I'd like to state officially, for the record, that I think the Parallax retcon IS stupid as hell and if I worked for dc that garbage would be gone in an instant. Just like, FYI <3

The Spy Parentage Conundrum In My Genderbend Fics, a meta:

In TF2 canon, Spy is (implied to be) the biological father of Scout. So where does that leave these characters in the genderbend world, when I write them? I started thinking about it and immediately concluded that I couldn't imagine Spy ever physically having a kid. Instead, I approached it like this in the fics: I imagined first that Spy's pa (in this case, it's a full swap) already had the kids, but the bio mother left/something happened. (More under the read-more)

After that, Spy entered the picture. Scout's dad explained to the kids patiently that yes, Spy wasn't their biological mother, but she could be considered their "mom" for all intents and purposes. This is the way the first couple of years go, and Spy realizes pretty quickly that staying in one place with all these kids is boring and sucks. Scout is her least favorite of the bunch. Spy eventually dips.

About two decades later, none of the kids can remember Spy's face, but Scout's dad still mentions her sometimes. At her first day at work, Spy is quick to recognize Scout as the one of that random guy's kids who she liked the least. Even worse, her dislike has continued into Scout's adulthood.

The dynamic this eventually provides is Spy reluctantly watching out for Scout, although she doesn't really care much what happens to her outside of like, life-or-death-no-Respawn things. Scout, to her credit, just finds Spy rather annoying, not dissimilar to the game canon. She never makes the connection that Spy was the person she was told was her "mom", and so treats her more like an annoying coworker than anything else.

The scene where Ralph meets King Candy for the first time is one of the most interesting ones on a rewatch because you already know who King Candy is pretending Not to be. The way Ralph behaves is interesting too. (I’m studying these little 1kb game characters under a microscope)

Below the cut is a LONG scene/character analysis (~6min read?)

First off. King Candy’s mere Entrance in this scene already characterizes him a ton and he hasn’t even said anything yet. He speeds obnoxiously around Ralph in his little go-kart BLARING HIS HORN. This immediately gives off the impression of: Very in your face. Very full of himself. And Very Annoying About It. (sir.. your Turbo is showing)

BUT THE DIALOGUE. JUST THIS SINGLE INTERACTION:

(Ralph Face Reveal While Screaming)

“Milk my duds! it’s Wreck-it Ralph??”

“Yeah...? And who are you, the guy who makes the donuts?”

“Hoohoo, please- No! I’m King Candy!”

I love this interaction because King Candy INSTANTLY knows who Ralph is. And from Ralph’s perspective that’s… weird.

Ralph is probably a little confused. Given how he answers “yeah?” He doesn’t just straight up ask “How do you know who I am” because he’s currently being interrogated (Probably Not a Good Time) Also that recognition is something he rarely receives in the first place, so why from this guy…? So instead he asks: Well who are you supposed to be?

WELL FIRST OF ALL. HE KNOWS WHO RALPH IS BECAUSE TURBO’S GAME CABINET SAT NEXT TO HIS FOR YEARS. Which is why King Candy is so surprised - he’s probably seeing him for the first time in decades.

“Hoohoo, please- No! I’m King Candy!”

I also love how he nervously laughs at first before responding with “No!” In that particular way- simply laughing it off before being Rather Quick to reject Ralph’s proposal that he could possibly be someone else. Interesting .

But it’s the way he says “I’m King Candy!” That carries so much implication. His pose and smile, the perfect inflection in his voice- it’s theatrical, it’s like he’s rehearsed it. It’s almost like he’s trying to convince Ralph that he’s really who he says he is with the best performance possible. He’s been doing that for years and by this point he’s totally mastered it. Nobody suspects a thing. (For now……)

—————————— Skipping forward a little, Ralph explains that he got a medal from Hero's Duty.

"Your medal? (giggles) Bad guys don't win medals!"

"Well, this one did. I earned it over in... Hero's Duty"

"You game-jumped?? Ralph... You're not going Turbo, are you?"

"What? No no no no no..."

"Because i-if you think you can come in here- (laughs nervously) to MY kingdom, and take over MY GAME, YOU'VE GOT ANOTHER THING COMING!"

THERE IS A LOT TO UNPACK HERE.

First off we'll focus on Ralph. The way he admits it... He knows it sounds bad. He breaks eye contact and hesitates before saying "Hero's Duty." Probably because he knows what King Candy is gonna retort with. But he still says "I earned it" not only because he doesn't want to incriminate himself, but because he believes it. He did earn it... right? And then Ralph tries to brush off the suggestion that he's going Turbo before being interrupted by King candy's rampant tantrum. (WHICH I WILL GET TO.)

At this point, Ralph is becoming less confident that he earned his medal because he's in denial about “going Turbo.” His confidence wavers here especially because he's in the presence of this apparent authority figure whose trying to guilt and incriminate him. (And this is a situation he's already all too familiar with- think of how Surge Protector always halts him when going into games just because he's a bad guy.)

But there's still one major thing keeping this denial intact: He wants to hold onto the fact he deserves his medal so bad. Others have hurt him for so long, he thinks getting that medal alone means he'll finally be respected, praised, and loved.

"Is it Turbo to want a friend? Or a medal? Or a piece of pie every once in a while? Is it Turbo to want more out of life?"

(I know that’s literally the Conflict of the Movie. BUT ITS WORTH MENTIONING OKAY I LOVE RALPH’S CHARACTER LEAVE ME ALONE)

I think the fact you can gather all this info just from the way he's portrayed during this SINGLE INTERACTION- its amazing. Amazing character writing is when when nearly every action a character does reinforces their motivations or personality and you're able to SEE IT!!

——————————

Now to focus on King Candy again… this FUCKER‼️

First off, him mentioning Turbo Isn’t even that suspicious at this point in the film… well… at first glance at least.

At first it seems like everyone knows who Turbo is. Ralph is questioned at Bad-Anon, Q*bert tells Felix and the nicelanders freak out- everyone who’s been around for a while knows who this guy is. But if you think about it… isn’t Sugar Rush a newer game? Not as new as Hero’s Duty, but it’s still a little odd that King Candy would know who Turbo is ON TOP of knowing Ralph. Just a little.

"You game-jumped?? Ralph... You're not going Turbo, are you?"

Ok but Seriously. That Part. The pure irony of King candy saying THAT a threat against Ralph in an attempt to incriminate him. The way he says it too... He breaks eye contact and glances to the floor like it’s something forbidden to even mention. His accompanied hand movements too (and King Candy speaks with his hands A Lot) they move like he’s describing a ghost story. He’s obviously trying to scare Ralph… trying to scare him into admitting something.

This is... a lot. Maybe even some level of self projecting...? Cuz MAN. that is too deep for me to even start getting into

But the fact that his OWN NAME (a SECRET IDENTITY MIND YOU) has become so infamous that now HE’S WEAPONIZING IT?!? IS INSANE??? Can you Imagine his thought process. Like how far gone into the deep end is he.

(SORRY FOR NOT USING MY OWN WORDS. BUT I JUST ADORE HOW @simpingforcys PUT IT HERE. …..)

THIS. this is so good. And the way King Candy eludes to “Turbo” as some kind of monster. Could that be offering him like. A Brief moment of catharsis. Or fuel some twisted sense of pride. What the FUCK is going on in this SICKO’S HEAD !!!!! I NEED TO KNOW!!!!

"Because i-if you think you can come in here- (laughs nervously) to MY kingdom, and take over MY GAME, YOU'VE GOT ANOTHER THING COMING!"

SECOND!!!!!! King Candy gets SO defensive SO FAST. That man jumps to conclusions IMMEDIATELY!!! He essentially throws a tantrum while stepping closer to Ralph, stumbling over his words and giggling nervously. The mere thought of there being ANY threat of someone else taking over "his game" riles him up SO BAD.

This is the same EXACT SAME TEMPER that made him storm into Roadblasters as Turbo years ago, because he saw Roadblasters as a direct threat to his own game's popularity - HIS popularity!!!! Because getting exposure- infamous or otherwise- is the ONLY thing that drives him. (Pun intended. Sorry.)

And the way he repeats “MY” kingdom “MY” game… mine mine mine mine mine mine mine mine mine. Are you done with your tantrum old man.

——————————

Wow. Anyways I think that’s enough for now. And that was in response to only a minute of content. (Oh dear.)

characters in les mis (musical) ranked on how good their introductions were:

jean valjean: 9/10 he actually says his name and like . conveniently gives us his backstory while talking to javert which was nice

javert: 10/10 literally says his name and then says "do not forget my name" so forcefully i managed to not forget his name immediately so that was good

the bishop: 5/10 solid but not enough context. could've used a whole five minute song about only him beforehand tbh (kidding i swear)

fantine: 9/10 she does have people say her name which is good, she doesn't say it directly but like she does fill in her situation well. also i would feel bad for giving her a low score since her intro is literally her having a horrible time

bamatabois: 3/10 he never says his name and he's a huge asshole . only gets a three because it conveyed his character well + javert was there. but he also gets a three because i hate him

fauchelevent: 10/10 because. it's the runaway cart man . best song in les mis. also they do say his name so it works

cosette: 10/10 her name is said over and over again before she's even onstage + her introduction really shows the bleakness of the situation she lives in with the thénardiers

mme thénardier: 8/10 she doesn't say her name but it is a good introduction nonetheless . 8/10 instead of 9/10 because it isn't like. my favorite favorite but it is good

eponine: 6/10 controversial but sorry. i feel like they introduce us to eponine as kind of a brat (with her name which is nice) and even maybe as helping her mother directly to hurt cosette whereas we don't get a good enough reintroduction to her character in act two that gives us a better idea of her character as someone who's arguably just as hurt by the thénardiers as cosette. it's still okay though

m thénardier: 10/10 they say his name and then immediately he gets master of the house? it's a good introduction to the fact he's a big old thief and it's also kind of a bop. no notes

gavroche: 10/10 his name is in his first line. and it gives you a very good impression of him. i don't have any notes alright . i mean they kinda give the impression he's not related to thénardier but i can't fault them for not including that since it's not a HUGE plot point

enjolras: 2/10 i genuinely do not think anyone ever adresses this guy by name. i only remembered he was supposed to be there after i watched the play and then had to hunt down the actor's name in my playbill so i could see if i remembered him. like he just felt like another member of les amis tbh. two points because at least he's still characterized well

marius: 5/10 we hear his name from enjolras and because we get no context for his life before this point he feels so damn uninteresting... like all we get is the "ooh marius is in looove" without ANY context of his life outside of that. literally just there to fall in love with cosette and it shows

les amis de l'abc: 4/10 i am grouping them together because they literally get NO distinguishing qualities from each other in their introductions. grantaire making fun of someone is alright for things grantaire would do but like. can we not give that to courfeyrac?? why are all of them such non characters in this introduction?? like at least we get a few name drops from enjolras but i am just not really a fan. courfeyrac should be in here more since marius lives with him but i guess that doesn't matter because marius had his whole backstory surgically removed to make room for the brick to not be a million year long play. whatever. probably why lesgle gets nothing either despite the fact he introduced marius to les amis. didn't know this got on my nerves so much

patron-minette: 5/10 i mean. it's AN introduction but also to be fair i can't get mad too much since they're not major characters+ they are kinda interchangeable in the end. only montparnasse got a name drop but they did also keep my favorite eponine moment largely intact so. eh. whatever they get a five for being mediocre

Fixing Gabriel's Writing via a Corruption Arc

Like it or not, Miraculous considers Gabriel Agreste to be a loving father. If he wasn't, then you wouldn't get things like the season five ending or this bit from Queen Wasp:

Gabriel: (guilt-ridden) I don't want to break our promise, but… I can't keep putting our son in danger. Style Queen was supposed to be my masterpiece… but even she failed. I feel like I've done all I possibly could, you know? I'll never be able to fulfill my wish without Ladybug and Cat Noir's Miraculous. (Scene shows Emilie in her coffin) Forgive me, Emilie. I'm giving you up, Nooroo.

But this side of him only shows up in big dramatic moments. When it comes to his more general writing, he's a full out cartoon villain and terrible parent, which is why I've said there's a lot of valid ways to write him. His character is wildly inconsistent. This is a problem that is easily fixed via an actual corruption arc where he goes from somewhat decent parent to monster. There's a couple ways to do this, but here's how I'd do it in the context of keeping canon mostly intact:

Early seasons needed to make Gabriel come across as more openly grief stricken. Really highlight the fact that Emilie's death changed something major about him and his relationship with his son. This is one of the reasons I like a more nuanced Chloe. If you let her and Adrien be actual friends, then you can have her make statements to indicate that Adrien used to be quite close with both of his parents and that Gabriel used to be a good father. You can also have Adrien make statements like this to Plagg, I just like the Chloe angle more as she's more blunt while Adrien is more likely to hide his pain/focus on the positives.

Have Gabriel be unwilling to send akumas to areas where Adrien is. Episodes like Riposte should be impossible as Gabriel will be wholly unwilling to let akumas go after his son. This also lets you justify Adrien being locked up. As is, Gabriel just comes across like a jerk. If he's only banning Adrien from going out in order to keep his son safe? Well, he's still a jerk, but at the very least, he's a jerk who worries about his son's physical well being. Origins saw Adrien sneaking out of the house, so keep that element and make this be the reason he gets caught up in akuma attacks.

As time goes on, Gabriel gets more desperate and more willing to take risks. Lots of things could trigger this such as Ladybug always resetting everything, making him feel less concerned about hurting others. After all, he'll fix everything with his wish and, if he fails, then Ladybug will do it for him. There's really no way to lose here. Style Queen could become a turning point where Gabriel finally willingly put Adrien at risk and he feels awful, but make that also be the closest he's ever come. Have Gabriel decided that risking Adrien is worth the cost if it brings them back Emilie.

After that, things start to go downhill. Gabriel draws away from his son more and more due to guilt, but he's convinced he's in the right because he wants Emilie back so bad. The ends justify the means and all that. This can lead into several different types of endings, but the general feeling of Gabriel's final ending should have an element of pity. He's a villain, but he's a villain many could easily become.

This is the kind of path canon needed to walk if they wanted the season five ending to feel realistic. As is, it's going to read as total nonsense to most fans because they're going to go off of the way Gabriel was played in your standard, monster-of-the-week episode. They're not going to think about those core characterization episodes that were supposed to define Gabriel because those episodes are just too uncommon and too antithetical to the way Gabriel tended to be written.

RE1 is getting remade for the 30th Anniversary and here's why I support it and what I'd love to see in the RE1RR.

Updated with the next gen graphics in the RE Engine

The plan is obviously to remake RE5, but we need to do Wesker's OTHER big appearances first. I believe we should get the following released in the specific order. 1, 0, then Code Veronica and finally RE5. Cause if you tease RE5 and have Wesker, you should have the three games that featured Wesker before his death in RE5.

The atmosphere and tension of the Spencer Mansion in the new age and basically RE1 meets Village. The visual aesthetic of Village’s Castle Dimitrescu for Spencer Mansion.

Better characterization. Flesh out all the characters. Improve the plot/story.

Chris and Jill’s campaigns to be separate and different, so by the time they meet at the end they’ve both had their own adventure, and you need to play through both to see both sides. Perhaps give Chris the mines and Jill the guard house. Expand the mansion, and when they separate at the start they pick up different keys and access different areas. That way they story would be canon regardless of what happens, and there would be some variety. Also have Rebecca and Richard as playable paths, similar to Sherry and Ada in RE2R.

A playable Wesker mode with him having to move about the mansion and into the lab under a certain amount of time.

Also would like them to keep the REmake music (especially the save room theme), though they could always release a Deluxe Edition like 2R with the OG music too?

Additions. I would be happy with an entire new floor in the Spencer Mansion. Or making the Residence 3x as long. Adding a forest section, either during the opening and/or later in the game. Extended playable sequences for Rebecca and Barry – different locations for each, like how the Orphanage was entirely new for Sherry in 2R. An abandoned greenhouse near the guardhouse with Plant-42 and similar experimentation , an extended cemetery with more tombs, a third floor in Spencer Mansion, more floors in guardhouse, etc.

Making S.T.A.R.S. matter. The game begins at the R.P.D. After picking between Chris and Jill, you make your way from the garage and up into the department proper, crossing paths with various characters referencing the recent cannibal killings and the fact that Alpha and Bravo have been assigned. The walk through the RPD could be intercut with news reports and police banter about what’s been happening. You can interact with the various characters as much or as little as you want en route to the briefing room. Chris and Forrest can talk some trash and reference their apparent contest for top shot. Enrico can be seen helping Rebecca organize her equipment and her nerve. Joseph can be given more personality than being puppy kibble. Marvin can be caught informing Rebecca that she won’t be the rookie in a couple more months. Chief Irons can greet the player with the mask of a competent professional because his mind was still intact. Hell, perhaps we can even catch a glimpse of whatever act Wesker put on for the two years that made these people trust him. Wesker and Enrico would then host the briefing that will send them into mountains, still treating this like they think the suspects are hill people or whatever, culminating in Bravo Team taking point while Alpha Team remains behind. There could be some more small talk or some kinda time lapse before Richard makes contact in a panic before communications break down. Alpha Team immediately preps and heads out, complete with changing clothes in the locker room and gearing up. The player will actually play the search through the woods, discover the crashed helicopter, and play through the mad chase to the mansion where the game as we know it begins.

Throw the players off by changing the keys and rooms

Zombies, Crimson Heads and every other BOW in the first game

Defense weapons and head stomping

Lisa Trevor(she could work like as a stalker enemy)

Same notes, but add in some new ones

All the puzzles, but mix it up

Just give us “One more second and you were ALMOST A JILL SANWICH” let Barry be the cheesy bastard that we know him to be

Stick with the REVIll face model for Chris, but younger and less steroids. Like how many faces can he wear?????

Stick with the RE3R face model for Jill, but don’t let it look like she just got out of being dipped in the sewer

Include Zero as DLC. My pitch of a RE0R. But the main requirement for RE1 is for Rebecca to NOT be cowering in the corner. Rebecca CANNOT be in the corner cowering from a Hunter when she is more than capable. A simple scream of surprise, but when we reach Rebecca, we see that she's perfectly fine

Bonus costumes For Chris:Made In Heaven outfit, BSAA outfit, CVX STARS outfit For Jill:RE3 original and Remake, BSAA, RE:Resistance, and RE5 Battle Suit.

And finally getting what we never got in the original or the 2002 remake. The ending that has Chris, Jill, Rebecca and Barry in the chopper. So my big idea to make this happen is this. If we play as Jill, Chris makes it to the mansion with us. Jill and Barry go and investigate, while Chris and Wesker are outside. They vanish. Richard will mention that Rebecca Chambers left the mansion after hearing Brad’s radio and went to get help. We will later see Rebecca in the cell with Chris in Jill’s story. For Chris’ story, Barry makes it to the Mansion. Chris investigates the gunshot while Wesker will say they will split up and investigate the Mansion and everyone vanishes. Later in the game before we get to the lab, there would be a dropped Barry’s photograph. Later when we get to the cell, Barry will be in the cell with Jill. Barry apologizes to Chris for what he’s done and Chris understands why he did what he did and he can help make things right. Ultimately in both playthroughs, all 4 S.T.A.R.S. members work together to fight the Tyrant until ultimately Chris or Jill destroys the Tyrant with the rocket launcher. It ends with all 4 members escaping in the chopper as the Mansion explodes.

ANNOUNCEMENT FOR THE BLACK CHRISTMAS FANDOM

Hello everyone who's been following my writing and art and OC's!! Your support has warmed my heart, and got me through some thought times. Thank you very much for sticking by me, commenting, sending me kudos and asks regarding Dilf Billy and my oc-verse I made around him!

However... I have come to realize I have made Billy, at least the older 45-50 year old version of him my own. Very much my own. I think there's a discrepancy between my characterization of him, and how he is portrayed in the movie/novel/commentary. Another thing is that I love him too much. I want to make him my own, not an interpretation of a pre-existing character...

So that's exactly what I am going to do! I'm taking him and making him an OC. Currently I am in the process if changing up his backstory to make him distinct from Billy Lenz, though the Dilf version we see in Rats in the shadows and partially in So give me coffee and tv will stay similar.

My goal is to create a group of ocs consisting of the character formerly known as Billy, Camille, Bean and other side characters who will exist in a story about an ex serial killer father. I'm still early in the rework, but I feel like I don't have change too much.

What this means I will effectively be distancing myself at least partially from the Black Christmas fandom, at least in terms of my content creation though these past few months I have been in a rut given college preoccupying most of my time. I still love Black Christmas, it will remain one of my favorite movies forever. I cherish the friends I made and the experiences I had, but I want to move on to more original creations, uninhibited by primary existing source materials.

I will still interact with fan works in terms of reblogging art and writing , and I will most likely draw more of Billy Lenz and the other characters from the movie in the future. Anything regarding Camille, Bean, "dilf Billy" though, will be something divorced from Black Christmas, entirely its own thing, though obviously inspired by it.

Will I return to writing for Black Christmas? At this point I am uncertain. I have a WIP of a priest!au thing for Dilf Billy, which if I ever get around to finishing I would post under the pretense that it's a Black Christmas fanwork. However, I am not sure if I will finish it, given that I don't really have the time, and at the moment motivation to really work on it. Another story idea exists too, one which would better fit into the Black Christmas ethos with is very dark tone and heavy subject matter (while still remaining a smut work) which I would gladly have exist as a fanwork.... But once again I am lacking the time and want to do it. It would be a very big project, all things considered.

So what now? I will keep all my Billy Lenz/Dilf Billy content up on my blog, my AO3 will stay intact (though I will forward this announcement onto there), and I won't change my tags on Dilf Billy related posts. Moving forward, though, everything created for my oc inspired by Billy Lenz/Dilf Billy Lenz will be tagged as that. I need to come up with a new name for him first...

I will also make a post regarding how the plot of Rits/Sgmcatv would have went if I'd finished them, to give you guys some sort of conclusion. Though the new oc story with Bean, Camille and the new Billy oc in it will very closely follow Rits original storyline. Most of the events of Rits are canon still in regards to Camille's and Bean's backstory, with of course some caveats (no Brahms, Camille and "Billy" meet differently etc.). But the large majority of the plot points and story beats are the same.

I will be happy to answer any further questions, as my inbox is open. I'm sorry to disappoint anyone, but I've felt the need to move on, to elevate this story. I hope I can be forgiven. Now I bid farewell to this part of my life and creative era, and look forward to the new.

November 1st Progress Update

I hope everyone had a safe and enjoyable Halloween, for those who celebrated!

First and foremost, real life has thrown some curveballs my way, I'll be largely unavailable at the end of this week. I have a long update here, so lets jump in.

Alpha Testing Progress: It's moving along quite well! Only 3 more scenes to implement (hi testers, I know you're waiting ♥), and then Part One will be 'complete'. Once additional testing and feedback implementation are done, it'll undergo a brief beta test. Current word count? A whopping 146k! I anticipate it crossing 150k after these scenes. And yes, I may be recruiting a few more testers today or tomorrow - I have kept applications, so if you’ve already applied, no need to reapply.

Big Shoutout: To all my testers - you're stars! Thank you for your dedication and patience.

Heights and Measures: I've been mulling over the heights of female Gabriel and male Xiao for quite a while. While I've previously addressed and altered fem Lee’s height, fem Gabriel’s has been on my mind too. I'm aiming for more diversity in my ROs, so your thoughts would be invaluable. Here’s a poll to gather some feedback. Please remember, while I deeply value your input, the final decision will be based on what feels right for the story.

About Poly Routes: Many of you have expressed excitement about the inclusion of poly routes, and I apologize for not offering clarity on their nature earlier. Rest assured, I remain committed to delivering these routes, but I aim to ensure each one is rich and fulfilling. Presently, I'm contemplating both triangle and V poly dynamics, with the goal of finding what aligns best with the narrative and characters. Although the triangle dynamic was my initial plan, I believe I may be able to implement both, but I'm still not 100% certain yet.

In structuring the poly routes, particularly as they debut in Chapter 3, I debated including the casual flings found with certain ROs in non-poly routes, alongside the deeper romantic ties intrinsic to all ROs. After reflection, I've resolved that poly routes will emphasize romance exclusively. Thus, if your character's preference leans towards no-strings-attached flings, these won't characterize the poly routes. Given the array of ROs and their diverse dynamics, not to mention non-RO flings, this decision streamlines my writing process and makes it easier for me to have one aspect to focus on with them. Your patience and understanding in this matter are deeply appreciated.

That being said: Given the depth of my story, I'm leaning towards releasing future updates in smaller segments, akin to Chapter 3's structure. This isn't just about speed but about ensuring quality across the numerous ROs and narrative paths.

Chapter 3 expanded beyond my initial imagination, causing some initial stress, making me wonder what was needed and what wasn't (but it all felt necessary). So in the end, I decided to break it, and I'm very glad I did. It's relieved a lot of my worries. This lets me keep the story's richness intact and (hopefully) reduce the wait between updates.

I've started to notice my creative process sometimes takes me beyond initial outlines, or even reevaluate them entirely, letting the story breathe and evolve more naturally. This realization is relatively new for me, but it's shaping how I approach future updates.

From Ch3 Part One and on, future updates will likely be broken into parts, potentially leading to more "Chapter #: Part One" styled releases. I hope this provides clarity on my evolving approach and is seen not only as way for me focus on individual parts, but as a way to consistently update.

I hope this all makes sense! While I don't have a specific release day in mind yet, I feel my mid-November prediction is correct. Thank you all for your continued support and love. It means the world to me!

game plan by @thehoyden

sidgeno (2013, explicit, 10.3k)

Unlike Nealsy, Evgeni can cook his own food when he has it. He’s perfectly capable of making breakfast. His kitchen is well-equipped, and he’s got some good basic cooking skills down. In short, he is not going to starve to death if left to his own devices. None of this seems to matter to Sid.

Sid opens the door off the garage with a spatula in one hand. He’s already wearing what Evgeni recognizes as Sid’s lying-around-the-house clothes, a t-shirt that’s thin and well-worn and a pair of plaid pajama pants with a hole in one hem. His hair is fluffy and a little wild in its ungelled state, making it look soft and sort of pettable.

Evgeni is halfway to — tangling his fingers in Sid’s hair? — before he drops his hand and then awkwardly covers it with hug, which starts off kind of weird because they’re not on the ice, and Sid is still holding a spatula and they’re both stupid with half a night of terrible sleep. But then Sid relaxes into it, and goes butter-soft pliant in Evgeni’s arms, and, well, if you can’t hug your captain and friend when he’s making you breakfast after a long road trip, when can you?

i love the idea of a comfort fic. i think we all have them, right? the fic or fics that we know we'll enjoy no matter what mood we're in, no matter what tropes or whatever we might be craving. the fic that can help you relax after a bad day enough to calm down. it's the perfect length—not so long that you lose an entire day (or more!) to it, but not so short that you finish the story before you had a chance to really get settled in.

this one is mine.

there's a certain charm to fics from 2013. the characterizations are by and large vastly different from current trends, and while not all of them are to my taste all the time, it's like entering a time machine and getting a glimpse back into a world where sid and geno had only won one cup, and the OG crew was still intact, and everyone was so young and had so much potential ahead of them still. the concussion years were also fresh, in a way that i think it might be hard for newer fans to understand and honestly for older fans to really remember, and that really comes through in a lot of stories.

and of course, no matter the plot, the trope, or the characterization choice, a brilliant author is a brilliant author, and i think we all know that @thehoyden is a brilliant author.

this fic is simply delightful. geno's clear fondness for sid shines through, and sid's returned feelings for geno take a bit longer to surface, but we as the audience realize them at the same pace that geno does, and it's really just lovely and comforting to immerse yourself in. sid's gentle pushiness about geno coming over to eat, the care with which he prepares their meals, and their physical comfort with each other—yum yum.

speaking of. this fic is gonna make you hungry. this fic is gonna make you want brunch. it will be something you think about until you're able to spend too much money on eggs benedict. i'm not sorry because this morsel is absolutely worth it.

read it here on ao3!

and please don't forget to leave a comment, on this and any fic you read to completion—comments make authors write more, and i personally love leaving them because i know i made someone's day! comments and kudos keep fandom alive :)

watched a full ts!underswap playthrough recently, honestly i didnt have super high expectations for the characterization of everyone going into it but it was fucking amazing. they did a great job switching the roles around while keeping the core personalities of each character intact. sans in particular surprised me in a very good way!

To Burn in Desire's Name (Snippet)

I am the slowest writer in the world but sharing snippets can help keep my momentum going, so here's another little snip from my Rolan/Tav fic!

No explicit content here (inching closer to the sex pollen at a snail's pace BUT getting there). Lately I've been quite fixated on Rolan having time with his books (the original working title for this was "Rolan/Books" after all, lol). I like to imagine he worked in bookbinding/book restoration for much of his life in Elturel 🥺

So this scene's just a quiet, peaceful moment for Rolan, spending some quality time with his books just before some weird/spooky shit happens. Still working on this of course but happy enough with it to share! ❤️

On the library's lower level, tucked away from the light pouring through the rounded stone archways, were shelves that held tomes so ancient their spines had been rubbed nameless, their covers in various states of twisted, ragged, and torn. Texts that were clearly in need of care and preservation, worn down from too much love—or, more likely, not enough.

Rolan set to work triaging the books based on severity of damage. A small number of them had wear and tear minor enough that they could remain on the shelf for the time being. Those with middling damage, he set on one side of the small mahogany desk opposite the bookcase. Those that would require major reconstitution—everything on the bottom shelf—he carefully placed on the other side of the desk. He worked in profound silence, the only sounds those of spines flexing with a muted crack, the flat whisper of a thumb gliding across parchment stained and consumed by time, the crisp flip of a turned page. The act of gentle handling and perfect tranquility soothed his nerves, just as it had in adolescence, and just as it had in the inventory cellar, where he'd taken refuge on the darkest days with Lorroakan; tenderness and safety amidst vellum and hide. Soon, the surface was covered in short, tidy stacks of books in varying stages of fray and decay. Rolan was about to summon a few mage hands to help transport the tomes when something caught his eye. On the bottom shelf he was certain he'd cleared out, a small, grey-green book lay facedown, as though it'd fallen forward from the back. Despite its somewhat drab coloring, the little book seemed to glow amidst the shadows in a way that was somehow warm, familiar. Were he prone to such flights of fancy, Rolan might've characterized the book's strange glow as one that beckoned. Like a bony, hooked finger, calling, calling. Promising, promising.

Rolan opened the tattered cover slowly, careful not to damage it further. While the spine and cover were too weathered to hint at the books' contents, the ink within had remained intact, revealing indecipherable diagrams, unrecognizable creatures, and text unlike any he'd come across in his readings. That alone was enough to pique his curiosity, but… something about this tiny book made his skin tingle with apprehension, sent a wary chill down his spine. The profound silence, once tranquil, had shifted to something more… expectant. Watchful.

Omega!Fukuzawa x Alpha!Reader

Maybe Every After

For the record Fukuzawa is a zaddy and I don't think anyone is going to argue with me on that. But he wasn't always a zaddy! You have to grow up a lot to earn the title and Fukuzawa had a lot of growing up to do even in his thirties.

Meet cute?-

Fukuzawa met the person who would become his Alpha at some stuffy local function he attended because of his status as one of the five greatest swordsmen.

While they hit it off well, commiserating over the oppressive self-congratulatory nature of these kinds of events, it was not love at first sight. Fukuzawa was able to carry on pleasant, engaging conversation with them

Fukuzawa was by turns a little awkward, eccentric, curious, and the sense of duty, justice and good judgment that characterizes his throughout his life permeated the conversation, leaving a lasting impression on you

Fukuzawa's work and his superiors are all top secret, but despite that, he does not try to make himself come off as an enigma and his intentions and ideology are largely transparent, which in the time of the Great War, the first ability war, and with Fukuzawa's position being what it was, was surprising and refreshing

You meet with him a few times as new friends in between whatever it is he does when he's not with you

Some time after those meetings begin would be around the time that he is ordered to begin assassinating war-hawk ministers

You see him change as those assassinations pile up and see him apparently lose the feeling of rightness that was in him when you first met at that party

He disappears soon after resigning his position in this mission, cutting himself off from the world that had descended into the misery and chaos of war, from the deaths he had caused, and from you, the person who had become important when he was still young and full of naive idealism

Meet again-

It's by chance you meet again when he is spending his work hours as a bodyguard.

Or maybe it's not chance. It's a certain circle of people that can afford the services of someone as skilled as Fukuzawa, as much as he tries to keep apart from those kinds of people. His reputation took a hit after he left his government position, although you don't know the circumstances around his departure, but people say it's because he isn't a patriot. The word makes you disappointed. The are parts of every war that are not about patriotism, where blood is no longer spilled for the love of one's country but because there are those who have lost their way.

Reconnecting is hard but maybe because you understand the rumors this way, it is not as hard as it might have been. Fukuzawa Yukichi is loyal, that you have known almost since you met him. He is loyal to the people who walk down the street and do not know him, he is loyal to all the people of the nation who make their way slowly through life alongside him, he is loyal to some ideal of justice that you don't necessarily understand but that you believe in too. You see sometimes the pain that the rumors cause him, but you believe in him, whatever that might mean, and so he lets the pain wash over him and away in the truth of his intact honor

It comes up at some point that you are still not a mated Alpha. There is no one else waiting for you as your tea times meeting with Fukuzawa continue. It just hadn't felt right, somehow, to try and make that kind of connection in the years that have passed. The great war turned everything upside down, including something inside of your good and most principled friend.

One day, he'll tell you about it, about what turned his heart inside out, but that is many years in the future

For now, you're the one who asks him if he wants to meet and restart first

He seems tired and you're surprised that he accepts, but he does. Once. And then twice. And then a third time. And it's almost like it used to be, even though you're both older and a bit more jaded, maybe with a few more hard edges. The meetings extend longer, and become more frequent. It is no longer tea on his days off or when he has time between jobs. There are late night meals after his employer dismisses him and lunches on the occasions he is released early. On one memorable occasion, you find yourself taking an early morning walk through a dew studded garden watching the sun rise pink and cold after a night on which you could not sleep

One thing led to another-

Eventually, Fukuzawa asks you to be his heat partner. It's a bit of a surprise and something that makes you nervous since Fukuzawa effectively ignored you for years.

You had once slept together in what was essentially a platonic way, or perhaps some kind of experiment. It was fine, oddly peaceful, especially at the end when you just passed a bottle of water back and forth, but you'd sort of wordlessly agreed to not do it again

He tells you he's sure though. His heats aren't frequent because he's on suppressants, but they do happen, and this is one of the different things. Fukuzawa seems to want, to have a restlessness that is more apparent to you, lingering beneath the surface

You already suspect it's the loss of purpose, the loss of public reputation somehow which had carried with it its own sense of purpose. He's a famous swordsman, one of the best in the country. Even a tame wolf desires to hunt.

So you spend his breakthrough heats together.

And you remember why the two of you never had sex after the first time. It makes you wonder if you remember the "silent agreement" wrong, or if he remembers it differently, and reminds you why you didn't dwell on it.

It's not earth shattering, the sex that is. It's just heat sex, just making sure he gets off so that he can sleep through the intervals between his body temperature spiking. Except you're in his home, the gauzy curtains drawn, scent patches off, and it's disturbing how clear the memory of the last time overlaps with this one, even after so many years.

It's like being in the middle of a monsoon storm, pressure and torn leaves, and summer heat and all. And while you thrust into his wanting body, he watches you. The heat-haze is obvious and his eyes are half-lidded in the associated exhaustion, but he tracks you when you lean back to swipe the back of your hand over your forehead and there's something hungry in his gaze when he looks down to where you're connected

You remember the first time and how intrigued you'd been by this particular mannerism of his, how he keeps his eyes open. He had been watchful and curious even as you'd laughed with him over your shared fumblings. His gaze had been heavy and consuming when he'd shown his aikido skills, at your request, and tumbled you from over him to pin you to the floor.

This time there's a lot more kissing because if you're close to his face, you don't have to see his eyes, but the way Fukuzawa opens his mouth for you with trust like you've been doing this for years makes the strategy nearly futile.

You have to work right after that first heat tapers off so he's still in his nest when you're putting on your shoes, weekend duffel in your hands.

It's late afternoon going on evening so the apartment is dark. His hair is splayed out on a pillow. You're satisfied though that he has pre-made meals in the fridge and you've changed out most of his nest bedding so he can rest in a clean spot after you've gone. Fukuzawa's not saying anything, watching while you rub a sore spot on your neck, which makes him smirk. You're convinced this will be another scenario just like last time where you don't talk about it, when he speaks up, stopping your hand on the doorknob. "Same in three months?" he asked instead. Despite the stab of apprehension, you smiled. "Same in three months," and left to catch a flight.

You don't let it get quite that long before you contact him again. You don't see him, but you text him and he texts back, which is at least a relief that he's not going to vanish again into whatever new twilight he inhabits.

It's the same in three months, apart from the weather outside. His eyes, blue like steel and watching you while you bring him over the edge, the sense of being in the eye of a summer storm, that feeling of trusting familiarity when you lick into his mouth and catch the sound he makes when you crook your fingers inside him. It's the same how it's only his response that changes when you kiss him later and are more gentle about it, running your teeth against his jaw before going to cradling his head and kissing the corner of his mouth.

There's laundry in the machine and porridge on the stove. Fukuzawa's heat had settled sometime in the very early hours of the morning and the two of you were more or less clothed for the first time in days. Fukuzawa was however leaning in the door, watching you put shredded seaweed, pickled plums, and katsuo tronçons on small plates already laid out on a tray. You glanced at him from the corner of your eye, watching him almost lazily watch you. But, you paused in using a pair of chopsticks to pluck out a single ginko nut from a narrow jar. There was something almost tense in his posture. He was barely out of the thick of heat and you could see the faint tremble in his wrist before he folded his arms to hide it. You checked the pot with the still yet-to-boil rice and then ducked under his jaw to brush your nose against the scent gland there. The way he shivered, still sensitive, was almost enough to make you feel bad. "You should go lie down," you murmured, smiling in apology, "I'll bring the tray over." He hesitated, but then nodded. Something pulled at you behind your navel, similar to that familiar sensation when you had worked him through the heat. Only this time, out of the haze, you followed it and followed Fukuzawa to his nest. Its fresh linens were soft and sweet smelling as you guided him into it. He sighed when he was lying down again, a long exhale that gave nothing away. He was just watching. You tucked a blanket over his hips and let your hand linger a touch too long, feeling like you were falling into his eyes. He made no sound when you pulled away and did not return until the meal was ready. Although you did stand in the doorway he had just vacated, leaning so you could see Fukuzawa, loosely tied deep blue and light grey layers of his yukata falling half open as he rolled over to keep you within line of sight. He ate every bite of food, still maintaining that tense, anticipatory silence. You didn't remember this from the first time. His gaze only flickered from the tray and your hands to your eyes when you accidentally let out an encouraging rumble as he ate and immediately felt heat flash up your neck, mortified. The corner of his mouth twitched as he brought his chopsticks to his lips and nibbled at a bit of fish. You've read romance books, once or twice, seen the pervasive tropes pop up in just about every drama, imported or otherwise. People talk about finding someone that you feel you've known your whole life as something magical. No one talks about how unsettling it can be, how it could get all consuming all too quickly. It's disturbing in some way, the way you can sense the ease with which that could push into entitlement, envy, or just an endless fall. That is why after the first time you and Fukuzawa Yukichi had slept together, passing a bottle of water back and forth after and watching the rim indent into one another's lips when you took a mouthful, throats flexing to swallow, you had never spoken of the event again. You had never invited it happening again, and up until now neither had he. There's something at the bottom of that drop. There's always a hard landing. Somewhere. It felt too easy, being with him. You had fallen in as friends harder than this, feeling out the edges of one anothers' code and ethics, where you could push boundaries into asking about personal and professional interests. Although you never touch them, you knew where one anothers' cracks were.

Just as you never asked him directly about the things he had done in the war, about his suddenly cold reception among the circle you'd met in, he never asked you how you really felt about those people. He never asked if your heart too had broken somewhere during the Great Ability War. The stifling feeling of knowing both too much and too little about someone who trusted you far too much for what you knew suddenly stole all the moisture from your throat. A sip of tea helped, but Fukuzawa's posture had gone back to that waiting. Master swordsman: master at reading any opponent. You told yourself heavily that you were perfectly willing to continue being his heat partner, at least until the way you two distinctly did not push boundaries bored him. He had a competitive spirit to a point. There were goalposts that only he could see, standards to which others were not often held. Stagnancy had never quite suited him. Stillness did. Was that what was at the bottom? Was it the stagnant life of saying nothing and doing nothing and keeping a status quo? Or was it blissful stillness, knowing nothing would catch you and nothing needed to?

It takes almost a year for either of you to bring it up and it's only at the cusp of realizing this is becoming an unhealthy new normal that it happens. It is still incredibly difficult to broach the fact that the physical intimacy makes you feel like strangers but every conversation in between makes you feel like you could get to know him forever.

It's around this time you finally start to really talk. You know how you can know someone for ages, and even be really close to them, but there are long stretches of time where you don't talk about anything important because you're afraid of making the other person do emotional labor for you, and you don't know if they'll mind? That's the first year Fukuzawa and his Alpha have after he comes back.

He acknowledges that you've done things rather in reverse order, as far as the typical trajectory of reconnecting with friends goes. You start to date, more or less, making time to see one another every week or every other week as your schedules allow.

It's a bit strange, to suddenly realize the ways in which you both have changed. Fukuzawa is as principled as ever, but he's unmoored now, without the ties he severed to the military police and the mission it brought. You are somewhat more stable, older and more settled into your own career, but heavier in your soul, sadder. Yokohama is reviving, black towers and tidy apartment buildings rising on the horizon, but it took too much to get here, too much blood before the nation sickened of it.

Fukuzawa won't let you court him.

You're in one of the old cafes that survived all the conscriptions. The owner's son moves around with a tray and a flour dusted apron and the atmosphere is oddly cheerful, despite the recently terrible weather. The last of the summer storms are making a good showing this year and it's limited the places you and Fukuzawa can go. Museums, restaurants, the occasional wander around a particularly well constructed public part of an office building - usually places near your work or his.

You'd tried other things, shopping for food or clothes and paying maybe too much attention to his preferences. You'd tried things like flower viewing or afternoons trying wagashi in specialty shops. While Fukuzawa had seemed to enjoy them and settled easily into the traditional etiquette sometimes called for in these places, he never acknowledged that these might be early attempts at courting.

When you spent time in his apartment he let you scent items in his nest while lounging around or before his heats. If he was at the little rooftop house you were living in, he would sometimes choose one pillow or blanket to curl around and carefully leave it on your spot on the couch when he left.

You looked at him over the rim of your mug and one of his brows went up. When you said nothing, he looked away, tracking the movements of people on the street.

You still partner him when his heat hits, but the sex is worse, as far as that unsettlingly settled intimacy goes. It's wonderful, he's wonderful. Sex itself is not that interesting as a rule, and you're both too aware of the delicacy of the situation to attempt anything like adding toys during his heat or a simple scene to the build up or cool down. But every time after, you want to stay longer.

Fukuzawa shifts his nest, ever so slightly because he is picky about it, but enough so that he can always see you as you move about his home when you need to get food or nesting materials for him, so that you don't have to anxiously flit between the stove and the door in order to sate the need to know that he is safe and comfortable in the aftermath.

You think it's going to end, that the pained distance Fukuzawa now puts between himself and the world is going to pull taught against the growing need to be around one another, to care beyond the dedication of a close intimate friendship.

Everyone can see it-

And then he accidentally adopts a super genius.

This is one of the funnier things that's ever happened to your friend since you've known him and you make sure he knows you think so once or twice.

Once Ranpo is secure in his place as Fukuzawa's ward a few years later, you come up with a way to let Ranpo know he's the best thing to ever happen to your mate and also that you will never ever get tired of imagining the look of shock you know took over Fukuzawa's face when all four and a half feet of teenage whoop-ass came banging through the door of that office.

But that's years from now.

Ranpo peers up at you when you meet Fukuzawa for lunch and a film a week after he's started tagging along with your friend

The boy isn't very tall, but he's got a maturity to his features that you chalk up to either the orphan thing or the child genius thing. He had taken one look at you, seated at the back of the restaurant away from the windows, and it felt like someone crowding into your space even while he touched neither you nor Fukuzawa. You are perhaps overly sensitive of other people's attention. It's another thing that makes being with Fukuzawa comfortable somehow. He's observant, but not oppressive with what he does with that information. Only the second time you'd met he'd helped extricate you from an incredibly uncomfortable conversation with a junior minister in the local commerce department. Now the kid looks at you and at Fukuzawa and pouts impressively. "You're single." He says it like an accusation and an assignment and you could almost laugh at Fukuzawa's wide eyed expression if it weren't for everyone three tables deep around you staring. You raise an eyebrow at him. "He's allowed to be single," you chide, reminding yourself that you are talking to a child still. It's a bit funny, you admit, smiling when the boy glares at you. The waitress comes over when you beckon, bringing tea for Fukuzawa and a sweet layered sort of beverage for the kid. Fukuzawa had told you about the boy's obvious sweet tooth and even though he huffs at you, he takes the tall glass eagerly, poking a straw through the layers. "Does it bother you?" You can't help it. Fukuzawa had said the child was a genius, observant to the point of misunderstanding, his incredible intelligence looping in on itself and making the rest of the world occasionally incomprehensible. It seems unlikely for a child to hold the kind of incredibly conservative prejudice that says omegas should be mated, but he seems put out. Ranpo sulks behind a menu before saying, "I'm never wrong." The meal is quiet, and gradually people stop looking at your table. Fukuzawa excuses himself on the walk to the theater to purchase something from a convenience store. It's there you lean up against the mouth of an alley and look down at the kid. He's really short, you worry someone isn't feeding him enough and the realize that Fukuzawa is going to be that someone. "We're not together," you said. Ranpo looks up at you, clearly still sulking. "You don't have to lie to me," he says, but he sounds a little uncertain. "We're not together in the way you would understand it," you say, "or the way most people understand." Ranpo sees your emotions in your eyes, and suddenly wishes he didn't understand. Your gaze is filled with longing, but he doesn't know how you can't see it's for something you already have. Almost. "He's ashamed of something," Ranpo says quietly. You hunched over a little. "I know. Adults are often ashamed of a lot of things though." He looks at you and wonders what you're ashamed of. "You should probably ask him about this one. He's not very good at saying what he means, but most adults aren't." You're laughing when Fukuzawa reappears.

To everyone's surprise, he actually sits through the movie, happily demolishing the little fortune you'd bought him in caramel popcorn and boxed candies, even if he complains about figuring out the plot five minutes in when you leave

Ranpo doesn't parent trap you two exactly, he doesn't have quite that level of interest in involving himself, but Fukuzawa is good to him, and he sees you often and you are good to him too. Neither of you always understand what he understands, but you show him kindness without ulterior motive, you try and show him how to safely exist around other people.

Fukuzawa is asked to be a bodyguard for Mori Ougai and something about engaging with that man, even though he can't tell you about the job itself, makes him tell you, in a desperate whisper under the moonlight, that it was him who assassinated the war hawk ministers during the peace debates. It's him who is bloodying his blade for something he hopes will be better, even if it turns his stomach, even if it means he doesn't know who he is anymore.

"I know who you are." Fukuzawa tenses in your arms, and you think frantically that you have certainly made a mistake. But you don't take it back. You don't want to. You do know who he is, your friend. You know how lonely what he's done has made him. Only you didn't know what he had done. Now that you know, it doesn't seem to matter. It's distant, the way all bloody things are distant when you don't see them. You've never had all that fond a feeling towards the wealthy people that profit from the abject misery of others. All the hunger and desperation in the world are distant, abstract concepts to them. Why should their deaths not mean the same to you? Of course, you can't say this to your friend, your sometimes lover, lying in your arms. The moonlight drops over his cheeks, turning them pale. His eyes are closed for once, his face turned into your neck, as though he is afraid of what he will see in your eyes. You understand it was not simply one or two storybook villains. There is no human in the world who has done only bad their entire life. Fukuzawa was not prone to exaggeration, even if drama appealed to him. It seems likely he meant it literally when he speaks of wading through blood to put an end to those who whipped up the populace into a frenzy, who wanted for the death never to end. "I know." You stroke your thumb near the corner of his eye, brushing your cheek to his brow, pressing a chaste kiss to the curve of his cheek. "Honor doesn't always mean doing the honorable thing," you say softly. "It means making difficult choices. You regret having to make it, but do you regret the outcome?" He is quiet for a long time. You know he hasn't fallen back asleep, despite the languid warmth between your bodies. He's quiet for long enough that your heart rate returns to normal and you rub your knuckles up and down his back. An occasional burst of deep, faint purring lets you know this is at least appreciated, if not necessarily something he thinks he deserves. You've taken to sleeping together at this point. The mounting danger as different organizations wage new war across the city drives you both to it. Besides, it is simply easier to manage an antsy teenager if you're in the same place, wherever that might be, rather than passing him back and forth like the result of some amicable divorce as you both work to keep him safe and out of the hands of those who would use his intelligence. "No," he says, as you knew he would. "There is nothing to be attained in the way of peace by letting war simply continue until each side is beaten into exhaustion. Withdrawing with our strength intact is the only thing that would save the nation and its people." He says it like he's said it to himself many times. He goes nearly limp in your embrace, pliant as he nudges against you until your forehead is pressed to his. You wonder though- "Is this the first time you've said it out loud?" "What I did is a secret few are aware of." "But the investigations..." "They won't find me," he said, but you felt a shiver go through him, felt gooseflesh rise on his arms. If they did, it could open the possibility for those people to be made martyrs. It was natural for him to be afraid. "They won't," you said lightly. You didn't know what you could do to make that true, but some things needed to be said aloud. "If they catch me, I'll face whatever is decided," he said quietly. "But I won't get caught." "You saved a lot of lives." He sighed. "I know." You rubbed slow circles over the middle of his back. "The sword isn't meant to be used like that. They had lives, families, I-" he swallowed "-I ended that. I enjoyed it. And I have to live with that." His eyelashes too were silvered in the moonlight. "You have to live with it," you agreed, even as he flinched, "but you don't have to punish yourself for it every time you live." You pretend not to feel the wetness on your clothing as Fukuzawa shudders into your collar.

Forever love-

You're truly together and officially courting by the time the Agency is three years old, which is the first more calm year since the Agency opened. Turns out opening a business is a huge pain in the behind and that an ability user Agency with less than half a dozen workers, two of whom are genius teenagers who have totally reasonable problems with authority, is an even bigger pain.

By the time the Agency is four years old, you're mated to Fukuzawa, your mark on his shoulder and his on yours. Ranpo grouches something terrible that the two of you could only get your shit together before he turned eighteen, but he's not a legal adult yet, so you get to officially be one of his guardians for at least a few years. Yosano thinks Ranpo is being ridiculous, but she gives you the biggest bouquet of flowers for your and Fukuzawa's home and insists on choosing the restaurant where you all celebrate.

It's been a very long road. You've known Fukuzawa Yukichi for almost thirteen years, an unexpected friend you made in your adult years now your mate. Now someone who you feel, finally, you've started to earn the feeling you've know them all your life, even though you're still learning about him.

He takes you to his home near Osaka, to his family home on Kyushu. He meets your parents, who consider him a bit quiet, but very dutiful. You meet Natsume-sensei, once, and receive his very feline brand of approval and a quiet gift after your official mating. Fukuzawa takes you back to places he particularly enjoyed during those failed months of courting him. You spend season after season getting to know him, pushing boundaries, debating over philosophies, arguing over interior decorating, agreeing over meals.

Your mate, your partner, a soulmate if you have ever believed such a thing, let alone that it would come to you. You're watching white strands of hair like starlight shoot through his natural grey. The wrinkles around his eyes are deepening. It takes him longer to get up from bed than it used to. His silences are longer, but so are the times when he just looks at you, looks and looks like he can never get his fill. His voice is still strong, but you can feel that layer of age crackling under it. And you love him.

You love the man he has grown into, the one who can bear the weight of hard choices placed upon his shoulders, the one who can bear happily having people who work alongside him. You love his patience with Ranpo and his encouragement of Akiko. You love how he holds his hand out for you if you fall behind on your walks, or how he comes to you and stands close enough for his scent to wrap around you while you point out some small natural beauty.

Love can be horribly consuming, it can stagnate where it was once immediately comfortable or grow jealous at its own ease, unsure if it is charm or affection that ties you together. It can grow desperate and possessive. There are still things that can be so hard to say, old things that left old wounds that are still hard to talk about, but there's something to be said for age and wisdom.

Things aren't perfect, love should not be perfect, and something in you delights in knowing that with Fukuzawa it will always be incomplete. Things will not grow still, there will never be a moment there is nothing to know about him. You have grown into yourselves, the both of you, and this is the love you will grow old with.

I have completed Spider-Man 2 twice now and I have very conflicting feelings on the game’s story, mostly towards its Venom/Symbiote storyline. On my first playthrough my problem was how little screen time and characterization Venom had in the story despite all the build up and prioritizing him over anything else and while I still have a problem with that aspect of the story, upon my second playthrough I realized that my real biggest issue with the narrative is Peter’s time in the black suit and being corrupted by the Symbiote. I felt it was rushed and forced but I didn’t have any deeper and meaningful critiques of it…that is until I looked back on other adaptations of the Black Suit storyline and a review of Spider-Man 2 by Youtuber Dorito God which I recommend watching that made it click as to why Peter and the Black Suit doesn’t work.

Insomniac's Peter Parker is the nicest version of the character.

An aspect of Peter Parker that I feel has been downplayed in many adaptations is that he was, at many points, a jerk. He had an incredibly short temper, tends to be cocky for the worst, and outright selfish at points. This does not inherently mean he was unlikable, I actually believe this makes him more interesting and even sympathetic. His negative traits aren’t there just because but are present of numerous factors, most of them because of his double life as Spider-Man. The sheer responsibility that is required of being Spider-Man would naturally cause high level of stress which as we all know can easily lead into losing your cool: not to mention other elements such as J Jonah Jameson’s constant slander of his name which influenced his public perception amongst New York, the grief and guilt of losing loved ones such as Uncle Ben, his struggles of keeping good relationships due to wanting to keep his identity a secret out of fear of his loved ones getting hurt, and how this all started when he was 16 it is completely understandable that Peter can be frankly a jerk.

I don’t think Peter Parker’s defining characteristic is a jerkass who underneath is a good person but I feel that his jerkiness is an important factor of the character that doesn’t get much attention in adaptations outside of Peter B Parker in the Spider-Verse movies. That being said, I would be arguing in bad faith if I said this has been completely left out of Spider-Man adaptations: Sam Raimi’s Spider-Man trilogy, The Amazing Spider-Man duology, and even the MCU have this aspect of Peter’s personality intact. In the Raimi Trilogy Peter is shown to be a very flawed boyfriend to Mary Jane with Spider-Man 3 being the most prominent example where he just doesn’t understand Mary Jane’s own struggles and subconsciously brushes them off not just because of his own struggles but also from the outright celebration he is getting from New York as Spider-Man. The Amazing Spider-Man duology gave Peter a new motivation for becoming Spider-Man as originally purely being revenge only to later take up the role of hero, not to mention also breaking a dying man’s promise of staying away from Gwen. The MCU had Peter initially refuse to help Norman and the other inter dimensional visitors despite the fact that it was his fault they were brought to the MCU and it’s only because of Aunt May that he does try to help.

Now, I have to ask a question: can you honestly name a scene with Insomniac’s Peter where he has any of these traits? I genuinely can’t think of one. Spider-Man 2 tries with the boss fight against Scream where while under the Symbiote, Mary Jane tells Peter how much he made her feel like she was nothing more than emotional support for his struggles while not doing anything for her and I don’t think that lines up with how Peter was written in the game. Peter is very supportive of Mary Jane throughout the story for her job and does listen to her when she vents about it so this interaction where the story suggests otherwise in the Scream boss fight doesn’t work for me. Peter in these games is just a really nice guy, does this mean he doesn’t have moments where he crosses his limit? No of course not, the climax against Otto disproves but that’s more of an example of the “pissing off the good guy is a bad move” trope than Peter’s more abrasive side. I don’t think this inherently means that Insomniac Peter is a bad character, I very much liked him in the first game and Miles Morales after and one of my other favorite versions of the character is the one from the 90s cartoon who is also a kinder interpretation of Peter Parker. So what is my problem?

I don’t think this overly nice version of Peter Parker works with the Black Suit story. Ever since the 90s cartoon, every version of the Black Suit story has the Symbiote amplifies Peter’s more negatives traits (most notably his temper) and we’ve established that Peter doesn’t have of any these traits so seeing him lash out at other characters and being more aggressive feels extremely out of character and not in the way that I think the writers intended.

Okay so, the amplification of negative emotions doesn’t work but maybe they went through a different approach. Maybe in this version the Symbiote instead brings out the host’s intrusive thoughts and inner frustrations, like they did with Mary Jane. The story suggests this: first in the Spider-Men fight where Peter hints that he has a sense of insecurity in his role as Spider-Man because of how good Miles is in the role, that he might not be needed anymore and how the Symbiote is the only way he could keep and be greater. Second when Miles and Martin Li go into Peter’s subconscious it is outward stated that Peter supposedly may secretly want to kill his foes just so he could end the cycle, which the Symbiote feeds on. This all sounds great, what’s the problem?

Neither of these are even hinted at beforehand. Peter never shows any resentment towards Miles, not helped by how little screen presence Miles has in the story but that’s its own can of worms, and there is nothing to suggest that Peter even entertained the idea of defeating his rogues gallery permanently. So there is nothing in this story that gives any reason as to why Peter acts the way he does while under the Symbiote. Now this might sound weird for me to say since “isn’t that what the Symbiote does” but hear me out:

Harry does not act anywhere similar to Peter when he is using the Symbiote. His personality is the same which gives the idea that perhaps in this continuity the Symbiote might not have the same negative energy it does in most adaptations and is more like in the original comics where its only negative thing is that it takes control over the host while they’re asleep. But I don’t think that was ever the intention, it always felt like that the Symbiote is supposed to be what it usually is in most adaptations. So why was Peter affected by it but Harry wasn't?

There’s also the problem that Peter himself never has the big moment of realizing what the Symbiote is doing to him, he doesn’t have his own self reflection. Compare to other adaptations:

•The 90s cartoon: He almost kills Shocker after the latter had already given up and even after he stops, the Symbiote still tries to kill Shocker.

•Spider-Man 3: Him slapping Mary Jane is the moment where Peter finally sees that he had changed for the worst.

•The Spectacular Spider-Man: Getting called out by Flash Thompson for how he’s been treating his friend is what plants the doubts in Peter’s head that something might be wrong with the Symbiote which only gets confirmed when it tries to convince him that they don’t need anyone.

In Spider-Man 2, we don’t get that. I don’t consider Miles telling Peter that the Symbiote is changing him to be a moment of self realization, it doesn’t work for me. I never got the idea that in this game Peter did something so awful, an action that he wouldn’t act out doing, that would break him free from the hold the Symbiote hivemind has on him and to be better. I don’t get that.

Combine all that and you have what has ended up being one of my least favorite versions of the Black Suit storyline, even more than Spider-Man 3. Note that I hate Spider-Man 3, it’s my least favorite of the Spider-Man movies not counting the Sonyverse movies, but with that I can see how it could work with that version of Peter. Spider-Man 2’s version of the story doesn’t work fundamentally to me because of their Peter unless you change Peter’s characterization, the narrative or how the Symbiote works.

My Wish Rewrite

Everyone under the sun has done a Wish rewrite at this point so I thought I’d try my hand at it.  I’m going to try to keep both Magnifico's and Asha’s characterizations relatively intact while giving Asha a more compelling motivation, and also keep the structure fairly similar to what we got in the movie.

Note:  I use he/him to refer to Star for the sake of clarity, though Star has no official pronouns.

Much of the setup is the same:  Asha giving a tour, going to her interview, etc, with the major difference being that rather than Saba and his wish, the focus is on Simon.  Why?  Because he’s the only person we see in the movie who’s suffering some kind of negative repercussion from losing his wish (aside from just disappointment at it not being granted).  And in this version it’s made clear, in the scene with all the friends gathered in the kitchen, that Simon isn’t just sleepy:  he’s depressed.  He’s lost interest in most things, even the cookies he used to love.  Asha is troubled by this.  Dahlia says something like, “I’m sure things will be back to normal once he has his wish granted.”

Gabo replies, “You mean if he ever has his wish granted.”

“Gabo…”

“You don’t really think everyone’s wish gets granted, do you?  Asha, your saba is one hundred and he’s still waiting.  There’s only a ceremony once every month. How many people do you think live in Rosas?  Do the math.”

Asha:  “Right, but…the good and worthy wishes get granted.”

“And?  We don’t know what Simon’s wish is.  Even he doesn’t know, now.  Maybe he wants to rule the world.”

“Gabo!”

Simon:  “It’s true.  I don’t know. It could be something awful.”

The scene with meeting Magnifico and seeing the wishes goes much the same, but then after “At All Costs,” Asha asks for Simon’s wish to be granted.  And when Magnifico is obviously disappointed that she would ask for favors when they just met, she clarifies:  “Oh, I wouldn’t ask, except…since he gave up his wish, he just hasn’t been himself.  He seems so…sad.”

Magnifico softens visibly.  “All right.  Let me take a look.”

I’m also changing Simon’s wish:  he’s the one who wants to inspire people through music (or art or writing or whatever) but specifically, he wants to inspire a great change and to create a new dawn for Rosas.  As Magnifico examines the wish we can see that this hunger for change is what disturbs him.  He flinches back, quickly sends the wish back to the ceiling, and gives Asha the speech about how some wishes are too vague to grant:  there’s no telling what could happen.

“…then can’t you just give it back?”

“Excuse me?”

“His wish.  You could just give it back.  Then if it’s dangerous, it could be stopped, but if not—”

“That's not how it works. The wishes stay here until they are granted.  The system only works if everyone follows the same rules.  That’s the only way I can keep us all safe.  Look at this kingdom.  I’ve drawn together people from all over the world, and they live here in harmony, wanting for nothing.  Where else do you think that happens?  Do you believe that’s a coincidence?  I don’t just grant the good wishes.  I keep the bad ones from hurting anyone.”

“But Simon is hurting now.  Surely, in this case, you could make an exception—”

“If I make one exception, then everyone will start demanding their wishes back, and the whole system will crumble.”

“That’s ridiculous!”

The argument keeps escalating to the “I decide what everyone deserves” line.  And this is what causes Asha to start questioning the system she’s believed in her whole life.  She’s always seen Rosas as a paradise—and it is, for most.  But now that same system is harming her friend and Magnifico is unwilling to rectify this due to vague fears about the potential consequences of Simon's wish. 

She doesn’t get the job. Magnifico grants someone else’s wish at the ceremony.  Asha’s not just sad, though:  she’s pissed.  When Magnifico takes the newcomers’ wishes and gives her that little smirk over his shoulder, we see her eyes narrow, we see her maintain eye contact with him until he looks away, a hint of something like confusion or regret in his expression.

That night, she talks to her family about what happened, and they urge her to trust the king’s judgment.  It escalates to a furious argument and she storms out.

Asha doesn’t just wish upon a star, though.  She summons Star, deliberately.  How?  Her dad was a philosopher, but also secretly studied magic, specifically star magic, and Asha alone knows where he kept his books of spells.  Before his death, her dad also cautioned her to never to use the magic unless there’s no other choice:  it’s too difficult to control, and it can have unforeseen consequences.  Asha decides that desperate times call for desperate measures; she’s going to steal back Simon’s wish from the vault, using this power…which is still not a great plan, and she hasn’t even talked to Simon about this yet.  But here, her recklessness is driven by anger and desperation, not a vague sense of unfairness.  Her “I want” song also becomes a spellcasting song.  And—somewhat to her surprise—it works.

This gives Asha more agency in her own story, but also, I think it better reflects the attempted theme of Wish:  self-determination.  If you’re going to write a story about the importance of people pursuing their own desires and being in charge of their own destiny rather than waiting around hoping for someone else to give them what they want, I think it’s kind of hypocritical to have the main character get a necessary power boost by essentially praying and receive divine aid because the heavens judge her to be good and worthy. Here, Asha makes the decision to cross a line for the sake of her friend.

Star is still a cute little glowing bob who doesn’t talk, and he’s still whimsical, but in this version he’s got a bit more of a mischievous edge.  He’s a chaotic little gremlin.  He does things that are a bit more bizarre than just giving animals and plants the power of speech:  maybe he starts swapping body parts, giving a rabbit’s head to a bear and vice versa.  Maybe he gives consciousness to a mushroom and it starts experiencing existential confusion ("Who am I? What am I? Why am I stuck in the ground?") and asking about its purpose, only for Star to giggle and kick his stubby little appendages in the air. 

“You’re a Star” wouldn’t work in this context, since it’s too straightforwardly empowering, and in this moment, Asha is experiencing some genuine anxiety over what she’s unleashed.  Maybe she can sing about that. The song is called, "What Have I Done?" Some of the animals can chime in.  The mushrooms sing about their existential angst.  The song wraps up, Asha decides that, now that Star is here, she’s going to go ahead with her plan, despite her many questions.

“Star.  Listen to me.  I need your help to…”  She takes a breath.  “To commit a crime.”

Star squeals in delight.

“But it’s a good crime.  We’re helping my friend.  We have to retrieve one of these bubbly ball things from inside a locked room in King Magnifico’s castle.  Okay?  Can you help me?”

Star produces a small flame.

“No, we’re not setting anything on fire.”

Star’s little face droops in sadness.

“I’m serious.  No arson.  Okay?  Just some light breaking and entering, and then we’re done.  And once King Magnifico realizes the wish is gone…well, that’s a problem for future Asha.”

Star nods in agreement and winks.

* * *

Meanwhile, King Magnifico has seen the burst of light in the sky.  He’s tearing his study apart looking for answers.  Amaya asks him what’s going on.  And he tells her.

He recognizes that light:  he’s heard of this.  It’s star magic.  Very powerful, very rare, and most of all, unpredictable.  Such magic has brought down entire kingdoms, in the past.  Who in Rosas could possibly have the knowledge to summon such a thing?  Who would dare to so brazenly break his law against unauthorized sorcery?  He thinks of the interview earlier.  “Asha?  No.  No, surely not.  She’s just a child.”  But the suspicion has been planted.

The scene of him almost turning to the book, then being talked down by Amaya, would play out similarly.  But here it parallels the scene of Asha finding and using her father’s book.  Both Asha and Magnifico have flirted with a kind of Faustian bargain, but so far only Asha’s actually taken the plunge.

Asha introduces Star to her friends, including Simon.  Star causes some more mayhem, including briefly transforming Dario into a donkey and Hal into a wooden marionette. (There's some Disney Easter eggs for you.) Star cures Safi's allergies and then gives them back. One of the chickens now constantly sings opera solos and cannot be stopped.

Asha promises to get Simon's wish back.  He’s troubled.  “Asha…I never asked for this.  I don’t want you getting hurt for my sake. I don't want to cause trouble.  I can wait—”

“Simon, you don’t understand.  He’s never going to grant your wish.  He thinks it’s dangerous.  But I know that it’s not.  What he’s doing—it isn’t right.  Please.  Let me help you.”

They argue back and forth a bit, with Simon ultimately agreeing, though still obviously nervous about the whole thing.  Dahlia helps Asha get into the study, and here, Star starts setting things on fire and creating havoc…not accidentally, but because Star really likes fire.  Asha manages to put the fire out and distract Star from what he’s doing (turning Magnifico’s collection of rare books into squalling, pointy-toothed purple blobs).  Star then helps her get into the wish room, where she locates and retrieves Simon’s wish.

While this is happening, Magnifico—heeding Amaya’s advice to look to his people—calls the gathering, and things play out pretty similarly to how they do in the movie, with him becoming increasingly agitated when his citizens start questioning the system.  He storms back into the castle, telling Amaya he’ll be with the wishes. 

And here, now, we see an unexpected side to the king, who has (up to this point) always appeared as dignified and serious:  to unwind, he plays with a set of toy people and does a cute little dance to his “villain song,” acting childlike and rather silly as he sings about wanting more respect, embracing his own personal chaos as an escape from the pressures of leadership…similar to the movie, but it’s more obvious that the song’s silliness is a deliberate stylistic choice.  We’re seeing an aspect of himself he normally hides from people, and even from his wife.  (The vibe of the song remains the same, just imagine the lyrics are better-written and reflect this theme.)  At some point, Amaya comes to check on him—because she doesn’t like the way he’s been eyeing that book lately—and catches him in the midst of his goofy dance.  He freezes.  The music stops.  They’re both embarrassed, and she makes an excuse and quickly leaves.  Kind of like that scene in Spaceballs where Dark Helmet is playing with his dolls and Colonel Sandurz walks in on him.

The song resumes, the lyrics now shifting to King Magnifico being self-critical—why is he messing around with these stupid toys?  There is a traitor in Rosas!  A dangerous magic is afoot! He needs to Get Serious.  It is at this point that he starts working himself back into a panic, with his reflections in the mirrors (which previously praised him) now chiding him, yelling at him and egging him on.  He turns to the book.  Like Asha, he’s now been driven to the breaking point of using a power he’s been cautioned against using.  Desperate times call for desperate measures.

Asha, meanwhile, has successfully stolen back Simon’s wish.  She gives it to him, and we see him healed.  We see the spark of life come back into his eyes.  We see him smile for the very first time.

Then Magnifico bursts in, and it’s clear something has changed.  He’s not acting like himself.  He tells Asha that he knows what she did.  In this version, see, it’s not Simon who tells Magnifico the truth about her:  it’s her family.  Except they didn’t even see it as a betrayal.  They have total trust in Magnifico, and Asha’s been acting “strange” lately, so when the king comes to their house asking about her, they tell him about the forbidden book of star magic they found in Asha’s room, hidden beneath the bed.  They’re so embarrassed and shocked that their daughter/granddaughter would experiment with such dangerous magic.  Magnifico reassured them that he didn’t blame Asha—she’s just a child, after all—and that once the star was destroyed, their daughter would go back to normal.  (Of course, the irony being that Magnifico’s made his own bargain with the devil at this point, and they have no idea.)

Magnifico, Asha, and Simon—who’s got his spark back now—have a heated argument.  Magnifico demands that they turn over Star, and they refuse.  He becomes more and more enraged as they hurl accusations at him, telling him that the entire system is rotten and they’re not going to take it anymore.  When his fury reaches its peak, he growls, “You gave this to me…and I’m taking it back.”  He wrenches Simon’s wish out of his chest again and crushes it…and then he gets the unexpected rush of power from the magic.

Star emerges from hiding.  He grants life to a table, which goes ballistic and attacks Magnifico.  They flee.  Simon’s depression has returned, even worse than before. He's practically catatonic.  They search for a safe place to hide him and go to Bazeema’s sanctuary (let’s just say they already know where it is—no need for them to conveniently stumble across it by chance). 

Much like in the movie, Magnifico starts putting up wanted posters for Asha, he creates his wish-powered staff, Amaya stumbles across him and is horrified.

Asha and co. sing “Knowing What I Know Now.”  Amaya bursts in to tell them about the forbidden magic.  She asks for their help in finding a way to break its hold on her husband.

The main difference here is that when she’s introduced to Star and learns that Asha summoned him, Amaya isn’t charmed and delighted, she’s appalled that Asha’s first action was to start experimenting with a magic she didn’t understand.  “If you had come to me, if I had known, I could have done something.” 

We then get the story of Magnifico’s past, from Amaya:  we see it on the wall in the form of shadows and light.  His family was not killed by thieves or invaders, but by revolutionaries.  In his homeland, there was a bloody and chaotic uprising.  The rulers were overthrown, but countless ordinary people were killed as well.  And it all started with a seemingly benign wish for change, with songs and poems about freedom.  This is why Magnifico finds Simon’s wish so threatening and why, when he saw Star's light, he interpreted it as a threat.

Dahlia starts to defend Asha, to say that it wasn’t her fault, it was Magnifico's, but Asha speaks up—“No, Dahlia.  Amaya’s right.  I should have talked to you, first—to all of you—instead of taking things into my own hands.  I was just so…so angry.  And scared.”  (Look, see, I gave her an arch.  This also emphasizes the thematic parallels between her and Magnifico.) "I need to fix this.  But I can’t do it alone."

Cut to Magnifico, who’s now having a conversation with his reflection—a reflection clearly meant to represent the forbidden magic and its influence.  He’s rattled by his own actions, asking himself whether he went too far, but the magic shows him the horrors of his past in the mirror, reminding him of what happens when order is not maintained…though again, we see only vague shadows and light, hear distant echoes of screams.  “Look at Simon as a sacrifice for the greater good,” the mirror said.  “Nothing is achieved without sacrifice.  You called upon me.  Put your trust in me, now, and I promise—you will never feel that despair again.  I will protect you…at all costs.”

Amaya and Dahlia, meanwhile, are looking through the book of forbidden magic and find the passage saying that there’s no way to break its hold.  Once someone embraces it once, they commit for eternity:  it’s a rule of nature.  But Asha interjects:  “That only means no one has found a way yet.  And we have a star.  Star magic is all about breaking the rules.  So let’s break some rules.”

Asha and her friends infiltrate the castle to free the wishes so Magnifico can’t crush and absorb them. Amaya, meanwhile, goes looking for Magnifico, hoping she can still reason with him, but when she finds him, he says, "You're too late." He uses a blast of magic to put her to sleep.

Magnifico—who now fully under the magic’s sway—ascends to the top of the castle, absorbs all the wishes, pulls Star into his staff, and uses its power to block the sky.  He hauls Asha to the top of the tower with his magic and tells her that he’s going to add her wish to the collection.  When he pulls the wish from her chest, it’s an image of Asha sitting quietly with her father in the tree.  His rage falters.  His own wish emerges, unbidden, from his chest—the family he lost so long ago.  He stuffs it back inside his chest, but the reminder of the shared loss between them pierces his armor.

His breathing speeds up.  His eyes shift from green to blue, green to blue.

It is at this point we get the Reprise of “This Wish,” but this time, Amaya (who reappears at the last minute, having woken from her sleep) is the one spearheading it, and they’re singing to break the magic’s hold, using the combined power of their wishes.  The staff glows, Star and the wishes burst free. 

In a spasm of panic and horror, Magnifico throws himself off the tower.  Asha cries out to Star to save him.  Star shoots straight into Magnifico’s chest and slows his fall, and he drifts down like a leaf, landing in the midst of his people.  There’s a burst of green and gold shimmers from within him, spreading outward, mingling and then winking out like fireflies.  The forbidden magic’s hold is broken, but the cost—as he soon finds—is that he can no longer use magic at all.  He’s powerless.  He stares at his hands and laughs until he weeps.  Amaya comforts him and gives him one of the toy people she found in his study.

The freed wishes return to their owners…including Simon’s now-restored wish, which has become a self-fulfilling prophecy, having inspired Asha to bring great change to the land.  And Simon finds to his surprise that his wish, too, has changed:  he no longer wants to be a revolutionary, but a healer.  Star returns just long enough to say goodbye.

There’s no magic wand.  Some of the animals can still talk, the mushrooms are still questioning their existence, but Rosas can no longer rely on magic:  its gods have departed, and the people are left with themselves and their own choices, their own fragile wills and hearts. 

hey i have no idea how dex works n you seem to be a huge enthusiast of their character so can u like.. yap about dexters personality a bit (/nf!!). im trying to work out their personality but im really confused on how to characterize them. so far, ive got some little bullet points. for a little headcanon or whatever ? i think they'd have huge interests that would be seen as a little odd, like, taxidermy or something. theyre like, a freak. (/pos)

also, i think itd have to do more research on with aspd since dex does have thatttt. uuuhm. oh yeah, a good note is that theyre not like. "Evil!! grah!! i kill people because im EVIL" cuz thats not them. they struggle with their emotions, morals, and needs. which i think also goes into the possibility of really bad intrusive thoughts perhaps.

like. they seem to have some of their morality intact (as they dont attack skid n pump immediately) before slowly spiraling and trying to hurt anyone they come across. dex also focuses on animals specifically because they dont believe that they dont feel emotion. they try to justify their behavior through beliefs and desperation to satisfy their persistent thoughts. they also run off the thrill of others pain. and i dont think theyre exactlyyy.. oblivious to the fact that this is a really bad problem, but more that they use being an exterminator to filter their needs into a.. "safer" (and in all honesty, an easier) way.

sorry for the whole ramble, but thats really all i can get so far with their character. also so sorry if this question is weird, but id just like a little input or ur idea of their character lol. no pressure tho ^_^

dont apologise i LOVE talking about dexter it Is really tricky to completely understand him kinda because of how all over the place all the things we have about him are . i was actually thinking earlier about how if sm got like adapted to a show like what happened with dhmis/ maybe we could see more of dexter and understand him better . i think ive talked about this before but i absolutely think theres kind of a thing where people see dexter as WAY more outwardly chaotic than he really is just bc well that’s like 95% of his screentime . how i really think he is is he Can get really easily excited and restless and with a lot of people it’ll drive them away (one of the characters i like to think has this dynamic with him is radford i dont know why i like the thought so much but i do) but he really is just like. hes a sweetheart he loves to draw and make stuff and hes just very smiley and laughs a lot . he isnt afraid to put himself out but he can also get like grumpy and snappy when hes paranoid Thats another thing. ive noticed in pelo’s doodles that sometimes hes portrayed complaining or just like with an irritated expression . i think while he Is a very happy go lucky type character it’s not difficult at all for him to get like . hostile for lack of better word? just annoyed at other people for something that could be really little or unintentional. i have no real point to this this probably will not help you much at all i apologise but the thing is i kinda think there’s No wrong way you can go with dexter in any way. he is such a good character that every aspect of him never feels tired or boring or really wrong to me

But uhh tldr kinda . maybe try to like nail it in that he’s just trying his best. for me thats a really big part of his character just the fact that despite everything that could potentially hold him back he always keeps his head up and just tries to do whatever he can and thats what the focus of his character would be if he wasn’t in a story that had his role revolve around his death. i hope this helps in Some way thank u very much for asking

hii what do you think of the latest hxh chapter?

Hi!

It is one of my favourites so far! We got a lot from just few pages and I am very happy about it :)

Here come some random thoughts:

1- It seems that what I mentioned here and here about the Heil-Ly being the Spiders' mirror is being addressed already:

The Heil-ly are the Spiders' negative foil and Morena especially is Chrollo's negative foil. They are meant to bring to light what the group and its leader have been refusing to face about themselves.

I would not be surprised if the more we know of Chrollo's background the more his connection with Morena becomes clearer thematically. Speaking of connections...

2- Hello Sheila!

For people, who have not read it (even if I doubt there are that many by this point :''')) she is the girl Pairo and Kurapika find and help out in Kurapika's backstory. She is the reason why Kurapika wants to explore the world. Unconsciously she is also probably the reason why he wants to become a Hunter himself. She is presented to us as idealistic, good natured and determined to become a Hunter, even if she is definately clumsy and slightly unprepared to face the world.

This chapter shows a younger Sheila, but keeps her characterization intact. Moreover, it reveals she comes from Meteor City and used to be friends with Chrollo. This info is very interesting because it gives us a hint of what may have happened between the Kurta and the Spiders:

The Spiders annihilated the Kurta and stole their eyes. However, they also left a note with Meteor's city motto, which has been reminded to us this chapter: "We refuse nothing, so do not take anything from us".

This modus operandi feels strange and contradictory. After all, the Spiders are introduced as ruthless thieves that killed the Kurta for their eyes. Uvo's words in YS together with the cruelty they displayed in killing the Kurta (forcing adults to see their children die, so that their eyes become a more brighter red) seem to confirm it. However, the note they left behind seems off... what could the Kurta have ever taken from them?

Well, Sheila might be the answer to this conundrum. What if after Pairo and Kurapika said goodbye to her she was spotted by the Kurta Elders and killed to keep their location a secret? Her death would explain why the Spiders chose to attack the Kurtas of all people... Knowing Chrollo's coping mechanism I wouldn't be surprised if he decided to avenge Sheila hiding his grief behind an utilitarian objective, like... let's take the Kurtas' eyes and sell them at the black market.

I also think I prefer this theory over the more cynical ones I have heard about. Sheila being necessarily malicious towards the Kurta to the point she would help the Spiders to kill them would mean 1) that the Elders were right and the outside world is bad... hence Kurapika's childhood dream (which btw it is Gon and Killua's childhood dream) is worthless and 2) that Kurapika is indirectly responsible for his people's death, which really doesn't work for his arc and his survivor's guilt.

Sheila being an unknown catalyst to violence and tragedy instead works better on mutliple levels. First of all, it would make Kurapika's idealism the right thematic choice over the Elders' cycnism and fear of the other. Secondly, it would fit with the exploration of the cycle of revenge as fundamentally wrong and damaging to all sides. Thirdly, it would be sweet tragedy for both Chrollo and Kurapika... after all, Kurapika's dream comes from a person close to Chrollo, while Chrollo's act of violence hurt 2 friends of Sheila, who had helped her.

3- Kurapika and Chrollo's foiling is now deeper. Their background show them both as sweet idealistic kids, who grew up in secluded places dominated by a hierarchical group of elders. They are both considered prodigies and take an interest in the outside world. Kurapika is enchanted by Hunter D's book, while Chrollo scavenges Meteor City's ruins to find tapes and discover more about other cultures and languages. Still, it is clear that the both of them were deeply traumatized by a cynism catalyst... Kurapika's the destruction of his clan, while Chrollo's is yet to be seen.

4- This foiling makes the structure of the arc overall stronger and clearer. To be more specific, Kurapika, Chrollo, Tserriednich and Morena's criss crossed foiling seems to be the thematic heart of this storyline.

As already stated, Kurapika foils and opposes Tserriednich, while Chrollo has Morena as a counter-part. However, Kurapika also foils Morena, while Chrollo clearly foils Tserriednich as well.

Both Kurapika and Morena have become key figures in the current war and both are trying to spread the knowledge of nen, but they do so in opposite ways. Kurapika hopes that more people learning of the power would mean more princes would survive and the status quo is protected. Morena instead wants to fight the status quo, by provoking a revolution by sharing nen with people from humble origins. Not to consider they are both on a suicidal spirals.

Both Chrollo and Tserriednich are instead collectors of people. Chrollo collects people's "souls" (their nen powers) in his book, while Tserriednich collects body-parts. They are both incredibly intelligent and ruthless and even if they are so far being more passive... they are clearly 2 of the main forces who will influence the war. Not only that, but it is possible both have isolated themselves from others:

It is too soon to say, but the group of "friends", who are clearly smart and talented, but choose to keep their distance from Tserriednich, so that they can preserve their "friendship" with him is interesting... and it touches on something common to all 4 characters: loneliness and isolation.

Kurapika has friends ready to help him and has quickly become the center of an alliance among hunters, but he chooses to keep everyone at a distance. He avoids answering his loved ones calls and tries not to involve his closer ones in his business.

Chrollo is the leader of a group he himself has chosen to treat as an ideal instead than a family. He clearly loves and treasures the Spiders, but probably because of this and of the fear of loss, he has chosen not to treat them as individuals, but as a part of an organism that is immortal precisely because everyone is replaceable.

Morena is the leader of a group she is clearly using for her own great suicide attempt. She acts as the savior and the messiah of her people, but she is really just a gamer using them and herself as board pieces.

Finally, Tserriednich is a Prince who believes himself to be superior than everyone else. He apparently has no problems killing his own friends. And yet, he seems to have people, who are loyal to him, despite it all. People who would like for him to change, but do not believe it to be possible, so they are uncertain on how to reach to him... or even if they can reach to him. Not to mention Theta, who sees him as dangerous and tries to slow his progress with nen. She even plans to kill Tserriednich. However, she is also ready to kill herself after his death. There is clearly something deeper going on with the 4th prince army...

And this is all... more or less... I also have some crack theories and ideas, but they are really just headcanons and not meta thoughts :)

Thank you for the ask and have a great day!