#not very concise or articulate
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can I hear about the mia and ollie similarities whenever you have time...
theyre blonde :( thats it :(
okay but ACTUALLY LETS GET INTO IT
They're loud assholes to people who need to be yelled at, but theyre actually hella introverted.
Mia "i think fast i talk fast" Dearden will mouth off at villains and batman, and take the piss out of people she loves. BUT she wasn't exactly shown to have like a friend group at her school (she was shown to be popular. but we only see her specifically interact with one person), and was extremely nervous to join the titans, not because they intimidated her, but because she didnt really...want to be there. She'd rather be with people she knows. She spends most of her time practicing archery, even before she was speedy. The only time we ever saw her go out anywhere was on a date with Dodger. And I will be pretending for the sake of this post that all of this is bc of character stuff and not just bad writing!
Similarly, Ollie "goateed loudmouth" Queen thrives when he's alone, he prefers it, he rarely spends time with people outside of his family or close close friends. He'll rant and rave at leaguers and cops and capitalists and villains all day long, but he's at his happiest and most content when he's alone, and often when on the move too, this man cannot sit still he is like a fucking shark he will die if he is in the same place too long but thats unrelated to this post.
As is pretty much a requirement to be in the arrowfam. Neither of them are here to fight the big alien threats you take on while being in the league/titans. They're here to save the little guy and fuck up capitalists. They have both seen the worst of society on the very opposite ends of the spectrum, Ollie with the rich, Mia with those the rich forget or ignore. I don't think I really need to add an example of Ollie here considering thats like his main this if u know anything about him. But look heres mia thinking abt it in her first titans issue.
Now with coping mechanisms they're a lil different, Mia tends to isolate and stay in one place. Ollie will isolate but fuck off somewhere. Accidentally walk to canada. That sorta thing.
(pls ignore how terrifying bald ollie is)
They also both mask their emotions and deflect with humour when around other people, they don't want others to have to deal with their shit, they don't want to burden them (hence the isolation, this also often leads to them imploding in on themselves). Heres my most favourite example of their similarities ever (yes I will continue to post and talk about this specific thing every 3 weeks and no one can stop me) I do owe Hester my life for this
Now heres the best part. They both did this a lot right. And yknow what that led to? Learning and growing and being there for each other :] Now im going to be honest we dont really see this growth in vol 3 bc judd winick is incapable of writing character development but! Phil Hester is here for us once again with his story in the 80th special and this part specifically <3
Also once again a whole arrowfam thing- neither of them give two shits about their secret id lmao. I choose to believe Mia is so flippant about hers bc she so easily realised Ollie was GA that she just went like. Yeah sure I won't give a fuck either, it's clearly working for him.
oh and they both like musical theatre, hate batman and are homophobic**. sad.
**not actually thats just an in joke in fandom
#mia dearden#oliver queen#ollie queen#long post#arrowfam#listen this isnt. worded the best#not very concise or articulate#but like u get it#u get it#pls get it#theres some more stuff but im not in my big brain mode rn so i cant word it right#anyways#green arrow#dc comics#them teehee#THE HOMOPHOBIC THING IS A JOKE DW
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At the heart of it, something - maybe the thing - that really hurts me about what became of the animated Young Justice show is the way later seasons are contemptuously cynical-bordering-on-hateful towards the ideals of heroism set out by its own first season.
In Season 1, Superman states that the Justice League of Earth-16 upholds the ideals of Truth, Liberty and Justice. And yet, the thing the characters from Season 2 onwards can be most reliably expected to do is lie.
They lie constantly, for ill-justified, often-selfish reasons, with the intent to control and manipulate their peers (and civilians), in ways that betray and endanger people who trust them. And when confronted they refuse to hold themselves accountable, at best giving lip-service apologies that are rendered meaningless by them continuing the same behaviours in later episodes/ seasons.
That is mind-numbingly awful. The S2+ iterations of these characters have not only failed to embody their own series’ stated ideals of heroism, but have so consistently acted antithetically to them that, if placed into almost any other hero story (or even their own first season), they would at best be tragic dire-warning fallen heroes, and at worst be insidious Justice Lord-style villains.
Not only that but later seasons seem almost personally vindictive towards the specific ideals and aspirations of the individual characters:
The Dick Grayson of Season 1 was openly afraid to become someone who would sacrifice others for the sake of the mission. And yet the Nightwing of S2 onwards is forcibly re-written as a compulsively dishonest manipulator who pointlessly conceals information and concocts callous sacrifice-plans by default. (‘Dick Grayson is a pathological liar’ becoming a fandom meme.)
The Bruce Wayne of Season 1 openly admitted that he didn’t want Dick to become too like him, and was invested in the emotional wellbeing of the proteges. And yet the Batman of S2 onwards is rewritten to actively enable Nightwing becoming exactly that; an approving co-conspirator who praises him for the ‘respect’ he now commands.
The Kaldur’ahm of Season 1 was concerned that he behaved too much like a soldier to be an effective leader, while worrying about the possible damage he might do by forcing that mantle onto Robin too soon. And yet the Kaldur of S2 onwards is rewritten to be unfit for every leadership position the show arbitrarily hands him, specifically because he consistently enables Nightwing to use him as a soldier in plans that go against every principle the Team once stood for.
The M’gann M’orzz of Season 1 was terrified of creating a situation where her powers would hurt the people she cares about. And yet the Miss Martian of S2 onwards is re-written to intentionally misuse and abuse her powers; violating Conner’s boundaries, manipulating him, Garfield, Artemis and others, and destroying the minds of people she has decided are her enemies.
The Conner Kent of Season 1 wanted to know what it meant to be Superman while not wanting to be treated as a weapon. And yet the Superboy of S2 onwards is never given a meaningful personal or professional relationship with Superman on screen, while being used as a pawn and a tool by teammates who constantly lie to him, with the writing putting the burden on him to accept and forgive this mistreatment. (The show itself being unable to fully pretend that his and Miss Martian’s rewritten relationship isn’t abusive).
The Artemis Crock of Season 1 was desperate to become her own hero and define herself by something other than her criminal family. And yet the Tigress of S2 onwards is forcibly narratively separated from her ‘new family’ and defined primarily by her relationship to her biological family and brother-in-law, while being narratively punished for and written to regret every show of agency that doesn’t involve retiring from heroism to become a subservient trad-wife to either Wally or Red Arrow (because Greg Weisman is a misogynist).
The Wally West of Season 1 was a character who questioned the objectivity of others and learned to appreciate that the value of heroism was helping people. And yet the Kid Flash of S2 onwards is rewritten to be a jaded cynic who decides heroism isn’t worth it (in order to remove him from the narrative), is rudely dismissed by Nightwing when he attempts to question the plan, has his cynicism validated when he is killed in a twist to hurt the audience, and after which is only grieved in superficial ways as the others use his death to justify actions he would never have stood for.
The Zatanna Zatara of Season 1 was insecure about living up to her father’s legacy, especially after losing him to the Helmet of Fate. And yet the Zatanna of S2 onwards is never allowed to heal from that loss or grow into a magician in her own right, instead being relegated to a support character who is arbitrarily handed whatever magical abilities are needed to solve plot problems, uses her powers to manipulate others, and is primarily defined as either Nightwing’s ex-lover or by her Father (because, again, misogynist).
The Roy Harper of Season 1 was a proud character driven to prove his worthiness for League membership, only to be shaken by the reveal that he was a Cadmus sleeper agent. And yet, the Red Arrow of S2 onwards is never allowed a satisfying on-screen arc about identity or self; instead being used first as a prop to introduce Arsenal and then as a surrogate-Wally for Nightwing and strong-male-provider for Tigress to fall into the arms of (oh right, the misogyny).
Even the Team as a unit, the bonds between them, the themes of trust and communication, and everything they worked to achieve in Season 1 is systematically torn apart and undone across Invasion and Outsiders in a way that feels almost intentionally cruel.
I’ve heard people compare Young Justice to Dreamwork’s Voltron, and while that is a fair comparison, I think Young Justice is actually worse. Voltron managed to sustain itself for 3 seasons before gradually falling apart over another 4, and - while it was tragic in the loss of its theme, abandoning of stakes, failure to conclude character arcs and weakening of cast bonds - it never felt like the Paladins were intentionally hypocritical to the point of being toxic for one another, or like they were a threat to the fundamental ideals of the Lion corps.
Meanwhile the core cast of Young Justice have been so consistently re-written to betray each other’s trust and their own explicitly stated values while never taking ownership of or changing their behaviour (no matter how many times they are confronted over it or see it hurt others) that eventually you stop wanting them to succeed and start wanting them to fail just for there to be some accountability. And when that doesn’t happen (because the showrunners and executives don’t see a problem with selfish, dishonest, unjust behaviour) you almost start wanting them to die, if only because death would be a kinder fate than being forced to exist as a corrupted parody of everything they never wanted to become.
And if Earth-16 is a world where fundamental heroic ideals like compassion, honesty, respect and accountability are sneered at as childish things that cannot survive into adulthood? If this is their reimagining of Dick Grayson - a character who in many stories is so meant to embody the ideals of heroism that any world in which he is a good person is worth saving? Then, frankly, Darkseid can have this one and good riddance.
This is what I mean when I say that Young Justice only truly has one season. Season 1 is a very distinctive and separate product to the rest: a sum total of its entire production and executive team. To me, it was the last breath of a golden age of DC TV-animation, with heavy creative input from DC/Cartoon Network old-guard members like Jay Oliva and Michael Chang (a pair of directors who were prominently involved in the Teen Titans animated series, and who together directed over 75% of YJS1 - each individually handling more episodes than any of the writers, including Greg Weisman).
And then a change came and we see those old-guard creatives disappear from the credits of S2 onwards.
It feels like the new production/executive teams hated what Young Justice Season 1 was. It’s kind of an open secret that multiple Cartoon Network shows were cancelled around that time due to a combination of poor toy sales (partially resulting from the low quality/ limited variety of official merchandise) and for having too much ‘four quadrants appeal’, especially when it came to drawing in unexpected numbers of older female viewers. (There’s this deeply stupid marketing idea that shows which attract an audience outside of their intended demographic are “internally competing” with and drawing profit/ sales away from shows aimed at those other demographics). That might also explain why Oliva, Chang and other old-guard members dropped from the production, since Teen Titans seems to have been one of the other shows under fire. This is just speculation but it wouldn’t surprise me to find out that Young Justice Season 1 was up for cancellation and - instead of just dropping the show and launching a new one - the decision was made to cancel it in all but name; gutting everything that actually made it what it was and repurposing the brand identity and visual aesthetic to take advantage of an established audience.
We never really got a genuine narrative continuation of Season 1. What we got was a series of In Name Only sequels, designed to sell merchandise, subscriptions and comics, by new production/executive teams that wanted the show to be anything other than itself. And, in repurposing the title to sell a set of antithetical stories as sequels, those later seasons destroyed any future possibility to actually see that original story continued or concluded.
This is why I haven’t watched Season 4, why I won’t be using any of it in my own fandom stuff (and why I’m low-key kind of offended by its premise). It’s existence is creatively bankrupt; I’ve talked about it here but the showrunners and production/executive teams have so thoroughly dissembled every piece of narrative mechanics that there simply isn’t a story or stakes to carry it. And the claims that Phantoms was going to return to the original team or that ‘this has always been their story’ are blatantly exploitative. This is a show that has had nothing but condescending cynicism-bordering-on-hatred for its own starting point. Its second and third season have done everything they could to deny these characters their arcs, undercut their values and walk back everything they once worked to achieve. If the showrunners and new production teams had ever sincerely cared about this story, its themes or its stated ideals of heroism then they would never have re-written them in such a fundamentally contemptuous way. We would never have been given Invasion and we certainly wouldn’t have been given Outsiders. So for Phantoms to try to crawl back; to make one final grasp at profit by pretending to care about characters and a season it has done nothing but cynically undermine and misrepresent… it’s emblematic of the kind of bald-faced dishonesty and manipulativeness that has destroyed this show from the inside out.
From a narrative perspective, Young Justice only has one season: the original Oliva-Chang directed season, by a production/executive team that genuinely seemed to care about who its heroes were, understood the ideals they stood for, and made a sincere effort to tell a good story.
But it has been followed by a corrupted, soulless parody of everything it never wanted to become: full of hypocritical, unjust strangers-wearing-familiar-faces, written to unapologetically do things that they know to be wrong in service of a product which is contemptuously cynical-bordering-on-hateful towards the ideals of truth, liberty and justice.
A show that now hates everything it used to stand for.
And it just about makes you want to cry.
#Young Justice#Young Justice Revival#Young Justice Critical#young justice salt#YJ essays collection#3WD#Once again back on my bullsh*t (hate that for me) but at least I have articulated Thee Problem#To the anon who was asking whether I was going to use any of the S4 Martian Stuff in my meta or fanfic#I couldn’t find a concise/direct way to answer you but this will hopefully explain why not#This series makes me so sad - it is actively hateful to all the parts of itself that I love#And it is SO nakedly exploitative and dishonest#This condescending hatefulness towards both the idea of heroism and fans who loved it is what made me drop DC#The worst part of Young Justice is that it honestly feels like the OG Season 1 Team might rather have died than become what they did#YJS2+ comes across as uncomfortably right-wing/ republican#In the way it normalises/ valorises abuses of power and presumes that people are selfish/ toxic/ exploitative by default#And some of that is that Grimdark (S2+) often resonates with the right-wing where Hopepunk (S1) resonates with the left-wing#But it is also very consistent with unpleasant patterns in Greg Weisman’s recent works and professional conduct#If you’re wondering why the characters do things they should know to be wrong while refusing to apologise or change the behaviour#Well… it’s very similar to Weisman’s own professional M.O.#He has been criticised for conservative/ overtly bigoted writing across several IPs at this point#and has generally responded to those criticisms in a very disingenuous and bad-faith way#that tries to downplay/ miscontextualise/ blame-shift/ paint himself as victimised#even as he performs faux-progressive social media allyship for publicity#It reminds me a lot of JK Rowling and Butch Hartman prior to their twitter-meltdowns so watch for that as his star falls#Also I hate how Weisman and Cartoon Network seemingly killed YJ by design#Cartoon Network/ WB by not investing in better quality merchandise that would attract more sales#And Weisman as part of a seemingly recurring strategy#Where he carves huge gaps in his narratives in order to create demand for separate purchase side-content promising to fill those gaps#(content for which he would likely be entitled to a larger split of profits as head writer on a smaller team. Absolute grifter behaviour)#Anyway to me the Oliva-Chang productions team’s canon is the only canon There Is No War In Ba Sing Se
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this is just silly little introspection dont mind me
#mostly im okay with who i am now?#but sometimes. Sometimes. i get in this like Mood.#and it is So Fucking Strange to think about the kind of person ive become#and how far it is from who i was/what i envisioned/what i wanted#i always wanted to be quiet#i used to be like. to a degree?#its hard to remember#on one hand i was wildly obnoxious esp around certain friends#but in a lot of other situations i was silent#i used to wish something awful would happen to me and id go mute so i could just. stop talking#if i did speak i wanted to be articulate and concise and say nothing beyond what was strictly necessary#and im still very like. idk.#im SO outspoken online#im silly and ridiculous and i never shut the fuck up !!!!!!!!!!#especially like#even in discord servers of just friends theres a level of 'dont be too much of a bother'#but a tumblr blog where people can unfollow or ignore anytime?#i am NOT shutting the fuck up#my turf#but whenever im with friends irl#even if i TRY to be outspoken and dramatic and silly#my default is just kind of.#to bend over backwards making myself as small as possible taking up as little space as possible physically verbally emotionally#i dont know what to do in most situations i try to just be quiet and listen dont speak unless spoken to say what they wanna hear etc#and i always wanted to stay that way. i wanted to learn how to do it better actually i wanted to learn to be quiet and not a bother#and only contribute when necessary#but now#now i want to be big i want to smile and laugh and lounge across my friends#i want to be silly i want to be bigger than my body bigger than myself i want to be grounded#solid real whole content
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Honestly I don't think I'm qualified to make this post, I just don't know if I can make coherent enough words man. But the thoughts are in there and I will try to articulate them. This is probably going to be mostly images though.
anyway yeah KABRU POST.
A couple nights ago (at approximately 2:30am, lasting a little over half an hour) I had a bit of a moment about Kabru. That, too, was mostly images- most of what you see in this more concise post were presented then as well. I think my main points of the "moment" were about Kabru's trauma + self hatred, his autism and/or general otherness, and also a little labru if you'd like..
I think something easy to start with is I wanna point out Kabru's constant back and forth and conflicting opinions of demihumans and how, I believe, thats a reflection of how he goes back and forth on what he believes his purpose of living is- and the general worth of his own life. I've said it before and i've just kinda shown it in images; Kabru is "i think im a monster and it disgusts me" where Laios is "I know im a human and it disgusts me" (i could go more into the latter on another post)
the above are both from the world bible, with the left being from the section on kobolds and the right being from the section on Kuro specifically.
Utaya was very near to the desert where most of the kobold population is, this is likely why Kabru is able to speak Kuro's language- he grew up around demihumans. (chapter 48 cover, kobold chapter in the world bible) I won't try to speak for how his mother or the rest of utaya felt about the kobolds but I can say that Kabru was very much othered as a child, as was his mother, purely for the way her son's (kabru) eyes looked.
I feel like its fair enough to say that both kabru and the kobolds were othered, and possibly for similar reasons (villager's seeing them as nonhuman, as monsters) and the fact that Kabru learned their language probably didn't help his case. I think his perception of kobolds (and all demihumans, subsequently himself, as he probably still views himself as nonhuman or not human enough.. deep down) was damaged by the Utaya incident.
at 2:30am when I first started this ramble my main comment was that "had the utaya incident not happened kabru would have little reason to feel ashamed for his connection to monsters. and may have ended up similar to laios in that he couldve had otherkin swag" which is just a sort of silly way of saying Kabru could've learned to love the thought that he is possibly nonhuman or at least not hated himself so much for it.
in the original ramble I said, and quote, "he has been STALKING laios. laios is his hyperfixation to learn how he can ever be loved. he keeps going back and forth so harshly on wether or not he wants to kill Laios and he clearly sees his survival from utaya not as an unfortunate trauma [*] but as a necessary, deserved fate. a punishment for his mother's witchy sins, and for his sin of being non-human. to atone for it all, to apologize for being alive, he tries to better the lives of all humanity. He was set on his way to dethrone the governor of the island . do you understand? im going insane"
*i also said somethings about the way he processes other people's traumas and not his own. He's able to understand and even help some people, but he struggles to process his own issues and see himself as worthy of love and life.
^some examples of Kabru being understanding of or helping others who have suffered greatly.
I think its also worth mentioning that with Rin (called "Lynn" in that translation) he says "I wish there was a way to get her out of this" though he's insisted and pushed for himself to go into a dungeon;
In chapter 94, Mithrun says "The desire I had left wasn't revenge. All I wanted.. was for it to finish devouring me." and I don't feel like it's a stretch to say Kabru was in a similar situation. Mithrun sought out the demon with no plan on how to kill something like that because deep down he wanted it to end his (Mithrun's) own life, to finish the trauma it caused and kill him. I think Kabru went into the dungeon in part with the hopes that it'd kill him. That the same thing that destroyed Utaya and caused him so much trauma would just.. finish him.
I just think Kabru is a beautifully complex character, I have a lotta thoughts on him and I don't see nearly as many analysis posts for him than I do Laios (despite labru being such a popular ship)
there is no tldr for this post idk how to summarize it. do what you will with this collection of images. have fun. go crazy
fun fact the woman in the bottom left corner is his mother, she is labeled here as "witch"
#dungeon meshi#delicious in dungeon#dunmeshi#kabru#kabru dungeon meshi#kabios#labru#yeah its a long post i dont care. read it#also i only mentioned it briefly but i do think kabru is autistic .#yk that post thats like 'no im not autistic i know all the social cues etc etc etc. hey wait a minute' yeah. that#ok whatever. starts making another laios post
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Alr hear me out, the service top lucifer with a very insecure reading. (Fem or GN) like he has to coax the reader to like open up (God damn I'm blushing thinking abt it-). Maybe even having to like talk them into even taking thier clothes off. Just a little idea stuck in my head.
Thank you very muchly.
Ooooooohh you’re giving me IDEAS (tbh I’d be the same boat)
~~~~
✨Opening Up✨
Lucifer x f!reader
Warnings: 18+, smut, nipple play, pet names, oral (m & f receiving), p in v, service top!Lucifer
It has become evident that I am unable to write anything concise 😅
I’M SORRY THIS TOOK SO LONG I MEANT TO POST THIS DAYS AGO 😭😭
Tag list: @trashbin-nie
@yellowsubiesdance
@j-jinxee
@stevensdickrider
@airwolf92
@mrssabinecallas
@myhornybrainonlyknowsthis
@bee-sinner
@thesoccerenthusiast
@katshyperfixations
@logybearsblog
@bigfatbimbo
You sat upright on Lucifer’s king sized bed, the King of Hell straddling your lap. You don't know how you even ended up in this position, not on this bed necessarily, but how you ended up as Lucifer's beloved. You believed in your heart that you did not deserve him, but time and time again Lucifer has showered you with praise and adoration like no one ever had before. He was perfect. And you were...you. It didn't make sense.
Regardless, that didn't stop him from holding your face tenderly in his hands while he kissed you with a fiery passion. You were self conscious about being so vocal around him during intimacy, but he made it his mission to elicit as many moans and whines from you as possible. Slowly, he reached down to the hem of your sleep shirt, grabbing a fistful of fabric. Your eyes popped open, your mind racing. You pulled away from his lips and went to grab his wrist that held your clothing.
"I-I'm sorry, love," he apologized, releasing your shirt immediately. You sighed and let go of the grip you had on his hand. "I didn't mean to scare you, I should have asked. Please forgive me."
"No, no," you breathed, "it's alright. I'm not upset, I just panicked. I'm sorry."
Lucifer pressed his lips to your forehead and planted a small kiss. "Please don't ever think you need to apologize to me for how you feel, sweetheart."
"O-Ok," you stuttered.
"Do you want to stop?," Lucifer asked. You could hear the genuine concern in his voice. Hard as it was to believe, he cared about you more than anything.
You shook your head. "No."
"You're sure?," Lucifer questioned further, "because if you're uncomfortable, we can-"
You cut him of mid-sentence with a quick peck to his lips. He smiled bashfully, a cute blush spreading across his face. "Believe me, Luci, I want this. I mean I really want this, but..." you found it difficult to articulate what you wanted to say.
"Well, if that's the case darling, what if I go first then?," Lucifer proposed. You cocked your head, unsure of what he was talking about. He reached up and began to unbutton his shirt, starting from the top and working his way down. Oh...OH.
Your face instantly feels hotter and your breathing becomes staggered. You tried to say something, but the words caught in your throat. Your mouth had never felt drier. He finally reached the last button of his shirt and you finally see some of his chest. You could almost feel your brain short circuiting.
"Do you wanna do the honors, my dear?," he asked playfully. You gulped as your hands reached towards his shoulders. Gingerly, you slid his sleeves down each arm, slowly revealing more and more skin to you. Once his shirt was completely removed, you couldn’t help but stare. His chest was so smooth and toned, almost like it had been sculpted. “Like what you see?” Lucifer questioned coyly, noticing your unwavering expression of awe.
"W-Well that's hardly fair," you whispered, finally finding your voice, "you're an actual angel. Of course you're going to be gorgeous, I-" you slapped your hand over your mouth once you realized what you had said. "Please pretend you didn't hear that!," you begged through your hand.
Lucifer's face was flushed pink, he could help but smile. He chuckled as he went to remove your hand from your face. "Is that what you really think about me, sweetheart? I'm truly flattered to hear that coming from someone as exquisite as you."
"You...You really think..." you started to say but couldn't finish. Tears began to well up in your eyes, you tried to rub them away before Lucifer could see but it was too late. Lucifer cupped your face and ran his thumbs under your eyes to clear away the tears that had fallen. Your breath hitched, you tried to take in deep heavy breaths so you wouldn't start sobbing.
“Hey, hey, hey, shhhhh,” he spoke with a soothing tone. He removed himself from your lap and sat down next to you, embracing you in his arms. “It’s okay, angel, it’s ok. I upset you and I’m sorry, I never want to be the reason you cry.” He rested his head on top of yours while you clung to his chest. The scent of him hit your nostrils, it was like breathing in a warm spring day. Purely intoxicating. It calmed you down, you started to breathe normally again. You felt safe in his arms, you could have stayed there for the rest of your life.
You wrapped your arms around his torso, your tears finally drying. “Thank you, Lucifer,” you murmured. He gave you a tight squeeze before you lifted yourself back up, sitting at his hip and leaving your head on his shoulder. “You weren’t the reason I was sad, you know? You never have been.”
Lucifer turned his head to you, “Really? Then why-?”
“Because I’m afraid,” you quickly responded. “I’m afraid that I’m not good enough for you. That I never will be. You’re the all mighty Lucifer, King of Hell. You have so much strength and power and respect. And I’m…I’m just me.” You sighed and pulled your legs up to your chest to rest your head on your knees. “I’m sorry, I shouldn’t have-”
“Darling?,” Lucifer spoke at last. He brought himself in front of you on all fours and placed his hand under your chin, forcing you to look at him in his scarlet eyes. “ “Just you” is perfect. You don’t need to be anything but yourself! I understand what you’re feeling, and it’s okay to express that. But please know that I love you just the way you are. You are my true strength.”
You chuckled softly, leaning into his hand that was now pressed against your cheek. You took his words to heart; he loved you. He loved you so much. You had to show him that you felt the same way. You drew in a few quick and deep breaths before reaching for the hem of your sleep shirt.
“Wait, wait, what are you-” Lucifer tried to say, but you were too fast. Your shirt disappeared from your body and was tossed across the room. Silence filled the space, the only thing you could hear was your heart threatening to burst through your chest.
It was at that moment you noticed you couldn’t see Lucifer’s face. His hands had flown up to block his view of you.
“Lucifer?” you called to him.
“Y-You didn’t have to do that, love,” he stuttered. “I never wanted you to feel that you had to-”
“Please look at me, Luci,” you pleaded. “I love you. And I trust you. Let me show you. Please.”
You saw Lucifer’s hands slowly fall away from his hands, his eyes still screwed shut. “Are you sure?” he asked softly.
You leaned in to plant a kiss on his soft lip. Lucifer’s eyes shot open in surprise, you pulled away before he had a chance to react. Blood rushed to your cheeks when you saw him staring at you. Your first instinct was to cover yourself and shy away, but you pushed those feelings deep down. You were going to be vulnerable, you needed to be brave. Not just for him, but for yourself. You gripped the bed sheets so hard that you felt your nails digging into your skin through the silk.
After what seemed like an eternity, Lucifer had snapped out of his trance. He started to crawl towards you on his hands and knees, only stopping when his lips were inches away from your own. You felt his hot breath on you, you were finding it more and more difficult to keep your composure.
“You…are breathtaking,” he cooed, crashing his lips into yours hungrily. His tongue begged for entrance to your mouth, and you happily allowed it. You felt yourself slowly drifting down onto your back as you and Lucifer desperately devoured each other. He pulled away from your lips, trying to catch his breath, but you noticed he wasn’t looking into your eyes. His attention had drifted a little further down. He swallowed hard.
“May I?,” Lucifer asked breathlessly. Your face felt extremely hot and you couldn’t find the power to speak, so instead you nodded your head vigorously. He gave you a cheeky grin before lowering his mouth down onto one of your nipples. The noise you made sounded more high pitched than you meant it, but God, did it feel amazing! His tongue worked one nipple as his hand played with the other. You loved the sensation of him sucking and licking at your sensitive skin, the tiny bites from his teeth driving you insane. He rolled your other nipple between his two fingers, the pinches he gave sent your brain into overdrive. You never knew how sensitive you were, but Lucifer was more than happy to service you.
All of a sudden you noticed a different sensation, you felt something press against your inner thigh, dangerously close to your clothed pussy. It took your brain a few seconds to realize what was happening.
“Uhh, Lucifer, a-are you…”, you mumbled. Lucifer looked up from your chest with a puzzled face. “I can feel umm, I-I can feel your uhh…”, you didn’t know why you couldn’t say it. Maybe you were too embarrassed, which seemed silly considering what position you found yourself in. You pointed down towards your pants where Lucifer was wedged.
“Oh…OH,” Lucifer exclaimed pushing himself from you and onto his knees. “Oh my gosh, I-I’m so sorry! I didn’t realize you could uhh, feel that…please forgive me!”
Seeing him so flustered somehow calmed some of the nerves you had before. It was cute, really. Demon overlord Lucifer getting embarrassed about unintentionally pushing his hard on against your thigh. You let out a small giggle.
"It's alright, Luci," you chuckled. "I'm flattered, really!"
Lucifer smiled, placing his hand behind him to rub the back of his neck. "I'm still sorry about that, love. I'm a little embarrassed."
“Well,” you breathed, “I guess it’s only fair that I embarrass myself too then, right?” Without warning, you grabbed the waistband of your pants and ripped them off along with your panties in one fell swoop. You laid naked in front of Lucifer, whose whole face had turned a shade of red you’ve never seen before.
“Ffffuck,” was all Lucifer could muster. You watched his Adam’s apple rise and fall, attempting to regain his thoughts. Looking at you, it was plain to see how soaked you were.
“Like what you see?,” you teased. Lucifer nodded his head eagerly, still at a loss for words. You lifted your hand and curled your finger, beckoning him to you. Obediently, Lucifer crawled on the bed towards you with no reservations. “You’re not the only one that’s worked up here. Now we’re even.”
“My love, please…” Lucifer whined, “please let me taste you.”
"Don't you...wanna get more comfortable first?," you asked him, knowing the problem in his pants had probably only gotten worse for him.
"Not until I've had my fill of you, sweetheart," he smiled before forcing his head between your legs. The moan you let out was guttural, almost feral, he lapped your folds like a starving man. He took long, drawn out licks up your slit before focusing on your clit. His lips kissed and sucked on your sensitive nub, sending waves of pleasure throughout you entire body. You couldn't pull away if you tried, he had wrapped his arms under your legs so you couldn't escape his assault on your cunt.
"Sh-shit, oh-oh my God Lucifer, FUCK," you moaned. You could feel a smile form on his face as this seemed to have made him pick up the pace. You screamed from his tongue darting in and out of you, feeling so close to snapping. Your thighs started to fold in on his head and you grabbed a fistful of his hair trying to regain some assemblance of control. “Fuckfuckfuck, mmmm…gonna c-cum, aaggghh, gonnacumgonnacum!” Lucifer’s tongue relentlessly circling your clit finally caused your body to spasm, your orgasm causing you to scream out in pleasure. Lucifer didn’t stop though, he let you ride out your orgasm and hungrily devoured your release. Once you finally came down from your high, Lucifer lifted his face from between your legs and flashed you a toothy grin, seemingly quite proud of his work.
“You alright, darling?,” he asked innocently, almost pretending like he wasn’t the cause of what you had just experienced.
“Y-yeah, I’m…I’m fine,” you breathed. “Just…Jesus, that was intense! Give me a little warning before you go all in on me like that again!”
Lucifer laughed. “I’m sorry, love, I couldn’t help myself.”
You rolled your eyes at him playfully. “Oh, I’m sure you couldn’t. Now, let’s get these off you, hmm?,” you said tugging at his pants.
Lucifer stood up from the bed quickly. He undid his belt and let his pants drop to the floor. From the outlines of his briefs, you were surprised that they could contain him at all. Before he could pull at the hem, you jumped off the bed to stop him.
“Allow me,” you offered, getting on your knees in front of him. You reached up and grabbed onto his briefs, snaking them down his legs. His cock sprang free of its cage and hung in front of your face, its tip already leaking. Without thinking, your wrapped your lips around the head of his cock. Lucifer let out a moan that you’ve never heard before, filled with absolute lust and need. You took one of your hands and grabbed the base of his shaft, slowly stroking up and down while your mouth continued to work on his head. You ran small licks against the slit, tasting and lapping all of the precum that was forming. You loved the taste of him.
“Love…f-fuck,” Lucifer panted, trying to fight through his moans, “if you don’t s-stop now, I-I’m gonna cum. I wanna…wanna feel you. P-Please…”
Reluctantly, you pulled your mouth away from his cock with a *pop*, pouting slightly. Lucifer leaned down to grab your torso and tossed you onto the bed like you were made of paper mache. That angelic strength of his always caught you off guard. Lucifer crept between your legs, planting a tender kiss on your lips.
“I promise,” he whispered against your lips, “next time you can finish what you started, but right now I need you. Need to feel you.” Lucifer brought his fingers to your needy cunt, feeling the slickness of your folds. Your breath caught in your throat at the sensation. He took his other hand and lined up the tip of his cock to your entrance. “Are you ready, my angel?,” he asked softly.
You grinned and nodded your head. With that, Lucifer closed the space between you once more with a fiery kiss as his cock entered you inch by inch. Your cries mixed with his as he finally entered you completely.
“You feel…amazing, darling, fuck…” Lucifer choked out. “Are you okay?”
“Yes,” you murmured, “I-I’m okay. You can move.”
“Anything for you,” he smiled. Lucifer slowly began to rock his hips into you, his cock filling you up completely with each thrust. You could feel every inch of him ruining your pussy, hitting just the right spot every time. It didn’t take long for his pace to become erratic and uneven. He buried his cock deep inside you, both of your moans filling the room.
“Lu-Lucifer, o-oh shit, Lucifer, I-I’m so close,” you pleaded. “Please don’t stop, p-please don’t.”
“Cum for me, darling. Wanna feel you cum.” Lucifer groaned. He bit down on your should as he continued to pound into you, biting and sucking your tender skin. You were shaking, he was going too fast, you were coming undone.
“Cuminme…FUCKCUMINME,” you screamed and wrapped your legs around him as your orgasm flooded over you. You felt your walls pulsating around his cock, it was too much for Lucifer to handle. You heard him cry out and felt him twitch inside you, filling you up with his hot cum.
Coming down from your highs, you both laid there for a moment trying to catch your breath. You played with Lucifer’s hair as he laid across your chest, completely worn out. A minute or two passed before Lucifer sat up and pulled himself out of you. He laid down next to you, staring at your flushed face.
“Are you alright?,” he asked. “Did I hurt you at all?”
“No, you didn’t hurt me,” you smiled. “That felt…really good. Thank you, for everything.”
Lucifer hummed and leaned up to press a gentle kiss to your lips. “No, thank you, love.”
You chuckled returning the kiss. “Would…you mind if I held you, Luci?”
Lucifer’s eyes widened, but he smiled wide. “Of course not, I’d love nothing more.”
Lucifer rolled on his side, giving you the chance to push your body against his back and wrap your arms around him. You both didn’t move until the morning.
~~~~
Hope you enjoyed my second attempt at NSFW content lmaooooo
AND YEAH I MADE HIM THE LITTLE SPOON, IT’S WHAT HE WOULD WANT
#hazbin hotel#hazbin hotel x reader#hazbin hotel smut#lucifer morningstar#lucifer smut#lucifer x reader#lucifer morningstar x reader#writing prompt#my writing#this was meant to be a cute short thing but i can never stop myself lmao#my signature is just posting goofy faces of Lucifer to remind everyone this is who we’re thirsting over
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Redeemable Ares?
I know, I know. I’m suggesting it anyway.
Background: One of my teachers in high school said this to my class on the very first day of a new year: “I hate you all equally.” This piqued my interest because it broke my expectations of what most teachers tell their students, so I paid attention to him.
Two years later, I figured out what he meant by that; it was a defense mechanism. This particular teacher held all students at arms length because they would all graduate and leave, and most of them never came back around. Easier to move on if there’s not as much to move on from. He also just… isn’t a very affectionate person to begin with, but that combined with this made for one of the most guarded teachers I’ve ever had.
So my thought is that, since Uncle Rick is taking time to flesh out a few characters more and/or differently than he did in the books, maybe he’s taking a twist with Ares too.
Ares is the Greek god of war. War is not a place for kids, but they are undoubtedly hurt by it constantly despite being innocent. This applies especially demigod children, seeing as they’re constantly hunted by monsters and manipulated by the gods. If your domain is full of death and loss and suffering, ideally, you would not want to see many kids in the midst of that.
Even in peacetime, mortals also have a shorter lifespan than gods. 80 years isn’t very long if you’re immortal, and most demigods don’t live that long either. If you make deep relational bonds with people all the time, you will inevitably experience loss regularly and often. It would wear down on anyone after a while, even if there is no war to be concerned with.
My thought is that maybe Ares “hates” kids as a defense mechanism to protect his emotions and hide any vulnerability. Maybe he “hates” his kids less because they remind him of occasional moments of good he had with his partners, but all the more reason to stay away from them. He “hates” seeing kids in war.
“Look what I made!” It won’t last. “What are butterflies for?” Not for keeping you alive. “My knee hurts!” You’ll die soon. The winter solstice? How many of those kids won’t come back next year? How many of them will be offered up as sacrifices to be slaughter by the next solstice?
Ares is the god of war. It his HIS domain that kills children that don’t deserve it. Maybe he doesn’t want to see them in his domain. Maybe he doesn’t want to think about the burden of relationships he know won’t last. Maybe (in flashes of subconscious self-awareness) he thinks he is the problem. He is bad for them and he causes their deaths so any time he sees a kid, he hates that the likelihood of their death just shot up exponentially. But that’s too much to articulate concisely so he chalks it up to “I hate kids.” It’s a lot easier.
Doesn’t mean he’s not an asshole about it, but it could happen somewhere down the line. Maybe. I think it would be cool to see in later seasons. Don’t know how that would manifest, especially since Ares and Percy beef regardless of age, but you never know.
#Percy Jackson#percy jackson fandom#percy jackson spoilers#pjo show#pjo#pjo series#pjo tv show#pjo spoilers#pjo fandom#percy jackson meta#pjo meta#ares#ares god of war#ares pjo#pjo 1x05#1x05#lightning thief
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Raphael has a very poetic and grandiose way of speaking that is absolutely not the norm for day-to-day life. How do you get in the mindset to come up with his dialogues? They're perfection and I just can't even imagine how long it would take to do one paragraph of the way he talks, but you're writing an entire story with him...
Oh I love this question because I can answer it, lol sadlkjfsda
Okay so, Raphael's character is tough for me.
Normally I do a lot of dialogue research before starting to write a character in fanfiction and original fiction, but Raphael actually gets proportionately very few lines that really show his full emotional range (compared to say, Astarion), and he's got an incredibly specific way of talking that sounds similar to Astarion but at the same time is very different.
They share enough similarities (calling people darling and dear for example) that it's easy to fall into the trap of giving them the same 'voice.'
I find Astarion's voice a lot easier to 'get' and I feel like I can hear him better when I'm writing him. But Raphael I'm taking into emotional spaces we simply never see in the game, and then I have to really guess how he'd sound (like coming up with the idea that the theatricality vanishes when Raphael is genuinely panicking).
I ended up listening to a lot of interviews with Andrew Wincott, the Voice Actor for Raphael who is an incredible actor and extremely articulate. He was very clear in one of his interviews that one of the reasons he was selected to play Raphael was because, in part, he already sounded like him. Obviously there's differences / skill in changing cadence and more, but for the most part, Andrew Wincott uses similar vocabulary and talks in a similar manner to Raphael naturally, so I had an abundance of interviews that I could then listen to in order to get a feel for Raphael's voice. I picked the things that felt more 'Raphael' and added them to my dialogue notes.
I often have to go back and edit Raphael's dialogue. Sometimes it's very simple things, I had him say 'much more' in the chapter I'm editing right now, and I edited it to 'far more' because I think he'd just phrase it like that. Sometimes I expand a sentence into an entire paragraph.
I've also leaned a lot from Korilla's transcripts in the game, which have been super useful. They really cement, more than anything, how much he loves lullabies, nursery rhymes, children's tales and more.
HOW TO DO DIALOGUE RESEARCH:-
If you're new to dialogue research, it mostly involves listening to - and watching a character and then literally taking notes of how they talk. The things you observe are:
The tone of their voice - Fast or slow. Loud or soft. Musical or flat. Theatrical or matter-of-fact. High or low. Questioning or complete statements. Considered or hedging (i.e. very well constructed sentences, or a lot of pauses, ellipses, broken sentences). Rambling or concise.
How often they talk - Some characters actually say a lot with very little. Raphael is actually a lot of observation and facial expressions and eyebrow movements in between his dialogue. Little smirks, hand gestures and more. Do they interrupt or let people finish their sentences? Are they comfortable with silence? I find Raphael oscillates between long theatrical paragraphs, single sentences or words, and then a lot of silence. He's actually not very conversational, in that you can have a conversation with him, but I doubt he'd see the point of two hours of small-talk. (At this point you might be realising that dialogue research is also character research, how a character talks tells you so much about a character.)
The words (and metaphors/subjects) they use - This is a big one and I'm going to break this down a little bit more:
How they pause if they don't know what to say. Is it 'um' 'uh' 'ah' 'hm' 'mm' 'mn' or nothing at all (or something else) because they've mastered self-control over their dialogue? If Raphael says 'ah' he does so on purpose.
Filler words. Things like characters saying 'like' in a sentence. 'He was like, 'I can't believe it'' etc. This is very similar to how they pause, but it's the things people say to get from point A to point B. People who don't do this have often had training or think very hard about what they're going to say before they say it. But people say 'like' or 'and then' or 'well' or 'i realised that' or 'i thought that' etc. to carry them on. Some are more acceptable than others (people do just have realisations for example).
Profanity. How often do they swear, and how intentional is it? Some characters only swear when they get hurt or stub their toe or get angry. Some characters swear all the time for fun. Some characters only use some swear words and not others. Be specific. Be aware that some swear words are cultural! This includes blasphemy. In Faerun they use 'gods' and 'gods damn it' more often than we use 'god' or 'oh my god.'
Vulgarity. This is useful for Raphael (and Astarion) because he's very happy to be vulgar. This is like... how comfortable are they talking about sex, about sexual subjects, being crude, being seductive, flirtatious? And if they use it, do they use vulgarity to shock, seduce, scare, threaten, or for humour?
Salutations and farewells. How do they greet people? Silence? A calm hello? (A lot of greetings are omitted in dialogue but this is still good to know). How do they say hello, goodbye. How does that change between friends and enemies and strangers?
Single word sentences. This might sound weird, but sometimes when a character hears something that shocks them, or needs to acknowledge something, they may say anything from 'huh' to 'yeah' to 'fuck' to 'okay' to 'all right' to 'sure' to 'go on' to 'indeed' to just laughing out loud. The list goes on. Raphael is team 'indeed' lmao.
Sentence structure. Raphael's sentence structure is - when he's most comfortable - gently provoking, teasing, vaguely threatening, and makes liberal use of simile, metaphor, fairy tale, rhyme, sayings, colloquialisms and more. Raphael talks like someone who knows someone could quote him at any moment lmao. But from here, how a character structures their sentences can be helpful to know. Go back to 'the tone of their voice.' Those notes will give you an idea of structure.
Emotionality. How emotional are they? Do they have rage rants? Joyful giggling dialogue? Do they infodump with little emotion? Or with sheer excitement? Does their dialogue feel fake or real? Opaque or transparent? Some people wear their hearts on their sleeves, and others will never be able to say 'I love you' in anything other than actions. Raphael's emotionality in dialogue is more present in his anger and irritation, and also when he feels triumphant and/or turned on.
The symbols, sayings, colloquialisms and metaphors themselves. Not all characters use these. But some people/characters will talk through analogies, colloquialisms. This is actually Raphael's biggest dialogue departure from Astarion, imho, aside from the fact that Astarion is a lot more emotional with his dialogue.
Take into account their culture, ethnicity, conceits, upbringing, education and the people they're close to:
This one is vital. Firstly, some people tend to 'absorb' elements of those around them. A person raised by affluent people will often 'sound affluent' and a person raised in poverty will often have dialogue that reflects this and if they don't there will be reasons for that. It might be a conceit (some people self-teach themselves different accents), it might be education, it might be training, it might be the subculture/s they've entered into, and so on.
~
When doing this research, you'll end up with a kind of master-list of actual words and probably some sentences you've written down, along with a lot of notes. You can also do this for any original characters you're making at all, you're just then making it up based on the character, and this research will also give in many ways the shape of the character.
It's a fun exercise and I highly recommend everyone tries it literally for people who don't exist and also observe your friends and family, and do a dialogue cheat sheet for some of them. It's pretty eye-opening! Even one page will teach you more than nothing at all. You can go deep and write many pages, or you can do what I do and keep it lean at 2 pages. Anyone who struggles with characterisation I suggest at least try this exercise, because anyone can put on a YouTube video and/or streaming service or even a favourite Tiktoker and start doing dialogue research! It's a way of building a character from the top down while also getting information about their foundations.
#asks and answers#pia on dialogue#pia on characterisation#pia on writing#reference#on writing#writing techniques#writing advice#dodgy advice#i might just take the second 'how to' part and make it its own post#but anyway here's how to do it!
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PROOF THAT SHINRAN IS ONE OF THE MOST BRILLIANTLY WRITTEN ROMANCES OF ALL TIME - PART 3
if you haven't already read the posts i've linked down below, please make sure to do so before you proceed, cause they're important for context. thank you so much in advance!
CLICK HERE FOR PART 1
CLICK HERE FOR PART 2
IMPORTANT DISCLAIMER
as i've already explained in my disclaimer, my ultimate goal with this masterlist is to prove how well written shinran is - it's to demonstrate that they're unquestionably each other's half and the heart of the dcmk universe.
people often minimize the importance that shinichi and ran have in each other's lives by labeling them as boring, predictable "childhood sweethearts" which couldn't be further from the truth.
so far we've established that
1) shinichi doesn't fall for ran gradually, which is what usually happens with dcmk childhood friends, he knows right away that ran's something special.
2) even though they share the same core values, their personalities are very different, which has a positive effect on them individually: ran gets shinichi to come out of his shell and contributes to his emotional growth, while shinichi grounds ran and helps her articulate her feelings.
now it's time to analyze the part i teased in part two already:
they share a soul
god, where do i even begin? this post is probably going to be ridiculously long but it's by far the most crucial part of my analysis, so please bear with me. cause as far as i'm concerned? this is the main reason why shinichi and ran belong together.
don't get me wrong, love at first sight is a beautiful concept and i deeply appreciate the fact that shinichi and ran complement each other, however, they aren't the only dcmk duo that brings out the best in each other.
what sets them apart from other dcmk dynamics in the most meaningful way is the undeniable fact that their hearts are one and the same. but what is that even supposed to mean? let's break it down, shall we?
their intuition
this segment of the break-down deserves its own post, because there are countless instances of shinichi and ran showcasing incredible instincts, but i'll try to keep it concise for now. both shin and ran arguably have a sixth sense. that's already fascinating on its own, but what i'm really trying to home in on is that their intuition offers them great insight into other people's souls. sometimes i get the impression they carry a compass that points at people and tells them who's trustworthy and who's not.
chapter 22
chapter 892
ran has so many reasons to doubt takeshi and shinichi has so many reasons to doubt amuro, but they instinctively know they can trust them. shinichi even feels safe enough to confront amuro, which is incredible, cause my boy takes a huge risk by directly questioning his allegiance.
idk about y'all but i think that's beautiful. it reminds me of an amazing quote from a famous philosopher:
their souls are pure. which is why they're able to recognize that quality in other people and each other.
their optimism
despite all the darkness that shinichi and ran face every single day, they have a really optimistic outlook on life. ngl, their unwavering positivity makes me extremely emotional.
chapter 252
shinichi gets shot by criminals and he's slowly bleeding to death. the detective boys feel like it's their fault that shin got hurt, they blame themselves and feel hopeless. my boy is in pain, he's fighting for his life, he's probably even scared, it'd be more than understandable if he saw their point and regretted the unfortunate situation they found themselves in. but he doesn't:
he chooses to look on the bright side. even in death.
which, fortunately, gets the detective boys out of their dark way of thinking. shin helps them understand that, yes, they're on a bumpy road, but at least it's leading somewhere.
chapter 780
shinichi gets a culprit to reveal he's from the kansai region by successfully provoking him with a fake accent, but shin doesn't just piss off the culprit, he also pisses off kazuha and heiji, so kazuha begins to wonder whether people from the kansai region are narrow-minded and ran's perspective is something i did NOT see coming:
HOW IS IT POSSIBLE TO BE THIS ADORABLE AND WISE?!
just like shinichi ran's able to offer kazuha a surprisingly positive outlook on her concerns, which genuinely makes her feel better.
there are many instances of their unshakable optimism and the effect it has on others, it's really beautiful to examine.
i recommend y'all look into it on your own, cause in this part of my masterlist i merely have the space to touch on shared traits like their great intuition and firm optimism, but now it's time to get into the biggest and most important portion of this analysis!
their idealism
i hope y'all read the disclaimer i've linked at the beginning! if you haven't, i urge you to read it before you continue with this post!
shinrans shared idealism is something i've already mentioned in part two of my masterlist, but there's so much more to say about it:
i'd argue that it's the main thing that connects them. not to shade my own children, but they value justice and human life so much, for most people, including me, it sometimes borders on stupidity.
but that's the thing, shinichi kudo and ran mouri aren't most people.
cause most dcmk characters 1) don't initially share their virtues and 2) question their admittedly heroic but also terribly reckless actions, whereas shinichi and ran support and admire each other because of it. because they're the same.
i'm about to give a few examples of shinichi and ran being the most idealistic characters in the manga and for the purpose of full context, i have to showcase the contrast between shinran's morals and the values of other characters. i appreciate and care about every single character who's brought up in the next part of my essay, so don't take this post as an invitation for hostility towards them, that's not my goal, okay? okay. let's proceed.
a) sense of justice and heroism
chapter 239-240
shinichi impulsively investigates the black organization. haibara repeatedly reminds him that he's being reckless and putting himself in danger, she even mocks his strong sense of justice and initially refuses to join his investigation because she's smart and values self preservation. haibara ends up joining him after all, but keeps urging him to drop his investigation and leave with her.
i don't blame her one bit for her approach to the situation... truth be told, her reaction makes a lot more sense to me than shinichi's 😂 but that's because i share her pragmatism.
at this point in the manga shinichi and haibara have zero support. neither the fbi, nor the cia is helping them. it's incredibly dangerous for them to go after the black organization completely alone and it's not just unsafe for them individually either, it's risky for everyone they care about. their exposure would endanger a lot of people, including agasa, ran, kogoro, the detective boys, etc...
and safety concerns aside, why would she care about justice in that situation anyway? how could she, a teen who's trapped in a child's body, possibly hold the black organization accountable without any help?
so yeah, i strongly believe that if you look at the situation logically, haibara's point of view makes a lot more sense than shinichi's and it's fair of her to choose safety over justice, especially when the latter seems so impossible achieve.
too bad that shinichi doesn't give a flying fuck about things like common sense or self preservation. he's completely driven by idealism, it's what defines him as a person, in more ways than one. the only person in the dcmk universe who accurately mirrors his righteousness is ran mouri and it expresses itself through countless parallels that completely contrast haibara's position in chapter 239-240
chapter 44
shinichi pretty much lashes out at the murderer for personal reasons which i dive into here. on top of that, he's passionately opposed to the culprit's idea of using justice as a reason for murder and guess what? ran unsurprisingly feels the same way:
chapter 313
the obvious observation here is that their speeches are remarkably alike, but what i find even more fascinating is the fact that the killers react so similarly. shinran's sense of justice is so powerful, it doesn't just guide their own actions, it even moves morally corrupt people and holds them accountable.
furthermore, the concept of personal safety is completely lost on both shinichi and ran lol.
they constantly risk their lives for other people, including haibara, who, as we already established, initially disregards heroism.
chapter 289
chapter 434
AHHHHH!!! THE PARALLELS ARE KILLING ME
anyway, i'm not trying to undermine the beauty and complexity of haibara's character, she's incredibly well written and i think it's important to emphasize that she's actually attempting to sacrifice herself in both of these chapters.
i actually really appreciate the fact that haibara is this complicated person with a rough background who slowly figures out her values with the help of her friends, imo it gives her layers.
i'm simply pointing out that upon her initial introduction her virtues instinctively differ from shinran's, it takes her some time to grow into the same kind of heroism that shinichi and ran display from the get-go. because they inspire her. but i'll go over that in a minute.
b) they value human life
one of shinichi's main attributes has always been his profound interest in human life. it's a quality that i never questioned until recently because i always figured it was due to his work as a detective.
but the more i think about it, the less it works as an explanation because we know a lot of detectives in the dcmk universe who don't share his interest in protecting people at all costs.
interestingly enough, there is a character who shares his passion but it's not someone who professionally deals with human life - it's just a compassionate, tenderhearted girl who instinctively wants to keep others safe no matter what.
chapter 1026
ran saves a murderer from suicide
which reminds me of shinichi attempting to do the same in another chapter:
chapter 67
he tries so hard... but unlike ran he ultimately fails.
and who's there to comfort him? who's the only person in the whole world who naturally understands his sorrow, who truly knows how valuable human life is and wants to protect it just as much as he does? ran. of course it's ran.
and it will always be ran.
having said that, analyzing shinran's idealism is beyond fascinating to me because i rarely share their virtues or courage. my values are more aligned with the rest of the dcmk universe:
chapter 153
shinichi notices that a culprit is about to kill herself and gets in the way of her plans. heiji's response resonates with me a lot.
CAUSE YEAH, what's the point of keeping someone alive against their will? isn't that infinitely crueler than just letting them die? maybe.
but shinichi and ran don't give a fuck lol. they don't stop the murderers suicide attempts because they're heartless though. it's the opposite, really.
as we already established, both shinichi and ran are optimists at heart, so they believe or least hope that people can always better themselves. i think that's the main reason why the interfere.
besides, shinichi and ran simply care too much about justice - they need culprits to be held accountable and they respect human life too much to allow suicide.
again, do i share their passionate interest in human life? LOL, hell no. i think very few people are capable of being that idealistic. most people, including me, value innocent life but shinichi and ran? they value life regardless of innocence and on top of that, they even value the lives of people who ARE ACTIVELY TRYING TO KILL THEM
chapter 773
a man is threatening to bomb the detective agency, he could kill ran, kogoro and sera within SECONDS and what does my girl ran do? yeah, she saves his life, LOL!
she's already in immense danger and she's seconds away from being saved, but she goes out of her way and puts herself even more at risk, just to save a guy who's threatening her life. WHY?!
because that's just who she is.
understandably, sera is baffled. she doesn't get it.
which makes sense, cause, again, there's only one character in the entire manga who truly understands ran and passionately agrees with her principles and that's shinichi kudo:
their idealism never wavers. it's perplexing for characters like haibra, heiji, sera and even for me as a reader. it's also extremely inspiring though. which brings me to my next point!
c) they inspire others
chapter 239
remember how haibara initially refuses to join shinichi during his investigation? guess what changes her mind...
even though haibara mocks shinichi's idealism and admittedly doesn't understand it in the beginning, it does get her thinking.
she grows up under terrible circumstances which force her to prioritize her safety over human life, but after watching shinichi for a while, she comes to the realization that she no longer has to live that way.
his unshakable idealism fascinates and encourages her, she's reminded that she has choices now and suddenly she finds herself wanting to do better.
but shinichi isn't the only person who helps her evolve in a pretty significant way:
chapter 313
ran's speech about justice and courage deeply moves haibara in the same way it affects the culprit.
her speech doesn't just give haibra the courage to finally introduce herself to ran after months of avoiding her (for reasons i'll get into in part four of my masterlist) i'd argue it also contributes to her finally facing the black organization in chapter 434
while shinichi helps haibara understand that she has choices now and urges her not to run from her fate, ran motivates haibara to be courageous and face her fate. it's actually incredible how much they help haibara, just by being themselves.
chapter 398-400
check out the blog of my wonderful friend aracaeli who recently brought attention to an extremely underrated chapter which emphasizes that ran doesn't just affect characters like haibara, she even inspires her other half shinichi, which is a remarkable accomplishment, considering their morals are generally completely aligned.
ran's idealism knows no bounds. how could it not move people? especially someone like haibara who's just starting to get familiar with the concept of friendship.
in this chapter ran's idealism inspires countless people (shinichi, haibara, the detective boys, the murderer) it says so much about her character and it's such a touching reading experience.
chapter 153
remember how heiji understandably regrets saving the murderer from suicide after seeing her devastating reaction? shinichi knows exactly what to say:
AGAIN, personally, i don't even blame heiji for his initial views. frankly, i agree with them! but it's really hard not to be affected by shinichi's powerful words. i can see how they could completely change the mindset of a passionate detective like heiji. and they do.
chapter 188
to the point that heiji's willing to risk his life because of them...
chapter 774
even sera, who can be a bit morally corrupt at times, is impressed with ran's strong virtues:
but that's to be expected, considering that shinichi and ran even had an impact on vermouth who's an established, ruthless serial killer.
i know, i already extensively talked about the new york case in part two, but it's such an important chapter for shinran that i feel the need to bring it up again, especially if it's going to continue the wonderful discourse i've been having about it with amazing bloggers like sakublogs who i urge you to check out!
chapter 353
this case is so, so special to me because it fundamentally captures the essence of shinran.
vermouth is about to take ran's life but the railing she is leaning on breaks and she's about fall to her impending doom... until ran intuitively grabs her arm and tries to save her:
you'd think that shinichi would urge ran to let go, cause that's what any rational person would do, right? but he doesn't. instead he assists ran. again, WHY?
because... they can't fucking help themselves. because THAT'S JUST WHO THEY ARE.
shinichi and ran are completely led by their intuition, optimism and idealism. nobody values justice, courage and human life the way do, it's in their bones and hearts, it's not something they grow into, it's in their nature.
their spiritual connection is their most defining quality as a couple and it's the reason why i'm convinced that shinran is gosho's best written ship and beyond that, one of the most brilliantly written romances of all time.
it's difficult to do shinran justice in condensed essays like this, but i hope i was able to illustrate their amazing personalities and offer some insight into their captivating bond.
it's why i've been closely following their story since my early childhood. they have the same effect on me they have on other dcmk characters. shinichi and ran inspire me, they touch my soul and restore my faith in people. they're not just a cute couple - they're a symbol of hope.
vermouth puts it best:
visit the shinran library for more
#angels are not mystical creatures from another realm#they are the manifestations of love and kindness in our lives#deepak chopra#a life changing ship indeed#i love them so so much#part four is going to be my favorite part of the series#hint#it's going to be about my best girl ran#i'm so excited!#shinran#shinichi kudo#ran mouri#dcmk#detective conan#case closed#ship analysis
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It sounds like a joke to say (as I just did in a much more concise post) that Fjord's stress would be alleviated by some room dividers and a desk and by rearranging the furniture, but it really is my impression that one of a great many sources of stress for Fjord is how space in the house is portioned. Jester has her studio, but Fjord complains that the entire house is her studio. She tries to say there is the couch on the opposite side, he goes, "My haven: the couch." It's clear Fjord does not have a dedicated space, worsened by the open floor plan. He seems to have recently noticed and become bothered by having nowhere specific to belong in a house that he insisted they have.
It is not that Jester takes up too much space—absolutely not what I'm saying. I suspect the real issue is that Fjord does not know how to take up space, both within a domestic space but also in life, and does not know how to assert what he needs. He never had a space of his own, having grown up in an orphanage and then lived aboard a ship. He and Jester talk about this in 2.62: Domestic Respite while the Nein move into the Xhorhaus, that he never had a house before and that he was getting used to having a room of his own: "Well, my own room's pretty strange." We never get any suggestion that Fjord decorated his bedroom in the Xhorhaus beyond putting up shutters.
I feel like this is what's happening with Fjord in their house in Nicodranas. He never lived in a house before, and they stayed at the Xhorhaus so briefly, so he never learned how to live in one, especially one that he's building with a partner. He never learned how to assert spatial boundaries or how to need space, and thus he inadvertently allowed Jester to have everything and make all decisions. He's just now understanding that the small corner is not enough, and he is feeling boxed out of a house that he personally wanted—simply because he does not know how to assert himself in his own space. (Compare how Beau and Yasha have their own spaces, Caleb has a dedicated space for work at home, and Yeza and Veth have entire separate spaces to pursue their ventures. A ship is also largely communal space, and Jester lives in Fjord's captain's quarters.)
In contrast, Jester is very comfortable taking up space, especially within a home. Since Fjord offered no pushback until recently, she's naturally (and understandably) taken most of the space in the absence of Fjord asserting boundaries for her to follow. His gentle grumbling about the paint and her studio space feels to me to be the first time he's expressed unhappiness with the way their home is divided. It's my feeling that's how the situation developed: without any expressed boundaries, there was no way for Jester to understand how to share the space with Fjord. Negotiating these boundaries and learning to coexist together in a way where you have your needed space without crowding the other out is a crucial and often difficult part of a relationship, and one that Jester and Fjord have very little practice in. Fjord is clearly just now learning to voice his needs. I get the impression Jester is noticing this and is slowly processing how to work this out with him.
And I think this is a very intentional thing in the way that Travis and Laura have arranged this house? The rhythm of the description feels like many of these details and dynamics were discussed in advance.
Fjord is not settling well into his house because he never learned to take up space and there is a lack of obvious space for him to exist in, and negotiating and asserting those boundaries takes time and articulation. Without that, Jester has no signals on how to share the space with him. No joke, it would help to get a desk for him to work at or a table to read at, or maybe expand into a patio or something for Fjord to drink tea in alone in the afternoons. Rearranging their furniture and setting down some rugs, using room dividers if necessary, to break up their open space and create a semblance of separate areas will actually, sincerely, help with all this.
It's a very real growing pain, and it's fun to see it here.
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I'm 3 days late to this but I just saw that anon about being anti makeup and i want to thank you for articulating so concisely and patiently why certain women are against makeup. mostly because if i were in your place i absolutely wouldn't have the patience to deal with it lmao. mostly because I've been trying to articulate this stance to my friends irl and the most common reaction to this ime, in real life as well as online from women who disagree, is "but I like it 🥺 what about me? 🥺does that mean I'm a bad person? 🥺 but it's fun and cute and girly 🥺" and they just refuse to engage with any of those ideas because for them it's just harmless fun.
and after running up against this response enough times you just start to get sick of it. a lot of this (most of this) is my own personal exasperation talking but it's frustrating to try to make structural critiques and people are so individualistic they can't think past their own preferences.
I think some women, on some level at least, probably are aware of these things, or they have an inkling of them--if not consciously then subconsciously--but it isn't something they are willing or ready to confront, which explains why some can get incredibly defensive about it. We have this whole thing where your individual choices have become linked to, or representative of, your identity and so any comment against those choices is taken as a personal attack because in a sense, for someone living within that framework, it is. I completely understand your exasperation because I've felt it, too. But I think I'm at a point where, for me personally, I'm not trying to argue with people or convince them because trying to make people see or hear what they aren't willing to will only make them double down harder.
I agree with you and I wish there was a way to actually have these conversations in an open manner without getting stonewalled, but the best thing I can do right now is stay true to my own stance and embody that through example and hopefully I can be open enough through this that it allows others to see they can do the same--or that, at the very least, they have the option to.
#tbh i try to assume that people ask things in good faith so in those scenarios i try to be as open as possible (even though i've been guilty#of failing at that too). we have a deeply fucked up world so everyone comes away with deeply internalised ideas bc of that but i also hold#to the notion of “people do better when they know better”. and i try to add to that if i can. but i also accept that i cant take#responsibility for how people apply that knowledge or their willingness to hear it. i just stay open and sincere in my own stance#bc i dont want exhaustion to lead to bitterness#ask#anonymous
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AUDHD 👏 GOJO 👏
I’m right there with you so, in true AuDHD style, I’m zooming into your inbox to infodump because I’m ALWAYS desperate to scream about this (shout out to @ellionwrites for patiently and compassionately listening to my unpolished rambles about a lot of this stuff in private)!
I actually have a LOT of thoughts about 236 and how it’s Gojo’s “unmasking”. That chapter is really emotional for me because of how well it articulates my personal experience of navigating the world as an autistic person. This post (and especially its tags) from right after it came out says it in a much more concise way, but Gojo’s upset pout breaks my heart because, to me, that's evidence of “no matter how much you try, people will misunderstand you” and damn… that hits a little close to home 🥲
It’s why his death had such a strong impact on me, especially when it felt like half the internet was ignoring the actual words Gojo said to claim “he never cared about that stuff, he was arrogant from the start and you just misread him". In combination with “it was the best ending for a character like Gojo" — right after we find out how deeply lonely he’s been, never able to truly connect with anyone after Geto left? Well, it was mindblowingly meta and, therefore, pretty painful to read.
I wrote an analysis of Gojo’s character in 236 and, even though I wasn’t viewing him through an autistic lens for that particular post, I think my words under the cut still read that way — that’s how baked into his character I think this stuff is! I genuinely think the two pairs of sorcerers sitting with their backs to each other is a visual representation of the double empathy problem. I'm not sure autistic and allistic people can ever arrive at a place where we fully understand each other, but that doesn’t mean autistic people have to carry all the burden and remain isolated. That’s why it’s meaningful that Gege makes it clear that all the characters care about each other, even if they don’t see eye-to-eye.
Glad to see you shouting about this reading of his character, because I haven’t seen many people talking about it. Some people are very hostile to ND headcanons, especially for characters as popular as Gojo, which is why I haven’t really talked about it much myself. However, I feel like any fellow AuDHDers who read my fic must be side-eying me constantly because I don’t think I’m subtle about how I write Gojo’s character at ALL 🤪
Maybe it’s time to be brave and publicly share my 236 AuDHD!Gojo manifesto for the five of us who are standing in a circle screaming about this! Cheering you on and sending lots of love ♥️
Ahhhhh thank you so much for this infodump!!!! I was on a AuDHD!Gojo rampage last night as my brain worm hit right as I should have been going to sleep. But such are things....
Like idk why it didn't truly hit me until now, but I can't unseen Gojo as AuDHD. (It was probably because I re-watched "Everything's Gonna be Okay" with some AuDHD representation and then I started thinking of other AuDHD characters and immediately thought of Gojo.) I did play with the idea a few months back, but it hit me with full force yesterday.
Idk like I get a little annoyed with people who think I or others like Gojo just because "he's hot" because like okay fine yes (but also I think I just have gender envy but that's a whole other can of worms). But also, no no no that's not it! My love for Gojo is more than that! He speaks to me as a character. He's misunderstood. He's seen as something he isn't. In my eyes, he's neurodivergent (and queer). And Geto was the only other person who ever saw him for who he really was.
Gojo's death was really hard on me. I remember exactly where I was when I read that chapter. And then the airport. Fuck. EmOtIOns. At first, I tried understanding Nanami's words. I really did. But really, I just didn't if I'm honest. Those words were a shock to me. Like yeah okay he's selfish (but like aren't all humans?). He also helps though! Isn't that obvious? And at the end? He wanted to have an equal to go all out with in a fight. Again, why was that bad? He was also helping! What's the issue? He's a fallible human. Like you said in your analysis, he contains multitudes. What's wrong with that?
So, like many others, I thought maybe I misread Gojo. But no. Now I think the missing piece was that Gojo is AuDHD and Nanami didn't quite get that. He didn't understand Gojo's actions. (And ahh god that lil pout. Gojo was just living his life and people saw him but they never ~saw~ him.)
I think the visual of the sorcerers back-to-back is a great metaphor for the double empathy problem. I never saw it that way, but I see it now and like it! And I think you're so right with the fact that the characters still respect and support each other even if they don't understand each other fully. I think that's a theme woven throughout the story.
Blahhh I feel like there is so much textual support for AuDHD Gojo. Like him being blindsided by Geto's defection because he didn't see Geto's decline (and don't get me started about Autistic!Geto with his strict black-and-white thinking), him just blabbing about sweets when he meets up with Megumi before fighting one-finger Sukuna at the beginning, the fact he thought revealing Yuuji to his classmates at the exchange event would be funny (cause hey, I thought it would too until it happened and I saw oh hey, it wasn't), etc. Plus, his blindfold. His overall personality. Like, it's such a heavy mask. Now I see that.
I feel like people either love Gojo or they hate him. (I immediately gobbled up your analysis and 100% agree. And I think people's reactions to his death are pretty telling.)
So, thank you for the yummy AuDHD!Gojo content. Please feel free to send me more/link me to things. I feel like I have a million more things to say but my brain is jumping all over the place and I've already spent 40 minutes this morning on this when I should have been getting ready for work. Hehe, whoops.
Gojo is AuDHD. I will die on this hill. Let's keep staring and screaming at each other about this. Sending you good vibes and love as well 🤍
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Apologies for gushing but your last fic twenty-two was just so beautiful! I'm wondering how you come up with so many good details in all your fics? I'm working on getting better at imagery and would love hearing more about your process, you just have such way with descriptions!
first off, thank you so so much anon! this made my whole week!
but oof, this one is tough since i'm definitely not an authority on descriptive writing (or any sort of writing, really), and i'm not particularly introspective about the process. and twenty-two more or less fell out of my head in one piece, which doesn't happen very often for me, so i'm working a little backwards here.
so at the risk of sounding incredibly preachy, i've taken a stab at articulating how i tend to think when creating scenes. maybe some of this will be helpful?
for me as a reader, details that tend to stick out are both extremely specific and concise. the specific part comes a little easier for me when writing - picking out little actions and details from everyday life that i don't tend to read about very often - but the language precision takes more work. if a detail requires too many descriptors to convey the full picture, i'll usually revisit and search for more specific words or axe it completely.
i think it's really important to trust our abilities to describe things uniquely! which sometimes means swinging for the fences and missing entirely with an analogy that doesn't work, but i find that so much more interesting than relying on clichés.
i'll add to the choir of advocates for killing your darlings. deep down, you know if something doesn't fit. i keep a "dump now use later" doc as a personal pacifier, because it feels easier to delete an *incredibly clever* bit of wording if i think i can recycle it someday (spoiler: i won't).
i try not to think about this too hard, but syntax is a really helpful tool for flow and for characterizing a narrative voice (she says in full awareness that hermione's inner monologue in her fics sounds a lot like ginny's which sounds a lot like harry's... 😬).
i like to let descriptive verbs do the talking over adverbs an adjectives. again this is based on my preferences as a reader; i find actions to be much more immersive when they can stand alone without modifiers.
a wonderful beta changed my life by ruthlessly trimming the fat from one of my works. this is a little different than cutting out entire ideas that don't fit, more like removing filler from your sentences that dilute the point. i'm not necessarily advocating for a minimalist tone (lord knows we're far from that), but this kind of editing really helps the details pop.
a n y w a y , all of that feels very boiled down to a science, which might go against the point? i think it can be good to consider these things while editing, but i guess the biggest piece of 'advice' i would offer is to try and let your voice and your plot/ideas speak before any of the language mechanics. i usually feel most stuck when i'm too focused on phrasing something that doesn't serve the bigger picture, and zooming out to "what is this scene even doing here" often helps me realize that (ahoy, we've circled back to killing our darlings).
maybe some of that made sense, and if not i apologize, but thank you so much again anon for this humongous bit of flattery and for letting me ramble!
🌱
#sweated my whole way through typing this out#not much to see here kindly keep scrolling#anon ask#answered#writing thoughts#the craft
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HELP KUNIKUWU HAS ME IN A GRASP. A horny take BUT imagine if during the party you ended up forgetting some things at the office and need to return. Out of curiosity, Kuni follows in pursuit. Maybe both of you are tipsy so he gradually gets the courage to confess in a very.. heated.. way. Taking you against your own employers desk 👉👈
OOOO YES YES! OTL
It’s even better if you hardly remember that night come the next day. >:) you wake up in Kuni’s house, bundled up in blankets on a very comfortable king-sized bed and there’s water and some medicine on the bedside table. Kuni’s already up, scrolling through a tablet and cataloguing last month’s expenses, and you’re hit with so much horror when you walk through his house and find him sitting at the kitchen bar, working his afternoon away.
The night is very hazy. You remember you got into a drinking competition with Tartaglia—a foolish endeavor considering he knows very well how to hold his alcohol and will never back down from a challenge. And then Dottore was talking about some files or something—it’s hard to remember—and you’d realized at that moment that you forgot to pack your work folder into your briefcase on your way out. You’d been so excited for the party and ringing in the New Year that you left work in a hurry. So you’d gone back to the office and…that’s it.
Common sense tells you that you definitely found your way to Kuni at some point and that the two of you made it back to his place. But you’re not naked. In fact, you’re wearing one of Kuni’s shirts. The picture becomes increasingly clear the more you dwell on these details and you feel so terrible for dragging him into your mess, even if it was a mess the both of you probably enjoyed. But when you confront him and sincerely apologize, he looks at you as if you’ve grown a second head.
“We didn’t do anything. You were intoxicated and that old fool wasn’t going to bring you home, and you were too far gone to articulate your address. So I brought you here,” Kuni explains, his eyes never leaving his screen. “And then you threw up on yourself and I couldn’t just let you sleep in my nice, comfortable bed when you were so filthy. So I changed your clothes for you and you fell asleep the minute your head hit the pillow. That’s all.”
His response is so concise that it’s hard to find any fault in it. It sounds reasonable, even if the part about him undressing you while you were just barely conscious unnerves you a little.
“I believe I’m owed a ‘thank you’ after all the trouble I endured,” he snaps, and this time his head lifts to look you in the eyes.
“O-Oh, right! Thank you…and I’m sorry. This is kind of awkward right now, so I’ll just…be on my way. Just tell me where my clothes are and I’ll change and we’ll pretend none of this ever happened.”
What a way to start your New Year…
Kuni agrees and tells you exactly where you can find your clothes, which have been washed and folded in a neat pile. The fabric smells of lilacs and vanilla and you heave a relieved sigh as you change. Yet something doesn’t feel right. You’re not sure what it is, but the feeling that there’s something else going on persists when you observe his spacious master bedroom. Surely you’re just overthinking things. You don’t even have any visible markings or love bites. Maybe you’re too hungover and paranoid.
Paranoid. Why are you paranoid? What’s there to be paranoid about?
Kuni bids you a terse farewell. See you at work. Right. Work. He’s your superior and yet he took such good care of you. He didn’t have to do that. You’ve always thought he was a grumpy man with a bad temperament, but the fact that he went out of his way to help you when you were too drunk to do much of anything is…nicer than you’d expect from him.
When you’re gone, Kuni releases an exhausted sigh. Thankfully his shirt covers the scratch marks on his back… Honestly, you’re so troublesome sometimes. Do you have any idea just how much he loves you? You did—last night, that is—but you don’t remember. Of course not. Why would you? He was foolish to think any of his tipsy confession would stick with you. But it’s not as if this is a step in the wrong direction. He got to see a new side of you last night and he was able to touch and kiss and love you. And you’d told him the sweetest things. There’s no way you could ever betray him when you’re in such a state.
But in the event that you do, there’s a special room in his expensive penthouse that’s awaiting a permanent tenant.
#meraki thirsts#n/sfw#kunikuwu#yandere scaramouche#kier-xs#the two of you definitely went at it in dottore’s office lol
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I'm not making any *promises*, but my brain for the last 24 hours while trying to finish my latest crochet project-
-what demographic is the princess aimed at? Because to low in age and we are looking at paper dolls for a "wide array of clothes" collectable from fazco, and to old or breaking into adults and men we are looking at high end expensive resin pieces and hard bodied articulated barbie like things (aka is her body the dress or is it removable?
does Fazco simply repurpose the lanky type sun and moon plush's for jester plushes, and is the princess grouped with them for marketing and thus has a similar body type? Or do they remake them to make them squat and round to be more cohesive with the knights?
I wonder if they used costume changes on the princess's plushies to make themed one? A freddy princess, a golden princess, a Chica princess, a "fairy" princess, a sun princess....
Do I make this ethereal B deliberately wonky to look like a Fazvo Brand plush or do I give into my inner perfectionist and crochet her tiny 3d eyelashes and rhinestone up her tulle draping on her hat?
Her entire head is an articulation wire nightmare and thinking about it makes me want to cry
*crying in lacking reference sheets*
*crying in tiny pointed feet and delicate hands*
*HER HEAD IS A YARN PROJECT NIGHTMARE*
But... shes singing to me
Ohhh my goodness I'm trying to stop my heart from beating out of my chest in excitement. Deep breaths, DEEP BREATHS/
Okay so you're asking a very interesting question, basically what would the merch of the Princess look like in Castle Faz. At this point in the story the Castle isn't even open to the public yet, so they're isn't a lot of direct merch of her besides typical princess crowns and her kingdom's emblem.
The way that I imagine it is that in the early stages of the Castle being open they make little shitty/cheap dolls to satisfy the children, maybe making a more expensive statuette of the Princess sitting on her throne in a limited supply run.
Her face type is similar to the Attendants in that they're both circular in origin, but her endo is a different model. She's much smaller than the other animatronics and thus has to be more concise with her mechanics. Her plushy would be similar in face just with a different costume to save money however.
I love the idea of themed princess outfits to match the rest of the cast!! Her colors are naturally more subdued (platinum being her signature color) and it kind of goes with everything. She'd rock any motif and be happy to wear it.
Whether you want to make something intricate or not is entirely up to you. Just know my screech will be supersonic if you do make something and show me.
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came back to tumblr just to find that @worldsnotsaid is gone? girl whyyy☹️
Hi anon!
It was kind of abrupt, and I do apologize for that -- truly. It's why I am tackling this ask! But, it was very freeing to delete that blog, and it felt as if a weight had truly been lifted from my chest to see it go. Bittersweet, yes! But absolutely needed. Constantly seeing asks box jump from 300 to 400+, the constant hate messages, the inboxes -- it was all too much for me to tackle, and honestly, it felt as if my blog was just no longer productive at that point.
I am always 100% behind the points made on that blog, and the problems in SJM's writing. My passion for those points will never fade or change for that matter. But I think the book community and publishing are just not ready for an actual change -- and it's tough to have the conversation about racial and abusive themes in books when people pick and choose when to chastise and ignore. It's literally like having a conversation with a wall. I can't honestly have a conversation about tackling racism in the book industry when people can't even let go of a book series that isn't even well written. We aren't being militant about the problems in the book industry, and its exactly why it looks the way it does. I don't know, I think I've grown apathetic to it. The urge for docility among reviewers disguised as 'allyship,' the flip-flop about abuse and abusive themes in books. None of it makes sense. And it's like the legwork to make it happen just doesn't seem worth having someone constantly throw vitriol in your face. It just seemed like it becomes a tit-for-tat straw-man debate in the end, and that -- again -- isn't productive. 'Tamlin stans this' and 'Nesta stans that, and it was like ?? Can we just think outside of that? We can't complain about the way PoC are always treated in the story and then turn around and defend an author who would 100% kill them off and let her white character wear their trauma like a second skin. Like how serious are these conversations when the ones having them are unwilling to stop supporting the author propagating these harmful tropes to other authors. FBAA ran because ACOTAR walked; ACOTAR ran because Twilight walked. These harmful stereotypes in these books melded and made the environment we have today. And it is what is.
As another blog asked, I will not be returning to that blog as it was deleted. But there are so many beautiful and articulate antis in the tag that adeptly explain the problems in this series and in much clearer and more concise ways! My blog was a rambling mess anyways!
Funny addition: And do you know the sheer frustration of typing up an entire post that's 2000+ with links and citations talking seriously about abuse and racism and how its portrayed in the media just for someone to skim the post and make a follow-up, sub-post that starts with: 'Tamlin stans always think.' -- yeah never again.
#anti sjm#a proper explanation for those in my inbox#and some of y'all are so fast bc those asks just opened like hours ago!#and to the other person who asked if i had my posts backed up😂#i actually do up to a certain point bc i used to write in a Scrivener doc before posting on here so idk if you want those#you could just dm#me for it#i guess i don't really care what you do with them as the point has always been awareness! i don't mind you reposting them or what not#its actually most of my stuff in my masterlist but i can't really remember what those post were!#but yeah i am 100% done with talking about that lady and her books in depth#prob delete later
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why klavquill
originally i thought of the pairing as a joke because simon would totally hate klavier, but like… i thought further upon it and now i fr am invested. i could say sooooo many things. so:
here’s a post i made a while ago explaining
here's another post focusing on the aspects of other dynamics that would be affected; less important but fun to mention
and let me provde an updated (attempt at being more concise but simultaneously more elaborative) version:
• thematic similarities in that they both helped usher in the dark age of the law BS. klavier got phoenix disbarred (which ig because he’s the golden boy is the end of the world but TBF the crazy ass corruption he exposed in his first three (?) years as an attorney does make him incredibly significant and a sort of figurehead) and simon went to prison for “murder” a year after that
• adding onto that, klavier and simon worked at the prosecutor’s office for one year of overlap (2019-2020) prior to simon’s sentence. even if they didn’t know each other directly, they would have known of each other (guy who got phoenix wright disbarred during his first trial and guy handling an international spy case with criminal affairs) (also i really love the estranged friends to lovers narrative)
• and even at that, they likely WOULD have had to interact during turnabout academy. simon was literally prosecuting the case. yes, klavier didn’t have an official investigation, but you’re telling me that they’re working on the same case without a single interaction???? frankly it’s just poor writing and they didn’t want to put in the effort to connect AJ’s narrative properly; which was an actual writing direction they had so why am i surprised.
• juxtaposition of older sibling situations; both in prison but for different reasons. i want to analyze this bit more but there’s something there
• sharing a narrative of healing from the ghosts of their pasts after DD :)
• both are incredibly melodramatic and theatrical in court. they’re on the same wavelength; and speaking just from a writer’s perspective, writing their interactions is some of the most fun i’ve had lol. if you’re curious, here’s my ao3 series containing all the fics i’ve written for them so far :)
• they also do have similar aesthetics in the sense that they both wear darker colors. klavier has a more grunge (?) / generally alternative (and like 70s-80s generic rockstar) style and simon… dresses like he’s from the victorian era yes (not counting the jinbaori) but he has more of a goth / emo vibe? i’m articulating this very poorly they both just look very well together. also men with long hair :)
sparknotes version: i think they have a lot of similarities and parallels and narratively, i believe it would make more sense for them to be together. part of it may also be wanting to connect the narratives of AJ and DD properly but idk. it just makes more sense, at least to me, in comparison to other pairings
#klavquill#ace attorney#ask#i hope this explained :)#also i’m sick of seeing a 9.5 paired with a 6. why is a literal rockstar dating someone who looks 12#idk i just think they’re better suited for each other#i could elaborate on that as well but i prefer to say minimal things on that at least online as to avoid stepping on toes#not that it would be bashing necessarily but idk i’m really just here to write#but feel free to DM me if you do wish for an elaboration#im taggin tthis proeprly because i keep having to show it to people instead of explaining Guys listen. please
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