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goldsbitch · 5 months

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That one missed lecture

part 3 to That one Christmas flight

summary: After a missed moment, both parties are trying to contemplate what to do next.

warnings: crushing hard, cheesy af, swear words I guess, typos probably, slow burn let's just admit that

"A what?"

Surely she must have misheard Teresa. Yes. Lando has been on Y/N's mind so much these past few days that she has officially lost it.

"Sorry, not what. Who?"

"I dunno, apparently this like formula racer or something. I don't really understand it - so like we were at Al Bricco right, as usual. And there was this guy who seemed to be super into that sport and he totally freaked out. Like, the racer guy just went in and immediately left, kind of embarrassing. He like proper asked for a photo and shit. And after the racer guy left, this dude was so high off that he paid for everyone's drinks at the bar. Was nice! Shame you had the thing you had, or whatever."

Yes. Or whatever. Y/N made up some excuse for last evening, so mundane even she forgot what it was.

It was Monday afternoon after the Imola weekend. The philosophy lesson was about to start in few minutes. Y/N cursed Teresa for keeping this one tiny detail about yesterday. For fuck's sake, they'd already had two classes together today! Plenty of opportunity to mention this. Nobody famous ever came to Bologna. Y/N would expect Teresa to make it a bigger deal. But then again, usually it would not be a big deal for neither of you.

"Yeah, shame I didn't order a bottle instead of a glass," Teresa proclaimed.

"Did you see him? The racer guy?"

"Yeah. He looked like a guy, honestly nothing special about him."

"Do you know like his name or the team?"

"No, the fuck would I know that. You're focusing on the wrong thing - you missed a fun night with free drinks."

Y/N felt like her mind just got the DRS.

There were 20 drivers on the grid - the chances were low. Y/N overcame her initial shock and tried to focus on the lecture that was about to start.

For some reason Hegel's Lord-bondsman dialectic was not able to win in the battle for Y/N's attention today. Since Teresa was of little help, Y/N turned to social media. Surely, this fan must have shared his photo online. And then, once she finally discovers the photo of Ocon or Tsunoda, she will be abel to return back to her actual real problems instead of her schoolgirl crush.

They say if you need to find the "corpus delicti" these days, ask a woman to scan social media. Source more powerful than FBI.

Y/N had to excuse herself after staring at a photo of Lando's fake smile while standing in her favorite bar. Pacing around was required right now. After all, show us a problem that can't be fixed by maniacally walking around the block seven hundred times.

In her favorite bar. Lando was in her bar. In a bar, where she would have been, hadn't it been for her actually trying to track down Lando. Out of all the places on this gigantic planet. In. Her. Favorite. Bar. Must have been some random game of destiny. Y/N was getting real mad at destiny. She cursed the stupid Christmas tradition, she cursed ever getting herself involved with formula 1.

She cursed herself for missing him. In both meanings of the word.

Lando forgot when exactly had his burner account turned completely Bologna centered. But it was impossible to escape that city. So he decided to leave that account be for a while.

His fitness trainer must have been happy with him. Lando burned his the tension and confused mix of feelings in his session like his life depended on it. He went on to stream in his free time to check in on his friends, who seemed a bit confused on where his head had been lately. In the course of few days, life got back on track. Y/N slowly leaving his mind and he parting with it peacefully. Yet every was covered under a gray cloud of nothingness.

It was a simulator day for him. He was supposed be testing new configurations. Lando was never really good at simulators, it completely lacked the realness of it, so he had to push himself to stay professional and be a proper teammate.

"I'm just not sure about this breaking set up," he commented quietly, perhaps even more to himself than others after missing another turn. His engineer however picked up on it and started to get into super detailed explanation on why they wanted him to use this configuration and did not fail to mention how great it job it did for Oscar this morning. Lando simply nodded and did not bother to engage in eye contact. He was in no mood for this debate and kept staring at the screen. Just let it all flow by him. This engineer had been on the team for quite some time, so he did not hesitate to try and cheer him up.

"Come on, man. You can't just sit there. The car won't start if you don't go for it, you know?" he said as a joke. When Lando did not respond, he began to second guess his judgement. "Or we could just take a break, what ever suits you."

Lando took a deep breath. "No, you're right. I can't just sit here and do nothing." He turned to his engineer with a different more energetic look. "When I crash, we just start again next time, am I right?"

"That's my boy!"

Y/N woke up the next morning to suspiciously large amount of notifications on her Instagram account. Someone liked every single one of her pictures and few of those where she was tagged and commented on one of her selfies "nice". Curious to what this was about, she went and checked the profile out. The only thing present on it was a black and white photo with some random numbers and letters. Ok, so nothing. Just some random weirdo or a drunken joke of one the uni friends. Because for a single moment she allowed her intrusive thoughts in - and expected Lando's account to be the one liking it.

Contemplating breaking the rule and reaching out to him was the only thing occupying her yesterday's evening. But what good would that do, his account probably being run by some PR people who would dismiss it as just another fangirl trying her chances. She thought a photo might be more helpful, but it was just the same thing all over again. No, she missed her chance and it was time to start moving on.

Her usual morning brain fog breaking espresso at a coffee bar in the centre did it's job well. A lot of paragraphs she was due to write were waiting on her. Only one lecture in the afternoon. A nice calm day to spend in one of the libraries. She loved Bologna. Great food and ever-present history has cured many crushes through out the ages.

"also nice" -another notification from the same account. Y/N contemplated blocking it, but it just seemed rude, so she just silenced her phone.

When took her phone out to listen to some music on the way to her lecture, she had three more comment.

"very nice" -appeared under a photo from one of her dinner parties with the local students.

"why no smile?" -it was a selfie, so what?

"thought you were the smart one, but starting to doubt that" - written under a random photo of Bologna's stunning libraries. So what, she enjoyed aesthetics too.

The one comment questioning her brain capacity stuck in head whole the way to her lecture. What the fuck was that about. Why was anyone spending their time so uselessly. The only thing on that profile was picture with some JL043 mash of letters. She had more important things to do.

A loud ding of her comments notification interrupted the lecture in the middle of it. She gave an apologetic look to her already grumpy professor.

"check my followers"

She sighed. That's it, she'll have a look and then block this asshole out.

Her heart sank when she saw that the only account this one was following was the Japan Airlines. JL043. The Christmas flight.

Y/N has already left one lecture because of Lando this week, so she was not about to it for the second time. But she might have as well done that, seeing she would not have been able to repeat a single point from this lecture.

Lando was not a patient man. Especially not after he has decided on something. And he decided on contacting Y/N. With the newfound fire in his veins, another burner account was created - can't let her see he was following every single one of her friends, bit weird. Well, once you've started you might as well finish it. Lando was happy that he did not posses any serial killer tendencies.

He was also a cheeky boy, not about to make it easy for anyone. Had to be fun.

So he liked all her pictures and put few comments. When she did not respond immediately in the morning, he continued. And again, and again. In the later afternoon, Y/N's account followed his and smile on Lando's face followed after that.

A message appeared shortly after.

"Hey you..."

part 4

_________________________________________

Tagged all those who like to suffer: @prudyhoo @anuksunamon @sagestack @esquerkaren @ushygushybaby @ilove-tswizzle @thehufflepuffavenger1 @superlegend216

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evilminji · 5 months

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Back at it again? With more BNHA? My goodness!

See, in one my WIP, which haunts me like a cursed Victorian doll in the night, chanting to me my sins from beneath the floorboards, I got a few OCs. As ya do. Gotta flesh out that world building. And I am ALWAYS a ho for some sweet, sweet SI-OC action!

Because the stranger in a strange land, can see what SHOULD be mundane and familiar anew! There are Moral Quandries! You get to put your sticky lil gremlin fingers ALL over the set dressing and look inside those boxes they put in the background of the scenes! What's IN there? Secrets? We bet it's SECRETS.

Tis the BEST, really. I enjoy it.

But of course! If it's BNHA then we must assign Randomly Gifted Genetic Fuckry(tm) : The Super Powers Edition. Where in? My love of "immediately obvious powers are for cowards. There are no such things as weak powers, only weak and uncreative minds" comes into plaaaay~

I! Want! WEIRD QUIRKS!

Supposedly "minor" ones! That everyone says "oh that's a minor power. Sucks for you" and expects you to just leave it at that! Give up. Like you're some sort of fuckin CASUAL.

HA!

Nah, we pushing this fucker until REALITY breaks. You are gonna be legitimately asking "how the FUCK did you do that!?" And the answer is Will Power, Spite, and "Cause Fuck You, I'm Awesome".

Which of course, is how we got Kimiko. The most high femme, kawaii, little pastel pink bundle of Rage and Bloodlust the Heroics world has ever seen. She is that stage of little girl where they like to wear tiaras, princess dresses, and want to MURDER EVERYTHING. But never grew out of it.

She grew IN to it.

Got a lot of rage, that one. Probably because everyone is all "ooooh, kimi! Your Quirk is so CUTE! You'll be such a good housewife! Such a good sweets maker! Aren't you so CUTE! Let's all infantalize Kimi!" *murder intensifies*

She can turn part of what she is touching into Marshmallow.

*slaps a hand on your shoulder* There are NO restrictions on that~☆! ANYTHING she touchs. Is she touch you? Air? The ground? This building we are standing in? Wanna keep talkin shit? How do you feel about Marshmallow lungs? Enough training and eventually she can take out a building!

Cause Marshmallow? Not a very strong support. Ground under your high rise better be sturdy if you want it to hold, you know? Things to think about. Other things, are the "part of" aspect. Which she is slowly getting better at. Wanna see a trick? *a Marshmallow plops down on the table on the far side of the room* Still air! Still touching~.

Hope your technology is AIR TIGHT and not IN the air. Or moving through it at any concerning speeds. Like, say, a car. Fun thought! Don't fuck with her again! Kimi out! *removes threatening hand of possible Marshmallow Murder*

She's besties with the SI. Himiko. They are the Koko's and WILL be going to UA specifficaly because Kimi was told she couldn't make it. Himi wants nothing to do with this bullshit but is being dragged along like a cat in a harness.

She has my favorite super power. Egg.

Just... Egg.

Egg? Yes. She can summon eggs. Into the spoon. Like those challenge races. Except there is no race, its just her in her pjs trying to eat her damn breakfast. But SUPRISE! Raw egg. Full on, chicken egg in a shell, in your spoon. Perfectly balanced.

And in this iteration, it does have to be in a "spoon" or spoon-like shape. Defined as a bowl with a handle. The egg will fit the spoon. And? Most importantly! Not restricted to chicken eggs!!!

Tiny spoon? Tiny egg. Large spoon? Large egg.

Theoretically? Stadium sized spoon? Stadium sized egg of unknown species never to be seen on planet earth. Because YES. Those thought popping into your head. "Ha ha, what about a dodo eg-" Yeah, see, not ass funny when you actually DO that as a sleep deprived toddler because you HAVE TO KNOW. And now conservationists are hunting you for sport.

Do you have? ANY idea the lengths certain folks would go too to save endangered bird or frog species? If it comes out of an egg. Yes. She CAN make it. No risk of inbreeding for the already critically small populations. Just viable, healthy eggs. Ready to be incubated.

Took her an afternoon.

Needless to say... things get Exciting(tm). People need to be threatened. Himi gets lifelong job security at age four. Neat.

But!!! Not why I started writing! I had a THIRD OC child! Who never made it to the limelight! Gasp! I know! The secret comes out! I scrapped him in favor of Kimi. But his power was one I enjoy Pondering about!

Unlock. You can unlock doors. All doors.

No, you can't "unlock" the bonds between atoms or something. It has to be a Door. But! Begs the question, don't it? Would you... would you have "door sensing"? If there was a perfectly blended in or painted over door? Would you be able to say "it's right there"?

What happens if you use your ability on a tree? Doors are often made of wood. Would there be any effect? Even if no "opening" happened? Could you open metaphorical doors? If someone PAINTED a door, could you open a wall? If so, how deep? If we painted a cliff face, could you open a door to the other side of the mountain?

How far does you door opening power stretch?!

I understand you Izuku! I too, want to study these cool Quirks! See how far they can develop! No more strength quirks! More minor quirks with unusual applications! Woooo!

@the-witchhunter @hdgnj @mutable-manifestation @hypewinter

#bnha #minji's ponderings

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princess-of-the-corner · 19 days

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On Mary-fly, good insight there regarding the almost revelation, but because of which side of things she's seeing and not being super knowledgeable about how the brain can work she reaches the wrong conclusion.

(I imagine that it helps drawing the 'right' conclusion would be a threat to self identity on Marinette's part.)

Which, I think would be interesting in general, cos like how does the empathy power manifest when she doesn't have a butterfly on someone's face. Can she distinguish between different manifestations of the same emotion?

Like you mentioned Audrey and yeah I imagine she's basically a dark hole that eats love, disgorges bile and is held together by raw ego and anger. Very straightforwardly horrible.

Andre would seem comparatively mundane, but I imagine his love is this fleeting, temporal thing, almost sickly and cloying it only manifests when he's being praised or shown affection & dries up almost immediately.

Compare & contrast to the low level but constantly radiating love and affection she sees from healthy relationships and it'd definitely still be weird. (Its essentially a selfish love, only existing when he's getting something, so like when he became Maladiktator, its about keeping his wife and daughter for him, not for them or their family.)

But this all relies on her being able to parse things that much or if she needs stronger emotions to even pick up on them, or can't tell the difference between toxic love and regular love and so on.

Though even then, if she can parse this level of detail, I imagine meeting Gabriel would set any realizations right back, IE:

Well Adrien's dad can't distinguish between control and ownership of something and love but Adrien turned out great, so Chloe is still at fault for being bad.

Yeah it's a lot of like.

Her initial black-white mentality

And then also yeah not having all the info. Whether this be lack of knowing the full situation or just her being a young girl whose experiences lead her to be naive on some subjects and, again, being a young girl who isn't quite emotionally mature enough to navigate these subjects.

But also just the. Yeah if she reached that introspection of how there's a lot of gray and good people can do bad things and that doesn't justify jack shit, she'd have to look at what she's doing and her own justifcations and wonder if she's actually doing the 'right' thing.

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latinotiktok · 1 year

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Hi. So, I just so happen to come across the asks about Coco discourse, and I know those are almost a year old and I'm super late to the party, but I feel compelled to talk about it, because even though I do get the valid criticism to the film, I felt that some takes are kinda out of place? And I just had to say anything.

Like, yeah. I understand the outrage at Disney trying to trademark Día de Muertos and how, even if it didn't happen, it could potentially lead to the exploitation and capitalization of Día de Muertos.

On the other hand, I did think it's like a stretch to say that it panders to the diaspora than to nationals (I didn't know how else to word it, sorry if it sounds weird). I'm not familiar with the diaspora, but to my defense, I found those anons to be very out of touch with us that are non diasporic.

Like, when anon said that the U.S. is individualistic, unlike México "that is collectivist and seeks out the betterment of the whole group" I couldn't help to laugh at such idealization. I may sound salty, but it just sounded exactly like those orientalist takes that are like "oh the Japanese are a power because they're so collectivist, we should be more like them" (while ignoring the negative consequences such collectivism has to the population) but for México. Like, it's true that the U.S. is individualistic as fuck, but because of that, it should go without saying that the bar is on the ground when you compare it to other countries and cultures. It's true that us Mexicans are more collectivist, but only marginally and in a very messed up way. Like, yeah, we're generally solidary and love hospitality, but if it's more convenient to be individualistic, we tend to be pretty selfish and inconsiderate as well. Not to run on the opposite direction, but the ugly part of Mexican collectivism is that it can be motivated by the individual gain one gets out of it and not mainly for the benefit of the group (not saying that we're actually self serving and selfish but that to say we're always looking for the benefits of others first and foremost is a massive misunderstanding of our culture and a sugarcoating of it).

On one hand, I get where they're coming from, but the film resonating to their particular diasporic experiences doesn't mean that is inherently and deliberately diasporic and it doesn't feel Mexican.

Like yeah, I hated that they picked and chose regarding the lore and gave so much importance to photographs when before this century they were basically a luxury (I guess that they needed higher stakes, imho it would have been easier had it not been so sanitized and standardized to a degree) and the tradition exists even before photographs were a thing anyways, and they just had to go and turn Mictlán into a bureaucratic hell (like, again, I get it, conflict and such, but the afterlife being so mundane just kills it, no pun intended, even more so because bureaucracy is already a problem for us the living). I know that they want to reach out the largest demographic possible and of course Disney is quick to sanitize stuff, but they took more creative liberties than I would have wanted.

But even if it's obvious that this project was led by foreigners (like with Dante being a stray dog; yes xoloescuintles are an important part of Día de Muertos, but there's no way a xoloescuintle would end up a stray dog) I just can't deny how the blatant Mexican input does show up. Not to disregard the problematic aspects, but there's more nuance to it.

And as I was saying, I get where the people from the diaspora are coming from, but for me as a Mexican, the conflict of Miguel with his family felt so unambiguously Mexican. Or at least, concerning the larger demographic of working class Mexicans that live in pueblos that aren't really rural but not heavily urbanized either. Growing up as a working class, non white, non indigenous Mexican in a globalized world, makes your cultural identity something hard to deal with. Ever since Mexico begin to grow and become urbanized, there has been this contradictory discourse of modernity vs tradition, in which we as Mexicans should move on from the old, "outdated", "inferior" ways and traditions, (and such ways are more often than not, the ways of non white and indigenous, working class Mexicans) and strive for more modern, "advanced", "superior" ways of Europeans and Americans... but don't do that too much because other than those "primitive" ways, our culture is perfectly fine. I get it that it reminds of the diaspora of "the culture of my parents vs the culture of my country", but there's a similar situation with average Mexicans too.

I'm not saying that Coco properly covers that, it's not that deep. But the way that Miguel wants to pursue an uncertain and risky career path, instead of the secure, familiar and traditional family occupation, is something I'm too familiar with and something that I see too often (even if it's not necessarily about music; tell your parents that you're planning on getting a social science/humanities degree and they will probably tell you you're gonna end up starving). There's the fear of the parents about their children not landing a job after they graduate or their children also eventually ditching family traditions and the like because they came to consider that the modern, urban ways are better. But there's also something that went without mention by the anons, and it's how it's too common for Mexican parents to see their children as an extension of themselves, and their motivations to oppose their career path more often than not, may also come from a desire of keep controlling their children's life choices because that's relatively socially acceptable. I find it quite ironic how the anons mention that Miguel having different aspirations than those his family want him to follow feels more "americanized" because I've got to hear Mexican parents complaining about "bad foreigner (specially American) influences that make kids want to ditch their heritage and traditions and disrespect their parents" being the cause of their children wanting to follow non traditional paths and not, you know, the realization that we're our own person and our lives are not for our parents to live and control (which is also one of the central themes of The Book of Life, a film that was conceived and written by Mexicans, so yeah, that conflict is really frequent).

We still have a culture in which our parents are borderline venerated and family is sacred, and even if I do appreciate the importance given to family, it has led us to put up with toxic (and sometimes even abusive) behavior, and setting boundaries or standing up for yourself will surely be considered disrespectful, ungrateful or just plain rebellious. Imelda having her descendants carry on with her grudge does feel familiar to a degree too. I get the point of the anons of her working hard for the sake of the family, but her perpetuating the music prohibition through generations and refusing to let Miguel go back to the world of the living unless he gives up music, reminds me too much of the entitlement of parents and grandparents towards their descendants and the control they want to have over their lives. For me, Miguel refusing to obligue and clinging onto his passion for music in spite of his family's opposition, it's just a representation of younger generations stepping up and reclaiming that autonomy that the older generations didn't have because "this is just how things are". Him actually convincing them to let him pursue music is kinda unrealistic, but in a way it feels hopeful. I know that for more particular aspects, like the location, it may be unfamiliar to some, but México is really diverse and there's no way to cover all of it in just one film.

On a more meta level, all that initial debacle about Disney trying to trademark Día de Muertos left me with some more thoughts. Like, yeah, fuck the rat and the monopoly, but it did have positive consequences. Not so big, but they're there. Before Coco and the fiasco, Día de Muertos was gradually being sidelined and minimized. Not all over the country, as the southern states have always celebrated it (the southern states are overall more traditional), but in the rest of the country, and specially in urban areas, Día de Muertos was becoming less and less important the further north you went. Even if it's one of the most unique traditions of our culture, it was beginning to be perceived as one that the younger generation cared about because it was mandatory and not because they genuinely valued it. I've always liked it because I'm a nerd, but growing up during the 2000s and early 2010s, I mostly saw people my age treating Día de Muertos as this outdated, boring thing that wasn't as good as Halloween. I remember Halloween being controversial, but not out of satanic panic (or at least, for the most part), but because people feared that younger generations would eventually ditch Día de Muertos in favor of Halloween. It took an American greedy monopoly trying to get its hands on Día de Muertos for people to care about it again.

I'm not saying that the film single handedly saved Día de Muertos from being forgotten, but it did reignite the interest of the general population. It's kinda messed up that a considerable amount of the population only took that much interest after it received foreign attention, but I kinda expected it. Gentrification and capitalization are very much a problem, but since 2017 I've seen a genuine growing interest in Día de Muertos, so I'll take that as a win.

#asklatinotiktok

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cartoonfanaticmonsterrobotalien · 6 months

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Solar Opposites: Solar Monsters (by @avaveevo)

Epilogue

Two Months Later…

This morning, a pair of eyes are open slowly and it shows Terry, naked asleep, with Korvo smiling at him. Then, Korvo awakes him with a kiss.

Terry: yawns Morning baby.

Korvo: Good morning.

As Korvo snuggles with Terry, he thought of something a with a sad look on his face.

Korvo: Terry?

Terry: Mhmm.

Korvo: Do you… ever think about what our lives would have been like… is Shlorp hadn’t blow blown up? If we hadn’t been assigned to each other…

Terry: …No.

Korvo: What? Why not?

Terry: Because, I don’t like imagining my life without you in it.

Shedding tears of joy, Korvo gives Terry another kiss as the two alien husbands embrace lovingly. Then, the scene cuts to the living room where the kids are watching the Super Mario movie on Netflix.

Yumyulack: Come on Mario! Kick Bowser’s fucking ass!

Jesse: Yeah! Go Mario!

Sonya: Woo-hoo!

Pupa: Mario!

Terry: Hey, kids.

Sonya: Hey Terry! Wanna join us?

Terry: Sure. What’s going on?

Yumyulack: We’re just about to see Mario and Luigi powering up!

Terry: Oh, cool!

Korvo: Are you guys really watching that movie again?

Jesse however then sees her Mundane spirit nodding at her with a midnight pink twinkle in its eye, which helps tell Jesse something. She then takes a deep breath and follows her spirit with her Mundane sight without anyone looking or noticing her.

Terry: Yeah. Why?

Korvo: Because, mind if I join in?

Terry is shocked, so are the kids.

Terry: Really? You mean it?

Korvo: Well, yeah. I mean, I never really—

But, then Korvo feels sick and runs upstairs.

Terry: Korvo?! Kids, stay here!

Korvo heads into the restroom. And after a few seconds of vomiting, he looks at a thing. Once Korvo put the test strip in his mouth puts it, he gasp and begins to cry. Then, Terry comes in.

Terry: Korvo? You okay?

Korvo: Terry…I’m…

Terry: What? What is it?

Korvo: I…I…

Terry: You what?!

Yumyulack, Sonya and Pupa comes in and wonder what’s going on. Korvo can’t take it anymore and he blurts it out.

Korvo: I’M PREGNANT!

Korvo then falls to his knees and sobs.

Terry: What?

Korvo smiles in tears of joy.

Yumyulack: No way?

Sonya: Really? We’re having a new baby brother or sister?

Korvo nods.

Terry: Oh Korvy… I can’t believe this is happening so fast.

Korvo puts a finger on Terry’s lips.

Korvo: I know. Isn’t it wonderful? The Solar Opposites are getting a new addition to the family!

Terry: Come here!

The two alien husbands starts kissing with tears of joy in their eyes. Yumyulack, Pupa and Sonya, but then Sonya notice someone missing.

Sonya: Wait a minute. Where’s Jesse?

Terry and Korvo stop kissing and grows shock.

Korvo: I have no idea.

They look around but then Terry sees Jesse at the beach, with his Mundane vision as he smiles, knowing what is happening.

Terry: We gotta head to the beach.

Soon, later, the Solars arrived at the beach where they see Jesse, looking at the ocean as the sun slowly sets.

Korvo: Jesse?

As the Solars approach her, Jesse takes a deep breath as her eyes starts glowing, which made Terry beam up with pride in joy, knowing what his daughter is about to do as he gives a signal to back away. Jesse transforms into her Mundane form and feels inside of her as she starts snarling and kneels down while the others watch her and decided to encourage her.

Terry: C’mon, Jesse!

Korvo: You got this sweetie! This is your come of age crowning moment! It’s time to unleash!

Yumyulack and Sonya: Go, sis!

Pupa: Jesse!

Mundane Jesse then roars as the sun fades away as night has begun. Then, she starts panting. The others cheer. Mundane Jesse then looks at Terry, who walks to her as she starts weeping in pain. Terry hugs Mundane Jesse and soothes her.

Terry: Shh… oh sweetie… I am so proud of you… you’ve officially became a brave young woman… just like you know you would… ever since the day you were born…

Korvo, Yumyulack, Sonya and Pupa then out their arms around Mundane Jesse as they exchange comfort words to her, while congratulating her as well.

Yumyulack: Nice job there sis.

Sonya: Congrats Jesse. You very brave.

Korvo: I am so proud of you sweetheart.

Mundane Jesse smiles with tears in her eyes as her family continues to hug her. Suddenly… They heard a monster attack with someone crying out for help.

Woman: far away AAAHH! Help!

Korvo: Huh?

Terry then sees an attack happening nearby.

Terry: Holy shit!

Yumyulack: What do we do now?

Korvo looks at Terry.

Korvo: Terry?

Terry: I say we kick some ass!

As Terry’s eyes starts glowing, a few hours later, the police arrives, only see to see a fish mutant on the floor, beaten up.

Police Officer: What the hell?

Suddenly, he hears roaring and sees Mundane Terry, Super Shlorpian Korvo, Super Shlorpian Yumyulack, Mundane Jesse and Were-Kraken Sonya on top of a skyscraper building much to people’s surprise but amusement.

Mundane Terry: Ready?

Then, their friends came and watch from below while wearing hoodies and their side effects from their monster forms. They smile at the Solar Monsters and run off to meet up with them.

Super Shlorpian Korvo: Ready.

Then, as Mundane Terry’s eyes glow as he growls, the five Solar Monsters then roars as the screen cuts to black.

Cue Credits

Songs for the Credits:

Then after the credits end, it then cuts to the post credit where it shows Human Yumyulack, Human Jesse, Sonya and Human Pupa running as they head towards the park. We then see Human Korvo and Human Terry with their baby girl Lili as they watch their children playing.

Human Korvo: She’s beautiful.

Human Korvo then smile at Lili, who is cooing and sleeping as Human Terry gave Lili a kiss on her forehead, then Lili turns into her human form and then sucks her thumb.

Human Terry: She sure is.

Human Korvo: Hey, Terry?

Human Terry: Yes?

Human Korvo: I love you.

Human Terry: I love you too.

Human Korvo and Human Terry kiss as the screen fades to black.

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scoops-ahoy-fics · 2 years

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Can you do headcanons about having sleepovers with el and how your first one with her would be?

sleepover with el headcannons! [platonic and romantic]

having sleepovers with el, you give her the time of her life! she really loves spending time with you!

reader: gender neutral

characters: jane "eleven" hopper

genre: fluffy, slice-of-life

spoiler warning?: seasons 3-4

notes: okay so i didn't know if this request was platonic or romantic, so i did both! sorry, im not the best at writing el, but i tried my best!! thank you so much for requesting!!

platonic! 💌

• You're both probably pretty nervous, but you're ready to have fun! You and Eleven had become pretty good friends by now, and the ultimate friendship test is being able to have the best sleepover in the world! El has learned quite a bit from her sleepovers with Max, and you have some tricks up your sleeve as well!

• El had told you about her powers after a few months of knowing each other, but you didn't want to abuse them. She offered to spy on people through her mind, but why do that when you had the perfect idea? You suggested pranking Hopper. Of course, you had to explain what pranking was and how it was, in fact, morally okay. She was absolutely fine with it!

• You two made a little contraption, the classic bucket over the door trick. El served as a distraction while you went to the bathroom to fill the bucket with water. Yeah, it was a pretty mundane, but you have to ease someone into the world of pranking! You'd definitely teach her more as you went along.

• As soon as you were both back inside El's room, the trap was set. Now, you had to figure out the bait. You two brainstormed before you both figured out the perfect plan. “Mike?! What are you doing here?!" You called loudly, a giant smirk on your face.

• You counted. One. Two. And there Hopper was, bursting through the door, rage burning is his eyes. Not Mike. Please, never let that boy into this house again. Then the rage got worse, as water drenched him. You two were dead. So very dead.

• Let's just say whenever your name was brought up in conversation, Hopper shivered a little from the memory of the freezing water. He rolls his eyes and eventually lets you come back over, but that won't stop him from (pretending to) hate you.

romantic! 💌

• Three inches. That was the main rule, her dad established it very early on. Actually, in the car ride there. He was VERY strict on it, and he was a big scary man. So you obliged. You weren't looking for anything that he was thinking of anyway, you just wanted to spend some time with your girlfriend, maybe even hold her hand, who knows?

• So you two ended up watching TV in her room, some show that Hopper introduced her to and she was super excited about. You couldn't help but watch her instead of the show, however. Her bright smile lit up the room. It was so nice to see her happy and not stressed out about everything in her life.

• You looked down between the two of you, your hands so close to touching, but not just yet. You thought and thought before looking into her eyes. “Hey, El ... would you like to hold my hand?”

• She looked a little confused. She had seen it on TV, but she didn't necessarily know what it meant in this setting. You had to explain. “It's a thing that couples do- it's kind of a comfort thing? Or like- an expression of your feelings? I don't know- I just thought it would be nice to hold your hand, that's all.”

• El looked into your eyes before holding out her hand. “... teach me how to hold your hand,” she said with a gentle smile, willing to learn whatever you taught her. It was a soft, sweet moment as you intertwined your fingers. You then hesitantly pressed a kiss against her temple.

• For the rest of the night you watched TV, and when you discovered that Hopper was asleep, you taught her what cuddling was. She really liked being the little spoon, huddling close to your chest and falling asleep. You knew she was finally in a place where she could be comfortable, and that's all that matters.

#stranger things #stranger things x reader #stranger things headcannons #eleven #eleven x reader #el #el x reader #jane hopper #jane hopper x reader #eleven headcannons #el headcannons #jane hopper headcannons

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harveylikestoart · 2 years

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This was supposed to be a comic but I wrote way too much dialogue and decided to just draw a scene then post what I had planned or something. The thing has a lot of. Well. Dialogue. Anyways it’s under the read more thing don’t look at me it’s not the BEST. I’m a lil rusty and keep in mind it was for my brain.

DONT LOOK AT MEEEEEEEEEEE

The second the dads had walked past the tree line with Walter, Nicholas had only spared a single nod at Nick’s spectral form before looking towards the other kids around the fire. It’s now or never.

He takes a deep breath.

“I have something to talk to you all about.”

The kids eye him with different expressions, Lark’s being that of annoyance, “are you supposing to lecture us about ANOTHER mundane thing we have done to, undoubtedly, give you ire?”

A sharp snort sounds from Nick floating behind the Oak twin. Nicholas rolls his eyes.

“No. Just, give me a second Lark.”

Terry Jr puts a hand on his shoulder, “it’s cool just take your time dude.”

“Thanks. So. I know I’m not the most well liked in the group-“

“a bit of a stretch there-”

Sparrow cuts him off REAL fast with a, “No no Terrance! He is correct for once, go on NARCOLAS.”

“ANYWAYS, you might have noticed me acting a little bit weird AND I HAVE A PERFECTLY GOOD EXPLANATION. It may seem odd but please keep an open mind, lord knows I have.”

Terry Jr rolls his eyes, “I think that part will be pretty easy with all that’s happened Nicholas. If it’s something that beats three previously dead grandparents who have arisen with super powers, I’ll bite.”

Nicholas temples his hands downwards and sweat builds up on his neck. Despite having travelled with the others for a while and even sleeping in tents with them, in this fucked up version of a camping trip, he had never been that close with any of them, least of all the Oak-Garcia boys. If he would call anyone his friend it would probably be Terry Jr, being more level headed, even more so since he and Ron had actually started talking to each other.

He liked hanging with him, intelligent conversation was investing to him if he were to be honest and Terry was super cool! Nicholas did not want to seem even more outcasted from this group. He didn’t want to be alone, even if he did have a ghost clone by his side, although it makes him look like a lunatic if he were to only talk to someone no one else could see.

And having his dad by his side is obviously nice, he’s a great guy! Just having him be his only friend seemed a bit. Well, sad.

“Right, okay, so. Ever since the end of Glenn’s trial there has been a new member of the group who no one but I can see. He kind of looks like me and his name is Nick, Nick Close.”

Grant’s eyes grow wider, thinking back to what Darryl had said to him as the group narc continues to speak.

“He says that he’s Glenn’s son and that he was with you all the entire time before the trial and that MY dad and I were never here!”

Grant tries to interrupt but Nicholas continues, “which is CRAZY because everyone knows we were here right? We all got transported here at the same time! I just thought he was some weird hallucination manifested from the stress because, like I said, no one else can see him!”

The other boys stare at him. There is a brief moment of silence before Terry Jr speaks, “uhhhhhhh. Okay. What does-“

Sparrow cuts him off once again, “Did the trial teleportation perchance mess with your head? Split your mind in twaine? Like some weird jekyll and hyde situation? Tell me Narcolas, do you feel the urge to commit atrocities now?”

Nick floats by groaning in frustration. He had hoped this explanation would be fast and easy but that seems to have been the wrong assumption. Now he’s been demoted to Nicholas’ evil twin. Well jokes on him. He happily accepts this new role.

“Wait, you said Glenn’s SON right?” The group finally turns to Grant who is staring intensely at Nicholas.

“Because my dad was talking about that to me yesterday. That YOU were Glenn’s son and not, well, your dad’s. It had like, something to do with that trial thing too.”

Nicholas blinks real hard at the reveal as Nick zooms into the middle of the group staring at Grant and yelling in excitement.

“I KNEW IT! THEY KNOW! FUCK YEAH!! DUDE WE GOTTA GO TALK THEM SO THEY CAN HELP GET ME BACK OR SOMETHING!!!”

He floats around feeling triumphant in his theory being confirmed but Terry Jr then asks, “is uh, is the ghost kid here? Ghost clone, you know, uh, Nick?”

Said “ghost clone” freezes in the air and looks towards his counterpart who raises a brow to confirm whether or not he should say yes. He nods and Nicholas looks back at everyone, “yeah. He’s been floating around you all for a while, he got REALLY excited at what Grant said.”

“So this ghostly clone is just another narc who can report back to you? This is MOST disappointing AND boring!” Lark leans an arm onto Sparrow who nods with fever as Nick snaps out a “HEY.”

“Well, he’s actually more like Glenn, you know, punk rock I guess, unruly, annoying, loud-“

“HEY?!”

Nick shoves his hand through Nicholas’ head, making him cartwheel his arms as he almost tips over backwards from the jumpscare, “STOP DOING THAT!”

The group jumps at the sudden outburst, Grant hovering closer to Nicholas in worry, “what’d he do?”

“He’s being QUITE ANNOYING as I said.”

The floating boy blows a raspberry in response. Nicholas squints his eyes, not willing to be looked down upon.

The twins immediately perk up, “so you’re saying, he is a cooler and more RAMBUNCTIOUS version of you? A RULE breaker? Your opposite? Interesting, interesting indeed…”

Nick smiles, “hell yeah I’m interesting!”

He goes to fist bump Lark, stopping short when he remembers his predicament. His hand stills before he crosses his arms and leans back in the air. A soft “fucking damn it” slipping past his lips.

Terry turns back to Grant, intrigue evident on his face, “what else did Mr Wilson say about this whole, swapping thing?”

The group’s attention falls onto the Wilson kid as he begins to get a little nervous from the multiple pairs of eyes, “well, uh, he said like uh, that when Glenn lost the trial Nicholas basically got a new dad? Something about timelines? The Law? Guys I dee kay I had a panic attack trying to put it all together in my head honestly. I just don’t think he or the other dads know about ghost Nick.”

“They don’t?”

“I mean! He didn’t say anything about there being ANOTHER kid! He just said Nicholas was Nick Close.”

Sparrow leans over, head in his hands, “Grant I can feel my OWN panic attack coming on, how, pray tell, would Narcolas be this Nick if there is already a Nick that he’s seeing! My brain is about to COMBUST!! It is also very annoying that you both have some form of Nick in your name you are OH SO confusing!”

Lark softly noogies his twin’s head, concern in his gaze before turning to the rest of the group, “well, we already call him Narcolas so it only appropriate to refer to the duo as Nick and Narc!”

“HA! Sweet.”

“Well, this is just a theory,” Terry starts, gaining the attention of the group, “but maybe he’s like a projection of the life you could have had? If the dads are correct AND this isn’t another Dennis thing, then this Nick could be like. Ugh. Fuck, some kind of like remnant of this changed timeline that can’t go anywhere because you are already in the body he would have?

In philosophy club they talked about what makes a person a person and that if you were to put a deceased person’s working brain into the body of someone with a damaged brain it isn’t the same person? But also it’s technically the same person? Even though it’s now this weird abomination to na-”

“TERRANCE I AM GOING TO VOMIT.”

Sparrow shoves his head into Terry’s torso in an attempt to make him stop talking. Terry Jr immediately apologises and grabs the weird leather water bottles Walter had provided them, making sure the now pale faced boy isn’t actually going to puke. Lark has a hand on his brother’s shoulder and has started chewing his cheek, Grant is on the ground smushing his face into the dirt and letting out a loud groaning noise in distress. Nick grimaces at the display.

“This is…. weird. And also batshit. Maybe we should stop tryna figure out WHY I’m here and more about HOW to get me to be like, not a ghost you know?”

“Yeah, yeah I agree.”

Nicholas turns from Nick and sighs heavily, dragging a hand down his face, “guys if we try to figure this out we’ll explode, let’s leave it to the dads they’ll probably understand it, even though it is the most confusing thing ever.”

“I agree with Narc for once! Quick question, what is a philosophy club and how does it help Nicky-boy?”

Everyone jumps at the now noticeable presence of Paeden.

Shit they forgot he was there.

The little fighter stares up at Nicholas, a mischievous glint in his fiery eyes as he grins and bounces in place, excited energy radiating from him.

“Is he here? Can he see me? Tell him I say hi! NICK IF YOU CAN HEAR ME I’M GONNA RIP YOU INTO THE MATERIAL PLANE WITH MY GRUBBY LIL TIGER HANDS MY GUYYYY!”

He starts howling into the night air and tugging on Nicholas’ arm as if it would connect him to the ghostly boy. Nick snorts at this, a fond smile tearing its way across his face. Leave it to Paeden to lift the mood, “hey shortstack.”

“Uh, he said “hey shortstack.” Nick, I mean.”

“OhOHOHO THAT’S DEFINITELY HIM! FUCK YEAHHHH! NICK BABYBOY WE’RE GONNA GO BUST YOUR DAD OUT OF JAIL AND ALL WILL BE RIGHT AGAIN! I was working on a pair of brass knuckles for you but I guess in this reality Walter says I was making them for Glenn? Which is stupid because they’re for YOUR little baby hands!”

“AW SICKKK! The second I can hold things I��m gonna totally punch the shit out of someone with them!”

“Wh- don’t do that!”

“What’d he say what’d he say?? Whatever it was I agree with it FULL-HEARTEDLY!!”

The rest of the boys watch as Nicholas tries to relay messages to Paeden, who grows more and more lively as they talk about whatever violent acts he will commit with Nick once they are fully reunited. Sparrow slowly uncurls and leans onto Lark, a smile shakily forming, his brother reflecting his expression. Terry Jr sighs and leans back relieved that the atmosphere has been infected by Paeden’s excitement and Grant who has now lifted his head, dirt sticking to his cheek, is chuckling at the scene.

Nick feels something for the first time that day that wasn’t just the small joy of a successful prank or the annoyance of a busted lighter. It’s warm. The kind of warm you get from drinking hot chocolate in winter, the kind from putting your hand in someone’s bigger hand, the kind of warm you feel when you’re in bed being read biopics until you fall asleep.

The warmth of someone you love just being there with you for once.

The night air felt a little bit colder.

#THIS IS CRINGE OKAY #cringe may be dead but NOT FOR ME #harvey’s arts and stuff #ghost of nick close au #dndads nick close #dndads nicholas foster #dndads paeden bennetts #also the other kids are there but I’m tagging for the art #feel free to IGNORE the writing #harvey’s cringecore writing

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radioactive-earthshine · 1 year

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I’ve been WAITING for this question okay so

Just to clarify I’m fairly new to comics and also not up to date on what’s happening with most of the characters rn so if this doesn’t fit anywhere in any current timeline or has already been done uhhhh sorry I don’t give a fuck

Anyway I’d give Starfire a solo series.

The first major arc would be kind of a space road trip type thing and for this arc I’d partner Kory up with Donna Troy and it would be so fruity. Like so so fruity. Those women kiss. I’m not sure what exactly I’d have Kory doing in space or why Donna joins her but the arc should end in a way that consolidates the best parts of her lore and scraps everything else (this is how I’m retconning Red Hood and the Outlaws). So some kind of soul searching magic quest idk.

At the end of her space quest, Kory gets established with a job and apartment in a new city and her villains are all super high tech, sci-fi. The artist needs to have some fuckin whimsy in designing characters and backgrounds, none of that dark grey everything is gritty shit. Bright colors all around. Obviously there would probably be at least one arc with the Titans but I’d really want her to work with characters she hasn’t previously interacted with or to bring back characters she hasn’t worked with recently like Animal Man. Maybe for one arc she teams up with the (RENEE MONTOYA) Question to blend Kory’s whole alien thing with a street level noir story (making Dick the detective for this would be so lame and im not about that. Im giving Kory more female friendships thanks). I don’t know if she’s ever worked with Kon but if she hasn’t THIS IS THE TIME. It would be soon after she gets back from space and would kick off a storyline for him to change in some important way like idk maybe growing out of the Superboy mantle and actually being an adult.

Maybe none of that makes sense and if this is stupid feel free to tell me so. So yeah that’s my idea. Korydonna space road trip, set up a new status quo for the remainder of the series and have her work with new characters to fight super powered sci-fi villains in mundane settings, emphasis on Kory working with other women. If I have fundamentally misunderstood this character then just ignore all of this. But anyway the thing about this that I think would piss off DC is that Kory has no male love interests in this series, at all, period. She either kisses Donna or no one at all.

Unrelated to that I would also fix the whole Batgirl thing and have Babs be Oracle again, retcon Cass’s villain arc out of existence, and put her back as Batgirl for a solo series so we can have her pass the mantle to Steph at the end in a way that’s satisfying and does not include the character assassination. I don’t know how I would accomplish this in-universe without fucking up the timeline but I’d find a way.

I'm interested and am listening to you very closely. I'm not the most well versed person in Kory or Donna lore (I've read thousands of comics but not a lot with them meaningfully) so I can't say if this is compliant with anything, and even if it was an impossibility, this is about self indulgent stories YOU would write with no one at DC to tell you NO. I definitely feel strongly that DC needs more women with their own solos featuring other women and having relationships that are platonic so this 100% good in that regards and I feel a lot of people would be interested.

Kory and Kon interacted in TTv3 but I can't justifiably say it was the best of situations so having better interactions would be 100% a delight to see.

But yes, Kory deserves her own solo and we always need more queer content. And SPACE! We need more comics that take you away from Earth.

But here's an important question; WHAT CITY is she working out of??

Babs being Oracle again is a mantra even the most staunch of batfans cry daily and I feel most would welcome her back.

Tell me what you would do if you had full creative control to write for DC with NO push back from editors and who would you piss off the most with your unhinged creative wiles?

Also, I shouldn't have to say this but don't be a DICK to anyone whose self indulgent fantasies might make you mad. Keep scrolling, block, move on. Thanks.

#literally i have read thousands of comics but nearly all of them only had kory or donna as a background character #ttv3 was the most significant comics i read with kory and i did read rhato but i hated nearly every second of it #i hated 90% of ttv3 as well #someone please give this woman a meaningful solo #or at least a mini

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ben-talks-art · 2 years

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Why I like Adam

"It's alright... Don't cry... Your dad is here to protect you!"

I don't really know what other word I can use to describe it but to me, "Records of Ragnarok" is a manga with probably the biggest "Chad" energy that I have ever seen.

This ridiculous premise of a bunch of popular male historical figures banding together to fight against the gods of several different cultures in a tournament where the fate of humanity is at stake as they get paired up with the valkyries to unleash a hidden power that represents their personalities manifested as a super powerful weapon is so freaking stupid but at the same time so freaking awesome that I can't help but love it!

The fights themselves vary in quality depending on who is fighting who and how much you care about the backstory of the competitors, and for me, no fight has gotten me more invested than Adam's fight.

(spoilers for Records of Ragnarok)

When I talked about Makima I mentioned that one of the character traits I tend to hate the most is entitlement and I mostly prefer it when it's used on villains to show how bad of a trait it is.

Meanwhile, one of my favorite character traits is by far "confidence."

Confidence is, I feel, one of the most attractive, appealing, inspiring, and overall just enjoyable quality that you can give any character. You can be doing the most mundane of things like, walking your dog, doing grocery, paying your bills, or whatever... But when you do it while exhibiting a lot of confidence it instantly makes you look 10 times more badass somehow. It's why so many people love Escanor. A character that shows confidence just makes you believe that they're born to lead, that they'll keep you safe, and makes you want to follow them no matter where they go.

And like I said, Records of Ragnarok just radiates a ton of that "Chadly" confident energy. Every character goes into a fight fully believing that they're going to win, constantly smiling, laughing, relaxed, and just having a ton of fun with their fights, even though it's their lives and the lives of every human on the planet hanging on the balance as they face off absurd monsters like Hercules, Thor, and Belzebub.

Of course, the biggest Chad of all these Chads ends up being Adam, who's facing none other than Zeus himself with nothing but a knuckle duster.

Just from a visual standpoint, this setup alone would already be amazing. The father of the greek gods versus a skinny man using nothing but his fists to fight. These are such absurdly ridiculous odds that you can't help but want to root for our apple-eating underdog.

But the actual true core of what makes me like Adam so much is the why. Confidence is only effective when it feels earned, when you have a good motivation behind it. Why is he doing all that, why is he fighting these crazy odds, why is he risking his life, and why is he still so calm while doing it??

Because he wants to protect his family... And that's it.

That's his entire motivation, and if you saw my Rachel post, you know I love it when a character's motivation is reflected in their actions. It's such a straightforward reason but he goes to such lengths for it. Kinda reminds me of Denji from Chainsawman. Yeah, his motivation is simple but he's trying so hard for it that you just start rooting for him, because you see how much it means to the guy.

Even while Adam's getting the hell beaten out of him, slowly going blind, and painting the ground in red with his blood, the only thing on his mind is whether or not his wife and kids will be safe, and he does it all with such a relaxed set of eyes.

The way Adam's eyes are drawn is simply perfect as they show there is no hesitation or doubt in his heart. Yeah, he's fighting freaking Zeus, the god of lightning and one of the most powerful things on the universe but... He has a family to protect, man.

Adam just awakens a very primitive and animalistic feeling of "fight for what you believe" in me, because I really get behind what he's trying to achieve as I feel how passionate he is about it and get really inspired by how hard he's trying to reach it.

He's a man with a simple goal, but also a man that's giving 150% of himself to achieve said goal, and it's a goal anyone can relate to.

Very basic but still very noble and very awesome!

Favorite character list>>

#records of ragnarok #records of Ragnarok adam #adam ragnarok

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goblins-riddles-or-frocks · 1 year

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BTS for "In This Darkness, I Have You"

Fic Specific Asks

BTS: I’ll write a DVD commentary about my personal favorite passage from [that fic]

OMG thinking about this fic for the first time since 2019. It’s been ages, so I’m just going to read through it and comment on anything that comes to mind!

So for context, the main premise of this is basically my take on the obligatory vampire period sex trope with alutegra lmfao. But specifically imagined as like a once a month no strings attached arrangement where integra REFUSES to ever acknowledge that there is like anything going on between them whatsoever. Mostly because she just can’t bear to actually unpack anything about their dynamic.

I tend to interpret Integra as just incredibly overworked and exhausted and also just. kind of emotionally stunted from having to bear the burden of acting like an adult from the age of twelve. She only knows how to compartmentalize and move on.

So this is obviously scene setting, leaning into the Tropes and horror angle. I always like making clear that Alucard is scary and gross lmao, and also that Integra’s super desensitized to it. This bit particularly though I also wanted to convey that he’s trying really hard!! It’s showmanship for her, he’s trying to put on a face that he thinks she expects and will be into.

So the fic takes place over the backdrop of a storm and the power going out. I think in context of the single one shot it feels a little jarring tbqh because of how things stop about twice to address it, but this fic fits into a continuity of a longer chapter fic I never actually wrote the entirety of. (Maybe one day?) And I think more mundane asides work better in that context. That being said it’s a (somewhat heavy handed?) metaphor. Integra just automatically blames him. He’s not correcting her, but it’s also like actually not his fault, and that comes up later. Idk tying into her perception of him as just more collected and in control of things than he actually is.

I’m generally very drawn to ship dynamics where one character just Can Not deal with being loved. But particularly in this case I think she just can’t like morally and ethically square it, because she feels immensely guilty for the whole… eternal servitude aspect but also doesn’t know what to do about any of it.

I think conversely Alucard truly just doesn’t care. He’s being honest when he asks if it matters. Sure, maybe their entire dynamic is fucked, so what?

This is condensed to see mostly the dialogue. I had a lot of fun with this back and forth! and like Alucard as a temperamental, mercurial type.

The return of the power outage subplot lmao! The Walter cameo was fun to me though. It’s really abrupt and it shakes up the mood a lot. I love writing a very over attentive Walter, perhaps because he’s perpetually feeling guilty…

I also just have a fun time writing him as a very intense mothering type. Kind of unsure how to care for Integra, especially now as an adult where she does not need caring for.

Anyway that last paragraph is a fairly crucial misunderstanding of Alucard I think. Again she doesn’t want to consider him being emotionally involved in anything! He does lash out and like deliberately fuck with her a lot but a) this would NOT be the time b) she views it as like this is just something he does as opposed to like letting herself see why.

And he plays into that perception! He’s like don’t mind me, I’m just silly!! Because admitting to genuine vulnerability is fucking humiliating and also when not in the heat of the moment, being bitter about the fact that she might like actually be grossed out by the prospect of him being in love with her, he absolutely knows that if they Have That Conversation she is going to fucking dump him entirely lmao. So he’s trying to shut the fuck up and not ruin things

And yeah this just further solidifies the points I was trying to make earlier. This fic is not subtle lmao. And if it wasn’t already clear, I just really like getting into Alucard being genuinely fragile.

Generally this fic doesn’t *resolve* anything between them. I don’t think anything I’ve ever written for these characters had a real resolution or solving of problems, just because there’s too much baggage to actually solve anything. But I think they end it with a slightly better understanding of each other. And Integra still has just as many issues with it rip.

Idk if this is potentially annoying to anyone who’s read it and liked the softer ending where she asks him to stay the night regardless of the dramatic conversations. But uh…. in the larger continuity that this fic falls into she’s absolutely going to start avoiding him after this lmao. Which Alucard, in turn, is not going to take well! They’re very dysfunctional.

Which isn’t the complete end of the romantic relationship either, because their boundaries are atrocious. But yeah this fic is def not the end/entire scope of that conflict.

#hellsing ultimate #hellsing #alutegra #alucard #integra hellsing #ask games #I have not like actually actually thought about this ship for a bit but this was fun! I like doing commentary type stuff #I don’t *love* some of the prose choices anymore but I think it generally holds up okay #i ramble sometimes #all the bendy punctuations #a mysterious stranger has appeared #*writer's cap*#a string of words #long post

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idkhowtopickausername · 1 year

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Are you still doing the unpopular opinions meme? 🔥 Naruto leftist discourse (and a precision: since Naruto Tumblr is the home of Naruto fans criticizing the Shinobi System and the narrative and so a huge chunk of the critique of the show on here is centered on those aspects, do you think people sometimes go too far and take it too seriously or don't take it seriously enough, etc.)

Hi! Yeah I’m still doing the ask game!

Yeah I do think there are times I see people taking it too seriously and people not taking it seriously enough. I think it’s good and important to be able to see how the stuff the show frames positively re: the shinobi system is really fucked up and to be able to see that Sasuke’s perspective is fundamentally correct despite him being vilified, and to be able to see that the ideas of morality that are being presented are very hypocritical and at times pretty awful. And when people who are actively engaged in Naruto discourse on here choose to dismiss or make fun of that analysis it does bother me, because I know they’ve had it explained to them and still refuse to see it.

That being said when it comes to the fandom on Tumblr it matters much more to me that people understand the problems with the show’s messaging than that they like the same characters/ships as me, and while there’s some characters that I don’t really see the appeal of and somewhat distrust the opinions of most of their fans, and vice versa characters I love and distrust the opinions of people who dislike them, I care more that people generally understand why the show’s messaging around genocide and its condemnation of the use of violence to resist a violent system are bad. I think getting super vitriolic towards people based on their subjective feelings about characters or ships is a bit embarrassing to witness. And similarly getting really vitriolic over people like not taking things seriously enough because they ship [x] or whatever or have some minorly flawed take, and claiming that they’re inherently selfish and morally depraved or something because of that is like kind of absurd to me lol, like it’s genuinely not that deep.

Also when people compare in-universe events to actual real-life atrocities it’s taking it a bit too far imo. I also think that while there are definitely connections between people’s opinions on fiction and their politics, and fiction is inherently political, you can’t reliably extrapolate people’s irl politics from their opinions about Naruto like I know people who are definitely leftists who I think have mundanely bad naruto opinions bc they’ve just never thought that deeply about it until I talked to them, and I’ve run into a couple of people on here who were Sasuke stans but turned out to be politically conservative, like there’s no clear line you can draw and it’s a bit weird to think that way imo. Also when people like to claim that Sasuke stans are like using Naruto discourse as a substitute for political engagement it’s hilarious lol like why don’t you think people can have hobbies like talking about fiction they like and also be politically engaged irl, they’re not mutually exclusive.

I think the reason leftists are drawn to analyze Naruto this way is partly because it illustrates really well the hypocrisy of systems that are inherently violent but treat resistance towards the status quo as the only real form of violence, and also illustrates how a militarized profit-based system affects lots of characters in different ways on a personal level. And I think Sasuke does develop a (flawed but still powerful) revolutionary ideology over the course of the story, and he has a big pivotal role in the story, and that resonates with a lot of people, myself included. He’s also a really complex and sympathetic character imo who manages to both feel very real and human and grow and change in meaningful ways (e.g. not just be the mouthpiece for a certain political viewpoint) and also opposes the dominant system at the same time.

#ask

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tssidesfics · 7 months

Text

The Dreaded Fight Scene - Some Lesser-Heard Advice

A short list of what this post will include:

Perspective Problems

Decent Advice About Paragraph Length

Semi-Nuanced Advice about Sentence Length (Featuring: Either It's Boring or Somebody Could Die [again with actual nuance])

The Most Evil Antagonist: Suddenly (AKA Really Short Advice)

Death to All Adverbs

For the Love of God Stop Using Adjectives In the Place of Nouns

Verbs Should Punch Your Reader As Much As Your Characters

Immerse Me (Sensory, Sensory, Sensory)

Pacing (God help me)

Don't Write Like It's a Movie Because It Isn't (and writing like that means it never will be)

Keeping It Interesting (Featuring: Mix It Up, Advantages Should Be Temporary Until Asses Are Thoroughly Whooped, Cause Many Problems On Purpose and Hope Your Characters Are Smart Enough to Get Out, and If You've Got a Good Plot Twist Sic 'Em)

In case you can't tell I'm trying to be suave and charming and funny like a first person narrator titling their chapters with sarcasm (which is a trope I learned from Percy Jackson I have not fallen out of love with, even though I've fallen out of love with that particular series).

I am not a popular blog. As far as I know no popular blogs follow me. This will probably land with a thud. One day I will probably dredge up this post from the unnavigable dredges of Tumblr (watch Tumblr have finally gone extinct by then), pretty it up, and post it on a website I make specifically for writing advice and my original fiction once that exists. However, for now, I bless you with this that will likely be a complete dud. May the few souls who see it glean something valuable from it.

Disclaimer: I am not a published author. I've just been told I'm good at this. Do with that what you will.

Without further ado (God save me):

Perspective Problems

If you're writing from a third-person omniescent style (your narrator describes all characters in the third person (she/he/they/it/various neopronouns) and they know everything that is going on from every character's perspective), then I'll be honest: I do not know how to give you advice. From here on out this advice will be most applicable to limited perspectives--narrator fixed to one character's perceptions at a time. I write almost exclusively in third person limited and first person narrative; I have very little practice with omniscient perspectives, and the practice I do have either didn't have fight scenes or didn't care much about fight scenes because they weren't the point of the story. I also don't read a lot of omniscient perspectives--I have yet to make it all the way through The Lord of the Rings trilogy, although I really liked The Hobbit. That also didn't care about conflict much, and cared more about humor than maintaining tension. So I'm gonna stick to what I know. Like I said, I am not a master word smith. I have not studied every facet of this craft, I am not the most qualified to be writing this post.

That all being said, hopefully I can still help you.

Let's get the mundane, everyday, boring shit out of the way first.

Paragraph Length

Why am I starting here and not on sentence advice even though that might make more logical sense? Because I find this infinitely more important than sentence length.

My advice for paragraph length boils down to one thing: you want your single-sentence paragraphs to pack a punch.

Which means: on average, your paragraphs should be at least three sentences long. In a fight scene, I would say don't let them exceed five sentences unless it's a super-duper special paragraph, and even then that might be pushing it. (This advice may conflict for you: if you want single-sentence paragraphs to pack a punch but your sentences should be short in fight scenes, then don't you have to have paragraphs longer than five sentences? Yeah, wait for the second piece of advice.)

The reason? Single-line paragraphs are incredibly powerful. Have you ever read something where it was going along normally and then they suddenly smack you in the face with a single sentence or a single line, the shorter the better? One of those paragraphs that completely changes the tone or direction of a scene? A realization that shakes the foundation the MC built their world upon, a decisive defeat or miraculous victory, an irreparable betrayal, a plot twist that rattles you and the protagonists to their core. You remember the power in that?

You completely forfeit that power if your paragraphs are too short. And that can be very effective in a fight scene if you use it wisely.

Look elsewhere for advice on how exactly to determine when you need to change paragraphs. All I'll say is: walls of text are an accessibility nightmare, and for the love of Neil Gaiman new speakers get their own paragraphs.

Sentence Length

Actually, your sentences should not all be two or three words long. That actually takes your pacing and readability into the sewer, and not on an epic gross adventure. Anyone who tells you all your sentences should be short in a fight scene is either lying to you or leaving off a significant chunk of nuance.

Let me show you an example of "keep sentences short" taken to its logical conclusion without nuance.

He lunged. She parried. It almost caught her. He leapt over the divide. She stumbled back. He slashed her leg. She cried out. She punched him in the nose. He wiped away blood. She swiped for his neck. He dodged.

That is unbearably monotonous, and that was with me instinctively adding more nuance and variability to the fight.

Now then, that is not to say you should make action lengthy or wordy. However:

He lunged. She barely caught it in time, her own blade cool and stinging against her side. She tried to hold her ground, but another slash gave him opportunity to leap their divide. She stumbled back, searching for something else to put between them without taking her eyes off him.

He lunged for her again. She was too slow to parry the gash to her leg. White-hot pain erupted from the wound, blood gushing hot to the ground as she screamed, but she channeled that pain into her fist, slamming it into his nose with all the might she had.

He wiped away the blood with a snarl, but more poured behind it. She tried to take his head, but he dodged it too easily. She wasn't going to leave here with her life if she didn't think of something soon.

(Note I used several different techniques we'll get into for that last excerpt, but all of those are difficult to use if you stick to the advice of short sentences relentlessly.)

Which brings me to:

Either It's Boring or Somebody Could Die

This advice should not be taken literally. It is possible to have a fight scene where the stakes aren't "somebody could die." It could be someone's pride. It could be the respect of a mentor or trusted friend. It could be the interest of a romantic partner for all I care (although except in rare instances I find any sort of "fighting for the love interest" distasteful and toxic).

What should become clear to you: stakes are very, very hard to establish if your sentences are too short. Furthermore, emotion and sensory experiences are extremely hard to insert with short sentence length. Your fight scene lives and dies on whether the reader feels like its stakes are imminent; a fun sparring match is just not going to be interesting, no matter what you do. Unless you're inserting a plot twist about how the opponent is actually trying to kill them while maintaining the plausible deniability of "it was just an accident!" let it establish its point with character or world-building and then move on. (Fighting lessons count toward both, as far as I'm concerned, so as long as it's doing that you're fine.)

Another thing you should notice about the above excerpt: the protagonist is consistently losing. More on that in a bit.

The Most Evil Antagonist: "Suddenly"

Just cut it. If you're doing everything else right cut it. You do not need it. It contributes nothing. It does not make things more clear, it just slows down your pacing. Cut it.

Death to All Adverbs

This is pretty average advice, and it should be applied to everything you write, but for the love of God use barely any adverbs in your fight scenes. Avoid them everywhere at all costs but they will only screw up your pacing. Pick a better verb, and if there is not a better verb then you're forfeiting the reader understanding exactly what is in your head to tell a better story. Sometimes you've got to do that as a writer: it is impossible to make them see it happen in front of them like they're watching a movie (which is another thing we'll get into). Just focus on the pacing.

If you can really, really stand there and justify that adverb, then I respect you. But very, very few. Very few. Make 'em count.

For the Love of God Stop Using Adjectives in the Place of Nouns

This goes to my fanfic writers (who admittedly make up a predominant amount of my reading material anymore because gifted kid burnout is real).

No "the anxious man," "the blonde girl," "the bubbly friend" or whatever. I read Sanders' Sides fanfiction and I feel personally affronted by the words "the anxious side." They've committed war crimes against me personally and I will sue for emotional damages.

Unless your narrator does not know the character's name or you have not revealed their name yet, you should not be using adjectives in the subject of your sentence. Full-stop. It screws readability all to hell. It's confusing. It's cliche and annoying. Either it serves a demonstrable purpose in the scene or you need to use a name.

And if you're worried about names getting repetitious, to a large extent they're like "said." They will largely disappear in the reader's mind except to establish who the rest of the sentence is referring to. You wouldn't feel that way about pronouns, you shouldn't feel much worse about names.

(Obviously description is different and oftentimes you will preface a noun with an adjective then, as well as some other instances. Mostly, your writing decisions should be deliberate. If you cannot justify it, then really ask yourself why you're doing it.)

Verbs Should Punch Your Reader As Much As the Characters

We touched on this in "Death to All Adverbs," but your verbs should pack a punch in a fight scene. I won't exhaust the subject here, but there are multiple lists online of verbs and other parts of syntax useful for fight scenes. I recommend going through them--and recognizing your internal reaction to them. Certain words are going to create a more intense reaction--"crack" versus "break," "wound" versus "gash," "jostle" versus "jerk." Obviously you start getting into what exactly those words mean, but if the more visceral option works for your scene, it will probably improve it.

Immerse Me

Some good practice: before the fight starts, or in a lull in the action, describe your setting. You don't have to describe every facet of it. Focus primarily on parts relevant to the scene or plot; throw in a couple fun facts that don't take up too much time so you can keep your reader from guessing every twist and turn. And then use your setting. White room fights are boring. Use the space. Have characters switch out on the high ground (in one-on-one fights that's basically useless, if it isn't more advantageous to have the low ground, but changing angles changes dynamics). If a character is disarmed, let them use something in their environment. Kick dust into your enemy's eyes. Throw things at them. Eat up your scenery. It will help, but to do that your reader needs to know what things look like first, or using that environment in the fight is gonna feel like deus ex machina after deus ex machina.

Don't stop at the visual aspects of the scenery, though. Tap into every sensation your narrator has. Taste, smell, hearing, sight, touch. Even their kinesthetics (how they feel their orientation in the space they're occupying). It suddenly gets a lot harder to fight when you're dizzy (though not impossible--I had a temporary disability that made me chronically dizzy for about two years, and I continued training in Kung Fu in that time; accommodations were needed and my Si Gong and classmates had to be made of the problem in case something went wrong, but I was still able to do it). That's a great way to keep your character on the back foot, depending on how dizzy you make them. Temper it, though--if they're badly concussed and the world is spinning so badly they puke, they're not going to be able to defend themselves.

To a (limited) extent, feeding your sensory information through the character's emotions will also strengthen the prose. Don't go overboard on this because you will grind the pacing to a halt.

Speaking of pacing:

Pacing

(God help me)

This video is better than anything I'm going to give you here, and it tells you what to do on a plot level, too. Pacing is impossible to explain and I hardly understand it myself. Frankly I don't think I'm that good at it.

However, that video isn't specific to fight scenes, and I'm going to try to give you some satisfactory advice for writing fight scenes with strong pacing. Bear with me.

First off: if your fight scene is short, then keep it quick. No adverbs, sharp verbs, pretty short sentences, and then move on.

But here's the thing: short fight scenes are boring.

There's no time to establish stakes. There's no time to feel like the narrator is losing. There's no time to gnaw your fingernails off and cuss passionately at the page. It also doesn't feel all that much worth it. Your fight scenes should all have an impact on the plot and if it genuinely doesn't need to be long to serve its role in the plot, that's fine but if you want to write fight scenes that are engaging and epic, they need to be longer.

Part of that is going to be keeping it interesting, which we'll get to in a minute. But another huge part is varying your pacing.

Generally, fight scenes should be fast. Your reader should be trying to read as much as they can as fast as possible because they're worried they're gonna die. But a fast pace for too long gets tiring; when you're going for a run, you don't sprint for the whole way. You sprint for a few seconds, then jog, then sprint again. Pace in a fight scene is going to be the inverse of that balance--it will be predominantly fast-paced with short breathers, but you should still give your reader moments to collect themselves.

Now there is a type of fight (that is absolutely impossible to write) that is incredibly effective and maintains a fast pace for pages upon pages upon pages. If your antagonist is absolutely unstoppable--everything the MCs can throw at them only slows them down, and they keep coming--then you can create a very engaging horror atmosphere of stress. However, then the pace is going to be more middling--it's not as ruthless or sharp or quick like it is when both parties are trying to win as quickly as possible because losing could mean death. This is a character who knows they are not going down any time soon. They aren't in a rush. They're persistent, but they don't need to hurry. Think The Terminator or Predator.

High tension also leads to more intense pacing. We'll touch more on tension later.

Don't Write It Like a Movie Because It Isn't (and it never will be if you write like that)

This is coming from someone who was a master at making fight scenes immensely boring. I'm a black belt, and for years and years I wanted to channel my lessons into my fiction. And there is a way to do it, but it is not with blow-by-blow narrative. If your characters are wailing on each other with swords, most attacks and defenses in that fight are going to be very routine.

I'm going to try to give you a solid understanding of what to skip or summarize and what to dramatize. This will likely not be exhaustive.

First thing you want to keep: shifts to the status quo. If something changes in the dynamics of the fight--someone gets or loses an advantage, new challenges arise, someone's (especially your perspective character) injured, scenery shifts--then definitely include that. Otherwise the resolution is going to come out of nowhere.

It's also good to include anything that increases tension--AKA your reader's and character's stakes in the fight, or how close they are to losing. Monotony does not help this--again, blow-by-blow is useless.

See this example of a blow-by-blow:

I lunged for his thigh. He blocked with a clang that shook through my arm. He swiped for my knees and I dodged. He moved for my neck; I parried; he tried again and I parried. I advanced with a lunge; he retreated but pushed me back with a slash the next minute.

Imagine that continuing for several more paragraphs, as opposed to:

Sweat poured down my neck, into my eyes as my sword weighed heavy in my hand, each block shuddering through me. I panted, struggling to see, struggling not to block out from lack of oxygen because every parry, every lunge, every attack just wore me down further. If something didn't change soon I wouldn't be able to go on. I was losing. More blows rained; I held my ground. But none of that would make a difference if the exhaustion thickening in my veins did me in before it did him.

The latter doesn't bog itself down in minutiae; what matters is how the character is faring in the fight, how close they are to losing. Obviously this would be interspersed with described action, but just for the back and forth, focus on how the exhaustion is getting to your character. How the pain is affecting them. Establish what's at stake if they lose and focus on status-quo changes.

There is a way to utilize monotony well, but it's through an emotional lens. If your character is disillusioned with violence, has done this a thousand times and is just tired, then blow-by-blow within reason communicates that numbness really well. There's no emotion behind their side of the fight; they don't feel the stakes. This is how it's always been, what they can't escape. But still, use it sparingly. It gets boring fast.

Also, don't use technical names for any fighting moves. They do not translate to most readers and between martial arts. Use words everyone is going to understand, and if you can't find ones sharp or quick enough, pick the closest you can that maintains pacing and settle for your readers not perfectly understanding everything that happens precisely as it does in the scene.

Keeping It Interesting

Here's where we enter the arena I am really actually scared of. This is also the part I cannot find any advice for anywhere on the internet: in a prolonged fight scene, how do you keep it engaging?

Let's take this piece by piece.

Mix It Up

Constantly switch up the dynamics of the fight. What weapons are they fighting with? Wound them, take away advantages. Change up the setting if you can. Add advantages and then take them away. Change up how they're fighting, on what terrain. Let your characters get clever. Engage your inner tactician. Do not let something go on too long without something changing up the dynamic. That being said:

Advantages Should Be Temporary Until Asses Are Thoroughly Whooped

This is where we get into tension. If your protagonists are winning, it's boring. Occasional victories are great, especially if they give your character a moment of hope that is immediately squashed by the antagonist having already thought of that, or having a plan to counter it, or what have you. Any victory while the fight is still going should be brief. Hope should be wrested away from them repeatedly. Brilliant ideas in the heat of the moment should fall apart. The longer the fight goes, the more disappointments, the thinner hope becomes.

If you need to, you can give them a more dramatic victory, but if the fight continues after that then you are going to end up in the fun situation of coming up with a reason why the antagonist is still winning even when they just got their ass handed to them. From experience, that is not an easy position to be in. It's hard to climb out of that hole.

I am serious. I don't care how epic and accomplished and cool your MCs are, if they're winning it's boring. You need tension. You need the stakes to stay high. You need there to be a real and imminent threat they could lose, with whatever consequences come attached. Otherwise your reader is going to find it monotonous and not care. If it doesn't feel like your protagonists are about to lose, then you're not going to keep your audience.

Cause Many Problems On Purpose and Hope Your Characters Are Smart Enough to Escape

Here's a fun fact: it generally doesn't read as a deus ex machina if it screws over your main characters.

I'm serious. You can introduce things you barely set up, if you set it up at all, into a fight scene as long as it makes things worse. If your characters happen to repurpose a grave inconvenience as something they can use, then that shows ingenuity and quick thinking.

Constantly throw up barriers to victory. You can't get too generous with evil deus ex machina or it will start to feel trite, but you can definitely throw in a few depending on length. Turn the heat higher steadily; every time they escape one issue, throw another one at them.

This does however mean your himbos are probably going to need countered by someone with brains. Dumb is not a great combination with "ends up in progressively shittier situations and has to climb back out."

And for the love of fuck, this is your chance to make your smart characters look smart. Actually show them resolving problems it doesn't look like your characters are going to get out of. Craft a scene where the protagonist is still able to be cool but they do it in collaboration with the smart one--not by telling the smart one what to do, but by coming up with a solution together, or reading some clever way the smart one is communicating their plan to them and enacting it. They can edit it as they go if the smart one doesn't do well under pressure. I am tired of reading books telling me how super smart someone is and then they do absolutely nothing about the conflict.

If You've Got a Good Plot Twist Sic 'Em

Here is what I mean by "good" plot twist: it contributes to the themes of the piece, it had actual evidence for it planted previously and does not break any established rules of your universe, and it (generally) makes things worse. Plot twists have twice the impact if they're screwing you over than if they're making it better, but if you can write a protagonist or side character pulling out a brilliant plan they carefully enacted behind the scenes to save them, by all means.

Of course, developmental edits are always an option. If you're writing the fight and you get an excellent plot twist idea in the middle, you can write it then and double back to edit in the evidence. If you're writing fanfiction chapter by chapter and uploading it, you're gonna have a harder time, but fanfic readers are generally more forgiving. Still, this is why I write each installment in completion before uploading (although I still write series, so invariably I get to some intallment down the road that fucks up what's been uploaded and I still have to edit things, but that's the reality of fanfiction).

You will hear from every angle that you need to outline. Outlining would save you a lot of grief. I am not going to shove Outline Gospel down your throat because I have an irrational, consumptive hatred for outlining; everything I've ever outlined made me so viscerally angry I abandoned it and couldn't go back without reawakening that ire. You won't hear me condemn you if you're a discovery writer. It does make your life harder, I'll grant you.

How to write a good plot twist is trickier. You either want four or five little clues, subtle cues, or one or two bigger ones, I'd average, but mastering that balance is hard. I still don't know where I fall on that continuum. I've gotten some awesome feedback on my plot twists from people surprised but cussing because it feels obvious in hindsight...more or less, but it's not easy and readers for original fiction generally read closer. It's hard. Best you can do is a little bit of research, a lot of developmental editing, run it by a beta (or several, if you're publishing for money you need several), and pray. As long as you have something there better than a very minor throwaway line three books ago, the worst you'll probably have to deal with is people guessing your plot twist ahead of time. If you paid any attention to The Owl House fandom, you'd know: audiences don't care. They'd rather the plot twist be predictable and earned than for you to chicken out of it partway through and throw in something completely random or leave obvious plot threads dangling without explanation because you're trying to clumsily plant seeds for a whole new plot twist they haven't guessed yet. (Looking at you, Marvel...and Game of Thrones...and basically every other media property, fucking hell.)

There you have it. Here's hoping this was useful to you and gave you something new to work with than what you had before. If not, I gave it my best shot. I'll work on it and get it right eventually.

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