rambling walls of text here to give her unwarranted two cents on the current disagreement between the Tubblings and the Crows!

I'm offering my take as a purely unbiased outsider

(Yes, us Ghosties may be married to the Tubblings but when I first joined the Qsmp Fandom I was a Crow and a Crow only, before I died and became a Ghostie. Thus, while I like both qTubbo and qPhil I don't watch either of them often, ergo unbiased :D )

who has no real reason to attempt to villainise or place either character on a pedestal because to put it bluntly, they are not my cubito.

Without further ado I will begin my ramble.

Today's ramble of course comes with the disclaimer that with me not being a qTubbo or qPhil main there may be areas of their character that I'm not aware of since I don't watch every single one of their streams! Feel free to correct me on literally anything you think I've mischaracterized about your main just please be understanding that nothing is done with malicious intent! :)

I'm not attempting to paint either character as a villain in this ramble, I'm just publishing this in hopes to allow each community to understand that neither cubito is perfect and that's okay!

Okay! For anyone missing context; the current disagreement began when Tubblings expressed feeling happy that Chay was able to be a kid around qTubbo as opposed to being serious with qPhil then the Crows reminded the Tubblings that qTubbo is also attributing to Chay's hero complex through him acting as Chay's egg and asking Chay to protect him. Which has caused both sides to instinctively protect their cubito and is causing arguments within their communities.

As a Ghostie who is more than willing to write 1000 words to raise awareness, and is frankly sick of infighting within the QSMP fandom (it's why I left twitter, please don't bring it here 🫠) I figured I'd try to help 'squash the beef' if you will.

Polite discussions about cubito conflict is fine, going for each other's throats over character takes...yeah let's not do that! :D

Firstly, everyone has to recognize that Chayanne has an almost toxic hero complex. He's had it since the beginning of the server and while neither qPhil or qTubbo is doing it on purpose they are BOTH feeding into it!

He has an overwhelming urge to protect others with no regard for his own safety or wellbeing at times. In the beginning it only extended to eggs. As the older sibling he had a sense of responsibility over them, which was cute! But now it's borderline toxic although it's become so normalized as such a core part of Chayanne's character that no one recognizes it's no longer a healthy mindset.

Now Tubblings can make the defense that qTubbo isn't being entirely serious or that he doesn't truly expect Chay to put his life on the line for him but I watched him look Chayanne in the eyes and BLAME HIM FOR NOT PROTECTING 'HIS EGG'.

Even if that was immediately reincarnated qTubbo who was a little fucked up in the head, even if he no longer fully blames him, even if qTubbo was joking at the time, he looked that kid dead in the eyes and told him it was his fault. Tell me again how qTubbo isn't unintentionally feeding his complex?

Yes qTubbo allows Chay a more carefree space away from his overwhelming need to protect his younger sister and a space to be more relaxed.

Yes qTubbo is joking about a lot of things and a lot of the out of pocket shit he says isn't intended to be taken completely seriously.

BUT you cannot fully disagree with the Crows when they say that qTubbo feeds the complex too. BECAUSE HE DOES, JUST NOT ON PURPOSE THE SAME AS qPHIL!

qPhil is so used to his son being the strong warrior that he doesn't realize that that character trait is actively damaging his son's mental state. His attention is divided between Chay and Tallulah and since Tallulah is more open to talking about her issues he often isn't as attentive to Chay.

Is that a bad thing? Yes!

Is it intentional on qPhil's part? No!

Is it something the Crows need to recognize that qPhil does which unintentionally allows his son to continue to struggle with his hero complex? Yes!

qPhil loves his son unconditionally AND qPhil feeds Chayanne's hero complex are two statements that can and do coexist

qTubbo let's Chay be more of a child AND qTubbo feeds Chayanne's hero complex are two statements that can and do coexist

And as long as both the Crows and Tubblings are willing to understand that neither cubito is perfect and THERE'S NO USE FIGHTING OVER PIXELS then we're good!

- Sincerely a Ghostie who just wants to try to bring understanding between the two fandoms by utilizing her rambling skills!

AGAIN, any severe mischaracterization you feel I may have included is unintentional and feel free to correct anything you feel like I'm misconstruing, they're not my main cubitos so there may be somethings that qTubbo or qPhil mains find to be untrue to the source

HOWEVER if you're gonna call me out for mischaracterizing a character simply because I'm bringing up their flaws and you can't accept a character has flaws, kindly fuck right off :D

I think the Vs being in the same season as Heaven was such a massive error. Seriously they barely showed up and the stakes got fucked because honeslty what threat do the Vs actually pose? Charlie herself could probably bitch slap them and even if she didn't want to, she could cry to her daddy and have Lucifer to do it and then shred Angel's contract in a paper shredder. They already sent Heaven packing, the Vs themselves don't pose a threat and would need some other op villain to prop them up(Probably Eve or Roo or whatever).

Like all Vox did was get pissy at Alastor and for some reason has a crush on him? Like this just feels like fan service for shippers? Like can we just have people be rivals? And Velvette sang. Val is the only who did anything and even then, it doesn't really go anywhere because they shove this heaven stuff in at the same time.

Yeah. I think this is the example of how little patience Viv had when it comes to Hazbin Hotel. Yes. She had no clue if she was gonna get Season 2, but she should have adapted and instead of shoving everything into one season she should have tried to make season 1 feel like a cohesive and well done story that has a beginning, middle and end. Treat it like a one season series like Over The Garden Wall where while she cannot put all of her ideas into it she can put in some of them and give them time necessary for them to be developed into something great.

To me they should have cut MOST of the plot lines and put in maybe only Angel Redemption where you can focus on it. Let this one idea be focused on and be well developed. Let it be the overarching goal of the season. Redeeming your first sinner and make it feel impactful so even if you do not have a season 2 you still have one cohesive story with beginning, middle and end that can end on an impactful and hopeful note as you explore what it means to redeem someone and feel the weight of redemption when it finally happens. You can explore in depth the most important element of the story, the thing that this story is build upon and what the titular Hotel is all about. Redemption. Through that you can delve into Angel's character, show his flaws and issues that he has to overcome, sins he committed in life he has to atone for and get over and people that he hurt through them. Delve into this idea and explore it as much as you can and when redemption happens you know how much it takes to redeem someone and what it means. And then if you DO get Season 2 you can show this happen a lot faster with more sinners and that would lead to sense of progression around which you can write more drama. Maybe with Charlie who may be getting more and more conflicted as she sees people she grows to care about go away.

Also this allows you to take more time with character interactions. Make them more varied. Maybe through trying to get this one person redeemed you can have everyone contribute in their own way where you can either learn more about them, Angel or both and around that can be made unique interactions between ALL of the characters and it lets you explore more of the hotel which helps you care about it. And it also can lead you to introduce more characters, but those would be all centered around this story and one goal, making it make sense and be cohesive when they show up. It would immensely help with character interactions which are LAUGHABLY sparse as characters barely interact with one another besides the ship pairs like Vaggie and Charlie or Husk and Angel where neither of those even have much of a chemistry at all and require the audience to already be invested in those. Which makes the entire cast feel very shallow. Not to mention that we barely spend any time at the hotel and we see barely any location inside it besides the main hall so when it finally is broken we feel nothing as we barely got to know that location. And it's fixed in ONE song. That's not how you do it. Think about it. All of those emotional beats. First redeemed sinner. Death of Pentious. Death of Dazzle. Destruction of the Hotel. Appearance of Heaven. All of it feels WEAK as none of those ideas were given proper time and so they are barely noticeable. And that was the ONLY chance Viv had at doing those. And she wasted them on this rushed season.

And let me tell you. If I had a choice between putting all of my ideas into one story and almost all of them being underdeveloped and bad in execution or putting fewer ones and letting them be developed into something great then I choose the latter. People may not see all of my ideas, but those they will, they will remember and looked back at fondly. Something I DO NOT think will happen with this.

My idea for seasons of this series would be like this:

Season 1 - redeeming first Sinner who is Angel Dust and main villain is Val. Exploration of Angel and many other characters through trying to get him to achieve redemption where each character gets explored as they try to help out in their own way and either you learn more about Angel or a member of the cast. Ends on Angel ascending and Val beaten and killed by other Vees who in this version may be abused by him and they end up being antagonists of next season.

Season 2 - Other 2 Vees become antagonists as Charlie is now redeeming far more sinners, but she starts to grow weary as she realizes she will be alone eventually which Alastor also exploits to corrupt her. Ends on maybe Velvette being killed as Vox himself may find a way to also attain more power and Charlie becomes more corrupted and destroys a lot of her work while Alastor regrets his actions.

Season 3 - Dealing with Vox and fixing Charlie. Heaven is now being more hinted at and Lucifer himself is now far more involved (who is not as positive character as in the show). Eventually leads to Heaven getting closer as Hotel stops working during this time and population increases again.

Season 4- Heaven and Hell in conflict as everyone tries to fix their mistakes. Maybe ends with both Heaven and Hell now rejecting the main crew as maybe at the end Hazbin Hotel becomes actual Purgatory where sinners can be judged when they die. Abandoned by both Hell and Heaven Charlie and those who remain can forge their own paradise and their own purpose beyond Mandates of Heaven and Cruelty of Hell.

Just an idea