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she-who-fights-and-writes · 2 months

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“Show, Don’t Tell”…But This Time Someone Explains It

If you’ve ever been on the hunt for writing advice, you've definitely seen the phrase “Show, Don’t Tell.”

Writeblr coughs up these three words on the daily; it’s often considered the “Golden Rule” of writing. However, many posts don't provide an in-depth explanation about what this "Golden Rule" means (This is most likely to save time, and under the assumption that viewers are already informed).

More dangerously, some posts fail to explain that “Show, Don’t Tell” occasionally doesn’t apply in certain contexts, toeing a dangerous line by issuing a blanket statement to every writing situation.

The thing to take away from this is: “Show, Don’t Tell” is an essential tool for more immersive writing, but don't feel like a bad writer if you can’t make it work in every scenario (or if you can’t get the hang of it!)

1. What Does "Show, Don't Tell" Even Mean?

“Show, Don’t Tell” is a writing technique in which the narrative or a character’s feelings are related through sensory details rather than exposition. Instead of telling the reader what is happening, the reader infers what is happening due to the clues they’ve been shown.

EXAMPLE 1:

Telling: The room was very cold. Showing: She shivered as she stepped into the room, her breath steaming in the air.

EXAMPLE 2:

Telling: He was furious. Showing: He grabbed the nearest book and hurled it against the wall, his teeth bared and his eyes blazing.

EXAMPLE 3 ("SHOW, DON'T TELL" DOESN'T HAVE TO MEAN "WRITE A LOT MORE")

Telling: The room hadn't been lived in for a very long time. Showing: She shoved the door open with a spray of dust.

Although the “showing” sentences don’t explicitly state how the characters felt, you as the reader use context clues to form an interpretation; it provides information in an indirect way, rather than a direct one.

Because of this, “Show, Don’t Tell” is an incredibly immersive way to write; readers formulate conclusions alongside the characters, as if they were experiencing the story for themselves instead of spectating.

As you have probably guessed, “showing” can require a lot more words (as well as patience and effort). It’s a skill that has to be practiced and improved, so don’t feel discouraged if you have trouble getting it on the first try!

2. How Do I Use “Show, Don’t Tell” ?

There are no foolproof parameters about where you “show” and not “tell" or vice versa; it’s more of a writing habit that you develop rather than something that you selectively decide to employ.

In actuality, most stories are a blend of both showing and telling, and more experienced writers instinctively switch between one and another to cater to their narrative needs. You need to find a good balance of both in order to create a narrative that is both immersive and engaging.

i. Help When Your Writing Feels Bare-Bones/Soulless/Boring

Your writing is just not what you’ve pictured in your head, no matter how much you do it over. Conversations are stilted. The characters are flat. The sentences don’t flow as well as they do in the books you've read. What’s missing?

It’s possibly because you’ve been “telling” your audience everything and not “showing”! If a reader's mind is not exercised (i.e. they're being "spoon-fed" all of the details), your writing may feel boring or uninspired!

Instead of saying that a room was old and dingy, maybe describe the peeling wallpaper. The cobwebs in the corners. The smell of dust and old mothballs. Write down what you see in your mind's eye, and allow your audience to formulate their own interpretations from that. (Scroll for a more in-depth explanation on HOW to develop this skill!)

ii. Add More Depth and Emotion to Your Scenes

Because "Show, Don't Tell" is a more immersive way of writing, a reader is going to feel the narrative beats of your story a lot more deeply when this rule is utilized.

Describing how a character has fallen to their knees sobbing and tearing our their hair is going to strike a reader's heart more than saying: "They were devastated."

Describing blood trickling through a character's fingers and staining their clothes will seem more dire than saying: "They were gravely wounded."

iii. Understand that Sometimes Telling Can Fit Your Story Better

Telling can be a great way to show your characters' personalities, especially when it comes to first-person or narrator-driven stories. Below, I've listed a few examples; however, this list isn't exclusive or comprehensive!

Initial Impressions and Character Opinions

If a character describes someone's outfit as "gaudy" or a room as "absolutely disgusting," it can pack more of a punch about their initial impression, rather than describing the way that they react (and can save you some words!). In addition, it can provide some interesting juxtaposition (i.e. when a character describes a dog as "hideous" despite telling their friend it looks cute).

2. Tone and Reader Opinions

Piggybacking off of the first point, you can "tell, not show" when you want to be certain about how a reader is supposed to feel about something. "Showing" revolves around readers drawing their own conclusions, so if you want to make sure that every reader draws the same conclusion, "telling" can be more useful! For example, if you describe a character's outfit as being a turquoise jacket with zebra-patterned pants, some readers may be like "Ok yeah a 2010 Justice-core girlie is slaying!" But if you want the outfit to come across as badly arranged, using a "telling" word like "ridiculous" or "gaudy" can help set the stage.

3. Pacing

"Show, don't tell" can often take more words; after all, describing a character's reaction is more complicated than stating how they're feeling. If your story calls for readers to be focused more on the action than the details, such as a fight or chase scene, sometimes "telling" can serve you better than "showing." A lot of writers have dedicated themselves to the rule "tell action, show emotion," but don't feel like you have to restrict yourself to one or the other.

iv. ABOVE ALL ELSE: Getting Words on the Page is More Important!

If you’re stuck on a section of your story and just can’t find it in yourself to write poetic, flowing prose, getting words on the paper is more important than writing something that’s “good.” If you want to be able to come back and fix it later, put your writing in brackets that you can Ctrl + F later.

Keeping your momentum is the hardest part of writing. Don't sacrifice your inspiration in favor of following rules!

3. How Can I Get Better at “Show, Don’t Tell”?

i. Use the Five Senses, and Immerse Yourself!

Imagine you’re the protagonist, standing in the scene that you have just created. Think of the setting. What are things about the space that you’d notice, if you were the one in your character’s shoes?

Smell? Hear? See? Touch? Taste?

Sight and sound are the senses that writers most often use, but don’t discount the importance of smell and taste! Smell is the most evocative sense, triggering memories and emotions the moment someone walks into the room and has registered what is going on inside—don’t take it for granted. And even if your character isn’t eating, there are some things that can be “tasted” in the air.

EXAMPLE:

TELLING: She walked into the room and felt disgusted. It smelled, and it was dirty and slightly creepy. She wished she could leave. SHOWING: She shuffled into the room, wrinkling her nose as she stepped over a suspicious stain on the carpet. The blankets on the bed were moth-bitten and yellowed, and the flowery wallpaper had peeled in places to reveal a layer of blood-red paint beneath…like torn cuticles. The stench of cigarettes and mildew permeated the air. “How long are we staying here again?” she asked, flinching as the door squealed shut.

The “showing” excerpt gives more of an idea about how the room looks, and how the protagonist perceives it. However, something briefer may be more suited for writers who are not looking to break the momentum in their story. (I.e. if the character was CHASED into this room and doesn’t have time to take in the details.)

ii. Study Movies and TV Shows: Think like a Storyteller, Not Just a Writer

Movies and TV shows quite literally HAVE TO "show, and not tell." This is because there is often no inner monologue or narrator telling the viewers what's happening. As a filmmaker, you need to use your limited time wisely, and make sure that the audience is engaged.

Think about how boring it would be if a movie consisted solely of a character monologuing about what they think and feel, rather than having the actor ACT what they feel.

(Tangent, but there’s also been controversy that this exposition/“telling” mindset in current screenwriting marks a downfall of media literacy. Examples include the new Percy Jackson and Avatar: The Last Airbender remakes that have been criticized for info-dumping dialogue instead of “showing.”)

If you find it easy to envision things in your head, imagine how your scene would look in a movie. What is the lighting like? What are the subtle expressions flitting across the actors' faces, letting you know just how they're feeling? Is there any droning background noise that sets the tone-- like traffic outside, rain, or an air conditioner?

How do the actors convey things that can't be experienced through a screen, like smell and taste?

Write exactly what you see in your mind's eye, instead of explaining it with a degree of separation to your readers.

iii. Listen to Music

I find that because music evokes emotion, it helps you write with more passion—feelings instead of facts! It’s also slightly distracting, so if you’re writing while caught up in the music, it might free you from the rigid boundaries you’ve put in place for yourself.

Here’s a link to my master list of instrumental writing playlists!

iv. Practice, Practice, Practice! And Take Inspiration from Others!

“Show Don’t Tell” is the core of an immersive scene, and requires tons of writing skills cultivated through repeated exposure. Like I said before, more experienced writers instinctively switch between showing and telling as they write— but it’s a muscle that needs to be constantly exercised!

If I haven’t written in a while and need to get back into the flow of things, I take a look at a writing prompt, and try cultivating a scene that is as immersive as possible! Working on your “Show, Don’t Tell” skills by practicing writing short, fun one-shots can be much less restrictive than a lengthier work.

In addition, get some inspiration and study from reading the works of others, whether it be a fanfiction or published novel!

If you need some extra help, feel free to check out my Master List of Writing Tips and Advice, which features links to all of my best posts, each of them categorized !

Hope this helped, and happy writing!

#writing tips #writing advice #writing help #writeblr #booklr #writers #writing #show #creative writing

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fourmoony · 7 months

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𝐡𝐨𝐩𝐞

james potter x f!reader

fluff. 1.5k.

Summary: James brings home a baby. A baby that is not kidnapped.

part 2 - part 3 - part 4 - masterlist

...

James is standing in the doorway with a baby in his arms.

You’re so grateful he’s even there, that he’s made it back alive – albeit a little bloody and battered, glasses askew and his face covered in dirt – but alive nonetheless, that you don’t even notice the baby, bundled in a warm, fluffy blanket, wrapped safely in his arms. He’s bouncing his arms gently, probably trying to soothe the baby who’s making soft noises, and it’s really a sight to behold. It’s not until he steps through the doorway and gives you a nervous, lopsided smile that you fully register your boyfriend is holding a baby.

You blink. Once, twice. A third time.

James grows progressively more antsy. He chews his busted lip, winces, and then shifts back and forth on his feet. You have no idea where he could even have procured a baby. He’s been on an order mission for the past four days, scouting possible allies with the vampires whilst simultaneously moving important potions ingredients from one safe house to another, making sure the Death Eaters are always two steps behind order movements. Realistically, there’s been zero opportunity for James to come across a baby that he could just – take home.

“You’re home,” You breathe, because truly, that’s the most important part of the whole ordeal. James is here. He’s safe. He’s alive. Another mission down, and James has returned home. So, you’re glad. Grateful, unbelievably so. But also confused. Deeply confused.

“You have questions,” James is arguably calm about the situation, like he’d expected you to be eyeing him with hesitation – he was right – and he’s already rehearsed this in his head. “That’s normal.”

“Normal,” You repeat, the word tasting foreign on your tongue because nothing about this is normal. “Jamie, you’re holding a baby. Tell me we’re just like, babysitting, or something and you haven’t kidnapped someone’s child!”

James winces at your – albeit, quiet – yelling. The baby whimpers in his arms and immediately James shushes it, bouncing slightly on the spot with a desperate look in his eyes. He’s out of his depth, it’s obvious by the panicked way he’s looking between you and the baby, something pleading in his eyes.

“I didn’t kidnap her,” James argues childishly.

Okay, so, the baby is a girl. And James didn’t kidnap her. You turn and walk towards the kitchen, James follows, hot on your heels. The kitchen is a bit of a mess. There are your dishes from dinner, the bin is full, and there’s a couple of empty cartons for the recycling dotted on the counter closest to the back garden door. But James doesn’t flinch, he surveys his surroundings, but ultimately ignores the mess you’ve allowed to take over the small space in the days he’s been away.

“We were flying over Surrey when Marls spotted the dark mark over a muggle area,” James launches into explanation while you busy yourself with leaning over the sink and running the warm water. “We stopped to assess damage, but the Aurors were already there. Her family was killed, baby. The muggle government won’t touch the scene with a ten-foot pole – not that the baby had any other family, anyway, Alice already checked – and the Ministry won’t do anything except send her to an orphanage.”

The suds around your hands suddenly feel too much. The soup crusted around the side of your dinner bowl won’t come off and you scrub aggressively at it, focussing on that instead of the fact that your boyfriend has essentially just told you he’s informally adopted a child at random, without discussing it with you first.

Well, you know there was no time for him to discuss it. You can’t be mad at him for that. And, really, you can’t be angry at him, either, for bringing her to your home. She’s safe here. She’s already suffered an incredible amount of trauma, and she barely looks more than three months old. Your heart softens with your resolve, and you lift your head to look out of the window above the sink. The cottage you and James live in was a gift from his parents – a gift that had made you incredibly overwhelmed until you found out it had been under their ownership since before James was born, anyway – and has enough room for a swing set and a slide, maybe a trampoline. There’s a spare room, upstairs. Sirius will grumble about giving up his room for when he visits, but you’re sure he’ll get over it with some encouragement from Remus. The cottage is pretty much baby proof for James and Sirius’ sake, anyway. You have enough expendable income to completely kit out an emergency nursery necessary.

The argument isn’t really that you can’t afford to have a baby, or that you don’t have space for a baby. It’s that you’re nineteen, a year out of Hogwarts and in the middle of a war. Things are bad, times are scary, James is gone at least a week out of every month, you spend most of your days confined to the inside of a potions lab with Lily, making key potions that the Order need to work efficiently. You’re still kids yourselves, fighting a war that is taking everything from you.

But the way James is holding her like she’s the most precious thing he’s ever seen, rocking her, and cooing at her, you melt when you turn to face them, and it just feels – right, you suppose.

James looks up, smiles tentatively. You’ve always known he’ll be a great dad. He’s so full of light and love. When he loves, he loves with his entire heart. He loves dotingly and loyally. He’s so sure, standing there. Even though you can tell he’s trying to respect you, waiting to show his excitement until he knows how you feel, you can also see how much love he already has for this little girl, how sure he is that here, with him and with you, is the best place for her.

You take a step towards him, around the kitchen island, and hold your arms out wordlessly. He places her in your arms so gently and then watches as your eyes meet hers. They’re big and round and so blue you feel the breath hitch in your throat. She’s gorgeous. Big puffy cheeks and tufts of dark hair on her small little head. Her tiny lips are curved into a tired pout. You can’t help the smile that overcomes you. When your eyes lift – reluctantly – James is staring at you both. There’s something sickly sweet about the look in his eyes, warm like coffee, sweet like honey.

“We’re at war, Jamie,” You tell him, “Having a baby is a bad idea.”

James nods, “I know.”

A beat of silence passes. An understanding, maybe. It’s a bad time to be two nineteen-year-olds having a baby. But it’s there, in the way James looks at you. He’s never been one to have perfect timing. He asked you to be his girlfriend in the middle of an argument. He asked you to move in with him after school when the first Daily Prophet announcement about the war being confirmed happened. He’s brought a baby home out of nowhere, in the middle of said war. But it feels right. Holding her in your arms, James standing so close you can feel his warmth.

“What’s her name?” You ask, smiling sweetly at James.

He beams. He just – he beams. You know that he knows, then. You’re in. For better or worse.

“No idea. Alice had the muggle police contact the muggle social workers, who had no idea of anything about her. Bit of a mystery, really. But we get to keep her. Keep her safe, love her, raise her. So, I think it worked out. Is that bad?" James whips his head up, like his words surprised himself.

You chuckle lightly, "A little."

"What do you think we should name her?" You ask, eyes flitting back down to her. She's fallen over into sleep, blue irises gone from the world and you feel a tinge of sadness. You miss the bright blue of them, already. She's huffing softly, lips parted cutely. There's something magical about the way she's captured your heart in ten minutes flat. She might have magical powers, after all.

"Not sure. We can think on it. Our meeting with the ministry to officially adopt isn't until Monday." James speaks softly, in awe of the sight of you both.

You nod, "We better ring for Sirius and Remus, send them off for a cot, and then coax them into helping us build it."

You hand her over to James, he takes her, and then make for the phone. James stops you when he speaks, voice an amused whisper, lips pressed to her head, "They're already on their way."

"You knew I'd say yes."

"I knew you'd say yes. How could you not? Look at her." James is all honey voiced as he coos and holds the baby up for you to see and you melt.

She's the cutest thing you've ever seen. You're in awe. She's got your heart, well and truly. It's a strange feeling, to have such adoration for a human so small, who you've only just met. But you know you'll lay your life down to protect her. You'd do anything to make sure she's safe. She promises love, in the darkest time. You can already see the difference in James since returning home. He's lighter, full of smiles, gentle, happy. Usually, after missions, James is dark and brooding. He's filled with a darkness that only being a soldier can bring about.

James is looking at her so lovingly it makes you want to cry. She's happiness, and love. She's-

"Hope." You say, the ghost of a smile on your lips.

James looks up, brows furrowed, a question.

"Hope Potter." You affirm, tears in your eyes.

Your heart fills when James leans forward, presses a kiss to your lips, careful not to jostle Hope, "I love it. I love you."

"I love you. Both."

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tomriddleslove · 3 months

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Pt 2 - The one that you want.

✩Theodore Nott x Reader

Pt 2 to Hey, trouble (DELETED)

Summary: The one where just as things are beginning to look up, everything comes crashing down. Alternatively: Tension, Fluff, Angst.

A/N: This fic was written very sleep deprived so I ask you to bear with me. The second part is my favourite so just stick with it.

Songs: The Way - Mac Miller, Ariana Grande

Lover, you should have come over - Jeff Buckley

Promise - Laufey

NOTE: I accidentally deleted my account and did not have the first part of this mini series saved! I will probably rewrite it but there is some context you should know, so i’ll try summarise it as concisely as possible:

You and Theodore used to be really good friends when you first joined Hogwarts. Naturally, as you both got older, you changed slightly. Theodore came back one summer and he seemed completely different, he was not only incredibly handsome but he had generally flourished as a person. The girls all loved him and he found a new set of friends, essentially forgetting about you. Time skip a few years and you become friends with Pansy, and the rest of the group. Theodore greets you as though nothing has changed. You habour a lot of resentment to him initially, but realise you really do love chilling with the group and so you set it to the side. In the fic, you’re at a party and you head up to the roof. Theodore appears and you chat for the first time in ages. It gets a bit tense when you subtly call him out but you try brush it off as a joke. He noticed you at their quidditch practice earlier on in the day with mattheos number painted on your face, and he sounds a bit jealous. You assure him it was only for jokes, though you’re confused as to why he’d be upset. Theodore (internally ) alludes to loving you and you’re both emotionally stunted idiots in love.

AND that brings us back to now. Enjoy xx

Friday had finally come, and you couldn't think of a word that could place just how relieved you were feeling. Don't get it wrong, you hugely valued your education, and took pride in working hard, but at the end of the day, there's only so much history of magic one could tolerate before their brain tuned out. The surprise quiz you took in class today told you that you had reached that point many months ago. But it was ok, that was an issue for the future.

You click open the door to your dorm room, tossing your bag haphazardly to the side as you undo your tie, pulling it loose with a groan of relief. Pansy is sprawled out comfortably on your bed because apparently, yours was comfier (they were the exact same thing, she just couldn't be bothered to make hers in the morning.)

You flick a strand of hair that fell in front of your face with a dramatic sigh as you flop down onto the bed, lying perpendicular to Pansy as you rest your head on her lap. She has a half smile of amusement as her hand comes down to pat your head, eyes trained on her book. You raise a brow and shuffle up slightly to catch a glimpse of what she was reading.

You see the word ‘shaft’ once and that's all you need to see as you gasp with fake indignation.

“Pansy… Whilst I'm sitting here?” You groan and she grins, her face slightly red as she shrugs, shameless.

I mean, come on. You weren't a stranger to smut, but right in front of you? You grab the book from her hand and toss it across the room.

“None of that whilst I'm here. Your amazing and beautiful friend is vying for attention so focus on me.’ You say and she playfully rolls her eyes as she lies back on her bed.

“It's disgustingly hot. I can't be bothered for this year anymore. The days are as hot as hell depths and the evening has me freezing my nonexistent balls off.” Pansy moans, and you hum in agreement.

You’re grateful for your friend and her seemingly never-ending talent of speaking because you currently couldn't even muster the energy to speak.

“Do we have to go watch the boys today? Lila told me Madam Pince has charmed the library with a cooling spell. We could go there instead.” Pansy says, sitting up, and the idea is incredibly tempting. You live for nothing more than to get out of this dastardly heat, especially in the comfort of the library (Pansy and yourself had mastered the art of smuggling snacks in. The key was in making sure you triple-checked what you bought in, which you learnt after Pansy had accidentally sat on a Fizzlebees Exploding Sherbet last winter. The poor 1st year who had sat next to you was sure that there was some kind of attack and leapt under the nearest table.)

The mention of practice has your mind thinking back to your most recent encounter with Theodore. Just thinking about it again elicited that strange feeling in your stomach. You were, perhaps, close to a path of redemption (though it was more Theodore redeeming himself.)

With a sigh, you shake your head.

“We promised them we'd come. Besides, imagine the absolute havoc Mattheo will cause when he finds out we ditched for the library of all places. He would get us banned for a month, at the very least.” You say, and Pansy grumbles but ultimately knows you’re right. She sighs, muttering.

“Yes yes, I suppose you're right.” She begrudgingly admits and you grin, sitting up. You walk over to your closet, looking for something else to wear as you felt as though you were positively melting in your uniform. You flick through your closet, cursing the endless void that conveniently was full of sweaters and thick jumpers now summer has come. You dig around and find a pair of black denim shorts towards the back. You don't even know when you got them, but they fit and they'll do the job. You're thankful for the fact that you love the feeling of freshly shaven legs on your bedsheets, because heaven knows you would not bother to shave your legs for a man. You manage to find a green shirt, and you slip it on. It's nothing special really, but you weren't dressing up for anyone. You were long past those days now, you found that it was lovely not giving two shits. Pansy called it alarming, but you liked to think of it as… eclectic.

Pansy brings over her signature red lipstick (which you're sure only she can pull off) and holds your cheek in place to draw a number 10 on it, as standard practice. You reach up to grab her hand.

“Wait. Do 7 instead.” You say. She widens her eyes slightly and wiggles her brows as she looks at you.

“Oh? And why is that?” She probes and you playfully swat her, rolling your eyes.

“Theodore just asked me to. Besides we shouldn't inflate Mattheo's ego too much.” You respond a bit too quickly, and she has a shit-eating grin on her face. Pansy knows you well though, and she knows probing any further will only give her a stinging hex and nothing more, so she simply looks at you with a pointed look as she draws the 7 on instead. You watch as she traces the number 7 on her face too, adjusting her hair as she pouts and blows a kiss at herself in the mirror. You pointedly roll your eyes to tease her and she throws a pillow at you.

“Alright alright, you humble lady. Let's go.” You muse, holding your arm out. The two of you link arms as you descend down to the quidditch pitch. The sun is shining blazing down on you, and you feel uncomfortably hot and sticky within a few seconds of being outside. You truly weren't built for warm weather.

The grass on the pitch is a beautiful rich green and the sky is so picturesquely blue that it seems more like a postcard as opposed to real life. You imagine that this must be their favourite season; you had entertained the idea of watching one match in the winter season and immediately stopped after a gust of wind sent a bird flying into the girl sitting above you (You were sure it had given her that scratch on her cheek.) You couldn't cope with watching a match in such harsh weather, and you couldn't even begin to imagine how it must be to play in such conditions.

Idiots, really. They brought it on themselves. They definitely came to that realisation when they would be dragged out of bed at 5:00 am to go play in the freezing cold whilst you remained blissfully asleep under your warm covers.

You clamber up the stairs of the stands and curse under your breath. For all the beauty and wonders the wizarding world had, was it really that damn hard to have a few escalators here and there? You wanted to watch a practice game, not train to have the thighs of Hercules. You finally reach the top and shimmy down the benches with Pansy, leaning against the railing, The team was already up in the air, circling around whilst tossing the ball to one another. For all the grace and elegance Draco exuded on the ground, you couldn’t help but snicker when you catch the sight of him looking like he had slathered himself in red paint, all sweaty and grimacing; strands of his blonde hair clinging to his face.

“You alright up there Draco? Mummy forget to send you some sun cream?” You call out teasingly, and he sneers at you as Mattheo cackles, swooping down on his broom to greet you and Pansy.

“There they are!” Blaise says, a small grin on his face as he flies down to your level, joining Mattheo. You don’t even have the time to greet him because a loud gasp escapes Mattheo's lips, his hand coming out to grip your chin, tilting your face to the side.

“Traitors!” Mattheo says, eyes flickering between Pansy and yourself. You can't keep the grin off your face as you pry your face out of Mattheo's hands.

“Oh come on Mattheo. We love you all equally and need to express that love as such.” Pansy drawls, a taunting grin on her face.

“Fuck off, I'm the only important one,” Mattheo responds, puffing out his chest as he points to himself.

Blaise has to hold back from rolling his eyes, looking over at you exasperatedly. You exchange a glance with him and you feel your lips curl up into a small smile as you stifle a laugh.

“This was your doing! What did you do to them? Now I'm going to play like shit!” Mattheo whines, as he turns to look up at Theodore.

Theodore.

Your eyes flicker up and sure enough there he is. And god, how dare he look so good in this disgusting heat. His eyes are (and you have the feeling they were like that for quite a bit) trained on you, an unreadable expression on his face. He keeps his gaze on you, and you're sure at that moment he was trying to seduce your soul or play some stupid kind of mind tricks on you to have you thinking of him all day (it was working.)

His lips curl up into that godforsaken smile that borders on a smug little smirk. It has you embarrassingly weak in the knees and suddenly you're very glad it's hot, for you could blame your red cheeks on the heat. He flies down, tearing his gaze away from you as he comes close to Mattheo.

“Come on Mattheo, I’ve got an audience so I need to make sure I beat you embarrassingly quickly today,” Theodore says, egging his friend on.

“Yeah fucking right,” Mattheo says, turning to Theodore as the two engage in the most awful, embarrassing trash talk. You and Pansy exchange a glance and the two of you side-eye them with disdain.

The simple mind of boys managed to amaze you every time. Their attention span was impressively short.

Proving your point, Mattheo flies up to poke fun at Draco and Lorenzo, who both didn't seem to be holding up too well with the heat. You lean your elbows on the railing and stiffen slightly when Theodore flies up next to you. He hovers on his broom mid-air, resting his elbow on the railing in front of you. His face is incredibly close to yours, analysing your face with those sinful eyes of him which should be illegal because

Fuck, you were deprived.

“You wore it.” He says, and he sounds oddly breathless. You were assured by Blaise mere minutes ago that they had barely started practising.

Why did it seem so hard to speak? Why did Theodore seem so surprised? Why did you feel so bashful?

“You asked.” You respond, and his eyes search yours for a second before a smile tugs at his lips. His hand reaches out to cup your face, tilting it to the side as he looks at the 7 on your cheek.

Was this all it took for Theodore to touch you?

You’d have to start drawing 7 everywhere.

His fingers brush against your jaw, and you let out a shaky breath as his thumb runs along your cheek.

His touch leaves a fiery trail in its wake, and you are sure he has to be doing some sort of nonverbal magic because you feel as though you are going crazy. You resist the urge to let your eyes flutter shut because Theodore Nott simply has that effect.

He turns your head back and you stare at one another for a second more before he pulls back, and your mouth feels awfully dry.

“Mattheo smudged it.” He says, and his voice sounds slightly strained as he says so. You can't keep the corners of your lips from lifting slightly as you nod.

“Right.” You breathe out, looking at him. He grins, and this time you have to be sure you have not secured yourself a one-way ticket to the Janus Thickey Ward of St Mungo's Hospital for Magical Maladies and Injuries, because you swear his eyes flicker down to your lips for a brief second before he leans back like he's been forced to do so, wordlessly looking at you once more before he grips the broom with one hand, effortlessly flying up to start practice.

You don’t even have the time to process whatever that was because your ever-eloquent and insightful friend speaks the very thoughts running through your head.

“What in the ever-loving fuck was that?” Pansy utters, eyes wide as she stares at the spot where Theodore was standing.

Amen to that, Pansy. What in the ever-loving fuck was that?

Your hand hovers over your cheek, ghosting over the place Theodore had just touched.

You part your lips to say something, but can't even formulate the words, and Pansy recognises that.

“Holy Shit! He- That-” She says, hands grabbing your shoulders as she shakes you. You're ashamed to say you needed it because you were sure you were dreaming.

“What's going on between you two? First, you’re wearing his number to the match. Then he's practically eye fucking you and you're both literally about to make out.” Pansy babbles and you roll your eyes at her dramatics.

“Oh calm down, Pansy. He barely looked at me, and he was just fixing it because Mattheo had smudged it. There's nothing going on.” She says and Pansy narrows her eyes.

“Oh yes, and I’m fucking straight. We both know that's a lie.” She deadpans, and you shake your head with an exasperated smile.

You couldn't tell whether you wanted to crack up with laughter or strangle the shit out of her. With Pansy, the line blurred more often than not. It’s why you loved her so dearly.

“Genuinely Pansy, nothing’s going on between Theodore and me. We used to be really good friends. That's all.” You say, with a tone of finality. She sighs, mumbling under her breath.

“….Painfully obvious”

“Both know that's a lie…..”

“Hopeless idiot…”

You shoot her a glare at her mumbling and she returns the sentiment with a pointed smile, enough to make you roll your eyes with amusement. You rest your head on her shoulder as the two of you watch the match.

The day Theodore had walked past you like you simply didn't exist was the day you swore to yourself you'd never, EVER, let yourself be good friends with him again. You stuck to your word always, yet this was proving to be one time where you didn't.

You prayed you wouldn't regret this, but alas, the universe is cruel at times.

The news of Draco’s father cancelling their annual summer holiday trip came surprisingly as great news to your groups as you all lounged in the library (which was as packed as it had ever been thanks to Madam Pince’s cooling charm. You all begged her to teach you the spell but she refused, and you were sure she kept it hidden to make sure people came to the library. Luckily for the group, you were one of the most conscientious students in your year, so you'd all get away with things due to the teachers favouring you greatly. A few other groups were kicked out immediately.)You all sat in a cosy arrangement in the far back end of the library. Pansy sat on the floor beside you, whilst you lounged in an armchair, feet thrown over one arm. Blaise sat on the other arm of the chair, with Draco and Theodore sitting opposite you. Between the armchair and sofa facing one another was a third sofa and a small round table. Mattheo and Lorenzo sat on that third sofa. Lorenzo stretches, sprawled out as he props his feet up on the table. You reach out and slap him with the book you were reading, and he cowers sheepishly as he puts his feet down.

“I was looking forward to summer in Versailles,” Draco complains, and you sigh. Would be nice to be able to go on such trips.

“Actually…” Pansy says, sitting up as though she’s just had an idea. Knowing your friend, you can't help but feel terrified about what's about to come out of her mouth.

“My parents have a beautiful holiday home down in France and they're going to Australia this year, so it's not being used. Why don't we all spend a week there?” Pansy says.

It's actually a very clever Idea, and a chorus of murmurs of agreement and nods echo throughout the group.

“That actually sounds good” Lorenzo says, and Blaise hums in agreement.

“I have family who live in France so they could sort out travel for us when we are there. I'm sure I can go.” Baise says and Pansy claps her hands excitedly, rubbing them together like some kind of evil genius (sometimes you were sure she was.)

“Draco, Theo?” Pansy says, and the mention of Theo's name has your eyes flickering up from your book. He's looking at you but the second your eyes meet he quickly looks at Pansy and nods, clearing his throat.

“Huh? Oh, uh- yeah.Sounds good.” He says. You lightly smile to yourself as you look down at your book.

“ I suppose I’ll tolerate it.” Draco sighs, and a chorus of groans escapes the group at his melodramatic behaviour.

“Oh piss off Draco, just admit you like us,” Mattheo says and Draco scoffs.

The boys very quickly once again get into a semi-play fight, and a stern hush from Madam Pince as she glares at the group of you sends them both sheepishly quiet. She walks away and it’s your turn to glare at the two boys.

“She may like me now, but if you two don't shut up she sure as fuck won't, and ill set your robes on fire if you force me to get through the summer whilst being banned from the library.” You spit, scolding them.

Mattheo and Draco both look down like children being chastised and Blaise has to hide his amusement as he nudges your shoulder, getting up.

“Right well, that's our cue to leave anyway. Have the real match tomorrow so we need an early night.” Blaise says. One by one everyone gets up, Pansy pushing off the floor with a sigh as she dusts down her skirt.

She turns to you, raising a brow.

“You coming?” She asks, holding a hand out and you look up, shaking your head.

“Nah. Gonna stay here for a while. Finish reading this.” You say, holding up your book with a weak smile. Pansy shakes her head with a smile, ruffling your hair (much to your dismay).

“My little neek. Have fun!” She says, and you flip her off at the comment. She grins, blowing a fake kiss back at you as she manoeuvres past the wooden bookshelves and out of the library.

You sigh and feel as though you're sinking further into the plush armchair, a pillow held to your chest as you read your book. Everything about the library was so pleasantly calming. The dim lights that cast dancing shadows of the book spines across the wall. The bibliosmia that you inhaled deeply as you lay for what felt like hours, reading whatever you could get your hands on. You’re so caught up in the allure of the library (Pansy might have a point, you definitely were a neek), that you don't even notice the presence of someone coming to sit down on the sofa next to you until the sound of the leather cushions sagging under weight draws your attention up from the pages of the book.

Seriously? Were you actually that oblivious? It was extremely alarming if you were.

You look up and see Theodore moving to take a seat on the sofa next to you. He stretches out his legs, his large frame suddenly making the space seem a lot smaller.

“Hey.” He says, and your lips quirk up in a smile as you speak.

“Hey,” You respond, folding the corner of your book.

“What are you reading?” Theodore asks, and you raise a brow.

Did he really have an interest in the book you were reading? A few years ago the Theodore you knew would never touch a book (though he would listen to you ramble on about them for an hour.)

But Theodore has changed, And so have you. He’s no longer the Theodore you knew, and the reminder turns the feeling in your stomach unpleasant.

You hold up your book, weakly smiling as you show him the cover. It was rather beaten and bruised, but you had owned this copy since your first year. You’ve reread it more times than you can count.

“Little women,” Theodore says, a small smile of recognition on his face. He remembered you, always walking around with that book. Theodore couldn’t comprehend what half the words in the book meant, but he remembered hearing you talk about it and thinking you were truly the most incredible person he had ever met.

That hadn't really changed.

“Mhmm. Must be my 5th time rereading it this year.” You say, with a small smile, and Theodore lets out a low laugh.

He's looking down at the table, and you admire the way the dim light dances along his features, making them look surprisingly soft.

“Love Jo all your days, if you choose, but don't let it spoil you, for it's wicked to throw away so many good gifts…” Theodore starts, gaze trained ahead.

“......because you can't have the one you want” You finish, quietly.

Theodore's gaze drops to his hands, fiddling with the threads on his bag. The air is thick with unspoken words. A quiet dance of regrets lingers in the spaces between your words.

"Little Women," Theodore repeats, his fingers tracing the zip on his bag. "I remember how you used to quote passages from that book like they were sacred verses. It was almost like a religion for you."

You can sense the undertone in his words—the acknowledgement of a shared past that now exists as a distant echo.

The silence that follows hangs heavy.

You shift uncomfortably in your seat, the worn pages of the book suddenly feeling like a fragile shield against the currents of emotion. Theodore's eyes, once familiar and comforting, now carry a hint of regret and a touch of something unsaid.

"Jo March was always your favourite," he continues, his voice soft, almost hesitant.

“Still is,” you say, and he nods, looking up at you. His smile is tight-lipped, and you fight the urge to reach forward and massage the furrow of his brow. He reaches into the side pocket of his bag, pulling out a book.

Little women.

You frown as you take the copy from him, flicking through it. There are scribbles and annotations all over the pages.

You hate the way you instantly recognise his handwriting - another testament as to how Theodore was weaved into everything you did.

Theodore takes the book back, his fingers lingering on the worn cover. He opens the book, thumbing through the pages, his eyes fixing on the annotations.

"I've been reading it," he admits, his voice a low murmur. "Annotating it. I wanted to see it through your eyes, to understand why it meant so much to you."

You watch him, and your heart clenches at his voice. At his eyes, At the way he speaks, and the way he keeps his head down. The realisation that he held onto this piece of you, even as you both drifted apart, is enough to send you into a spiral.

"I see you in these pages," Theodore continues, his gaze locking onto the annotated paragraphs. "I see you in between the lines, and in the words. I see you in Jo, I see you in the witty comments. Every time I read this, It's like a piece of you is still here with me."

A lump forms in your throat, and you swallow hard, trying to push back the tears that threaten to spill over.

Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry. Don’t cry

“Every time I read these words, I feel like I'm back with you, even if just for a moment." He admits, looking up at you.

The devastation in his eyes is surely mirrored in your own.

You want to cry. You want to shout, because how dare he sit here, and speak of you with such reverence, and act like he cares for you when he had forgotten about you so easily? How dare he say he sees you in everything he does when he looked right past you when you stood in front of him?

How dare he act like he missed you when he didn’t?

You can't say anything. You physically can't, because every time you open your mouth it hurts. Grief clings to the pipes, scratching at your throat. It restricts your breathing, it gnaws at you.

Theodore looks at you and clears his throat, quickly looking down. You fail to make out the fact that his own eyes are threatening to spill with tears, as your own teary eyes cloud your vision.

It was always like that with you and Theodore.

Amid your shared tears, the unspoken suddenly becomes the unsayable.

He gets up, and he can't bear to look at your face because every glance of those tears in your eyes eats away at his heart. He grabs his bag and throws it over his shoulder, rushing out for fear of what you might say.

“See you” He murmurs, walking away. You can’t tear your gaze away from where he walks away even as his form disappears, and you swear the boy had taken part of your heart with him.

The quote “Fate was a cruel mistress” Never made much sense to you. Fate was beautiful even in its destructive nature. Fate was unstoppable, she didn't wait for anyone or veer away. You used to admire that about her. You found it to be a beautiful thing. Of course, it's because you also believe that fate would only wait for you. Wait that one extra second. Then, perhaps, Theodore and you would be on the same path. Instead, you were two, walking the same path only a heartbeat apart. As if time itself conspires to teach that love can occur in the same book, but pages apart.

You cannot love the beauty of her tenacity and cower from it too.

#harry potter #slytherin #tom riddle #theodore nott #theodore nott x reader #theodore nott x you #theodore nott x y/n #theodore nott fic #lorenzo berkshire #mattheo riddle #draco malfoy #blaise zabini #pansy parkinson #slytherin boys fic #slytherin boys #theodore nott angst

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yangsharperavery · 10 months

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my carmy/sydney related thoughts on season 2

i think when digesting this show, it's done more easily when we see who carmy and sydney are as people and how they bring that beingness to their dynamic.

it's interesting to see the takes from people who are troubled by what they saw in this season in terms of their relationship.

i personally thought there was so much fascinating groundwork that was laid.

we knew when molly gordon was cast they were likely trying to introduce a love interest for carmy.

i was not shocked, i was not surprised. i literally expected it.

doesn't mean i wasn't rolling my eyes but i was well aware of what function she would play within the narrative.

but the writing is so sharp that there are a million subtle elements of carmy's character, and what we know about him up to this point, including what was illuminated by the christmas episode.

let's first talk about carmy's choices and behavior where it relates to claire vs sydney and the restaurant.

we know that carmy is awkward, isn't incredibly relationally experienced and has sacrificed everything for his career and specific level of skill.

he'd just been ruminating on expanding his experiences as expressed in the al-anon meeting.

we know this man is intensely grief-stricken and also that he's battling his own mental health.

we also know he's literally been bred from chaos and emotional tumult.

even him not going to his own brother's funeral makes so much sense after that christmas episode.

he couldn't stand to witness what that type of grief had done to his already deteriorating mother.

so he's trying to conceptualize fun.

notice he wasn't trying to conceptualize love or relationships or a partner.

it was literally presented and integrated as fun.

so he runs into this girl he used to a have a crush on and even then, he's not sold because he knows himself, he knows his priorities, his propensities toward self sabotage, etc so he gives her a wrong number.

yet she persists.

so to me, this may seem like a sign to him to give this a chance, do some exterior exploration of something outside of the kitchen and outside of his career and outside of his own neurosis.

so he's just going with the flow. trying to be "normal". not really knowing the content or context of anything. another reason why he wasn't even calling claire his girlfriend.

claire even brings up the fact that they'd hung out so much but didn't actually talk.

which is SPOT on because the audience only actually ever sees them talking about their careers or what they were like as kids/teenagers.

but you know who carmy DOES talk to? hmm, more on that later.

so claire is symbolic of this thing that was pleasant when he was younger, when he was less of this grown conglomerate of anxiety and disarray and sorrow. a part of him that's separate from all of his current worry and fixations and dysregulation.

him saying he loves her so much and that he thinks she's so great actually rings hollow because we, the audience, didn't actually get to see when and where that level of specific emotion or intensity occurred.

so off rip i don't believe him. i don't think about it in the context of if or when he and sydney explore anything, because it feels patently untrue to me.

and completely separate from sydney.

it's not earned. it's not rooted. it's not tacitly valid.

it's fine. it's a good time. it's some laughs and conversation and sex and a nice, normal person he has fond, nostalgic memories of.

and i think it's written that way on purpose!

so him professing this to other people feels like this way to continue digging a hole of his own distraction, his absence, his lack of attention to detail.

i completely understand the frustration that many feel about interpreting this like carmy was essentially choosing claire over sydney.

carmy was trying to have an unfamiliar and different experience and didn't have the depth perception, the self awareness and the internal regulation to recognize he was doing it to the detriment of something so deeply and irrevocably important to him.

as soon as sydney brought it up, he got defensive but then moments later recognized his errors and apologized.

she told him she didn't want to share his attention.

he told her she was absolutely correct and that she deserved his full focus.

what's fascinating about this part is they aren't even explicitly talking about the restaurant.

she says "me" and "i", he says "you".

uh. wow.

now even in the context of JUST the restaurant this is saying ALOT here.

him instantly apologizing and agreeing with her requests means a substantial amount.

carmy isn't an ass because he stood sydney up for the palate cleanser. or even because he went absent when he shouldn't have.

carmy is deeply troubled and wounded and suffering and he was grappling for something else to feel or do or think about besides what he's ALWAYS thought about and done and fixated on.

that's why he's unreliable, that's why he's haphazard and emotionally or energetically messy. he's coping.

that's why he knows he makes mistakes all the time. because he feels like he's a screwup in a lot of specific ways in his life so he's used to it.

he's not being malicious or cruel or even unkind to sydney.

and this isn't an excuse. it's a reason. it's what all the information we have about him up to this point is providing us.

and yes, his timing is godawful.

but he trusts this person so implicitly because he knows how talented and capable she is.

carmy does not know HOW to be a partner, of any kind. where would he have learned that? where would that have been modeled for him?

"this is what you wanted originally and i'm giving it to you."

so let's transpose the way carmy and claire are presented with how carmy and sydney are together.

he literally can't WAIT to hear what sydney has to say. about literally anything.

at any given time.

"say more please."

all he wants to do is listen to her talk. he wants to know everything about her. the personal stuff too, almost especially.

he listens to her so closely. in the first or second episode she loses her train of thought and he repeats everything she just said.

i don't even think it was restaurant related.

he brings up her mother not once, but twice.

he feels like he should have known that sydney lost her.

he wants to pour into and believe in her because he does. he already does.

he's ready to apologize to her because he knows what a mess he can be and often is.

he knows what his anger can do. he knows how he was conditioned and raised in the industry and he doesn't want that at all for her, least of all from him.

especially after she walked out last season.

he's hyperaware of it. he calms down instantly both times she does the sign for sorry that HE taught her.

he has this propulsion to NEED to know what's happening with her in the very moment something occurs.

he did it last season when she quit on the spot and he kept trying to talk to her when she was leaving.

he did it this season when she was frustrated and trying to say goodnight after carmy was actively telling everyone goodnight and to go home, yet he tried to talk to her when she was leaving.

"what?"

"i'm saying goodnight."

he was repeatedly ushering everyone out but because of the look on her face, carmy's like wait, "what's that about, what's happening?"

he can't stand it!

same with them outside last season when he brought her food and asked what was wrong.

if something is up with her, he reacts immediately.

if she's peeved, he wants to know why right away, he wants to know what to do to make it better, how to approach it, what to say, he goes out in search of that information in the moment it's happening.

sydney is his soft place.

he feels very anchored and tethered to her and i believe she feels the same with him.

sydney is his respite. his peace. the thought of her literally calms and stills him.

her being energetically seats him.

we saw it penetrate his seismic and consistent panic in real time.

that was clearly displayed for all of us to witness.

he doesn't want to be cruel or unkind or anything other than present and communicative with her.

i'd venture to say he actually doesn't want anything more than that, besides maybe the restaurant to succeed.

now sydney is in her "i have something to prove" era.

she is so driven and so determined but she's also a realist and is inundated and surrounded by all this proof that what she's doing may be foolhardy.

at the very least, it's incredibly risky. it's a jump.

and someone deeply ambitious and creative and tuned in and focused like sydney has such fear of failure.

because she knows what it often means for someone like her.

that's why she overextends herself so continuously.

she's often had to and she thinks it gets her closer to the opposite of failure.

she was not only aware of the gaps carmy's absence was leaving but also planning this tasting menu with a MILLION things on it because something was gonna be the star because it MUST.

and i think the carmy absence flares a bit of abandonment as well, like he's left her in a lurch.

she has feelings about that.

she finds out why he did, and TRIES not to have feelings about that.

that's confusing and she's already beyond stressed out so she tries to stuff it.

her success is so tied to her identity because she's worked so hard to get where she is and still feels like she's not where she wants to be.

so she wrestles with worthiness and worry and the financial climate of affability for restaurants. she's riddled with what if she can't hack it?

she has evidence of that being true in the past.

she has evidence of her past failures and those are what keep her up at night, not the infinite possibilities of her future successes.

and that's also why she picked carmy.

because she was always going to pick the best.

she was always going to follow the career and moves of the standout in the industry.

of the person that made the best meal she's ever had.

so if he's anal retentive or jumpy or doesn't call about changing the structural elements of their restaurant while it's happening, she deals with it because she picked him.

she chose him. and then he chose her.

(and then she lightweight chose him again when she came back)

so that's why when they're talking he so often checks in by looking her in the face, scanning her expression. he instantly picks up on something being off or wrong or him being "shitty".

or why when they're under a damn table, despite being peeved or annoyed with his disappearing acts, she lets out the most vulnerable, softest admissions about the perceived necessity of her contribution and future failure.

or why he responds with "i couldn't do it without you" so instantly, so rapidly, it's like it's etched in him. that's the quickest response he'd given to anything she said to him the entire season, she barely got the words fully out before he was verbally soothing her.

then he STAMPS this by saying "i wouldn't WANT to do this without you."

there was such an unexpectedly, viscerally aching quality to that exchange.

it's honestly searing.

i'm sorry are these wedding vows or are we talking about opening a damn restaurant?

or the way he says "you love taking care of people" to her when she talks about making sugar food.

that's also a stellar mirrored moment because i've seen a few people, i believe @eatandsleepwell is one, talk a lot about how that's one of carmy's main drivers and internal tenants.

they see so much of themselves in each other.

the buried parts, the unknown parts, the odd parts.

the parts they wanna work on. the parts they wanna exalt.

they are so similar. they are also quite different.

they have reflected one another in the narrative since s1 ep1.

they exist so flawlessly within the others interstices.

she wordlessly hands him pepto for his stomach.

he tells her he won't let her fail.

the pulsing undercurrent of sydney and carmy is pretty fucking palpable.

there's people on social media who weren't convinced or didn't ship them last season that have suddenly completely seen the vision.

whether the writers actually go there or not remains to be seen.

i don't necessarily trust that they will or won't to be honest because i know there are so many moving pieces and variables and factors.

ships get bypassed and messed up all the time.

i don't watch any shows for ship guarantees but i know how writer's rooms work.

i'd venture to bet that at least 1/3 of that room DOES have an interest in seeing something happen between carmy and sydney, (maybe even 1/2).

or at the very least the option to have it explored.

different people write different episodes, the showrunner/creator can scratch or add whatever.

scripts are TIRELESSLY edited and shortened.

yet there is alot that makes the final cut that points to the potent carmy and sydney marrow.

him giving her the captain reigns before they served for the first time, her saying 'let it rip'.

to me, sydney walked into that failing sandwich shop with a mission that day, they locked eyes and immediately fused.

something happened to the both of them in that moment and they largely don't even realize or can adequately reckon with its magnitude yet.

#the bear #the bear fx #carmy x sydney #the bear spoilers #carmy berzatto #sydney adamu #tldr #this is literally a dissertation don't feel bad if you didn't read it all

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once-upon-an-animation · 2 months

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There are many things that frustrate me with the writing of Annabeth in the PJO TV Show, but I think one thing that I haven’t seen people talk much about is the mini-arc of Percy needing to help Annabeth with her sense of fun/humanity.

Just so we’re clear, I absolutely hate this arc.

Prior to the show’s premiere, I believe there was a quote from Rick discussing new-ish things that we’d see in the show, and one of those things was Percy helping Annabeth “tap into her humanity”. I can’t find the exact quote, but it should be on the series update Twitter account if you search it.

When I first read this quote, I wasn’t exactly sure what it meant, but I thought maybe we’d get an expansion of the theme of forgiveness that we got in the original books, or maybe we’d get an arc about Annabeth’s pride and how that gets in the way of her relationships with others. Or maybe they’d try and break down the ways in which Annabeth helps to uphold the gods’ ways of doing things, and align her more with the mortal point of view (which they essentially did, but not the overall point).

What I certainly wasn’t expecting was for them to strip Annabeth of most, if not, all of her smaller/softer traits, and give her this unusually stoic and stiff personality, where she suddenly has no familiarity with casual aspects of the mortal world (movies, Disney world, common idioms), and needs Percy to introduce these concepts to her in an effort to “unlock” her humanity.

What.

The.

Fuck.

Words cannot emphasize enough how much I despise this arc. Not only is it entirely nonsensical for Annabeth not to be familiar with these things (she was with her dad at least until the age of 7 and she goes to a camp full of other children who are regularly in contact with the mortal world; do you seriously expect me to believe that at no point in her 12 years of life, she never saw a single film, heard of Disneyworld, or heard common idioms and slang terms from her camp-mates? Seriously???)

But ALSO!

Book!Annabeth had PLENTY of humanity to go around! Even with her pride and initial coldness towards Percy, she plays hackeysack with him and Grover on the first day of their quest! She has a cute silly crush/admiration/infatuation on Luke. She nerds out big time over the St. Louis Arch! She’s the first to steal clothing from Waterland! She screams and cries when she encounters the mechanical spiders! She has an expression of sadness when she shares her backstory about Thalia and Luke! She gets lost in her little construction game at the Lotus, so much so that Percy has to use her phobia to pull her out of the trance! She grabs Percy’s hand when they first enter the Underworld because she’s scared! She tears up when it’s time to leave Cerberus!

And you stripped her of all these things, because you’re so desperate to overemphasize the Percabeth romance, and you felt that it was absolutely necessary to have Percy educate Annabeth on “unlocking humanity”??? Why!!!!

Not only did Book!Percy help Annabeth discuss things about bad parents and approaching forgiveness, but Book!Percy already had something important to offer Annabeth: loyalty, trustworthiness, and reliability. You didn’t need to take away her already-present traits and wits to convince us that Percy was the type of person she needed in her life, because we can already see what he offers her in the books. So why oh why did you feel the need to give us the silly “tap into your humanity” arc? Why did you turn her personality into something that it wasn’t? Why did you take away her depth just so her character could better serve Percabeth?

I don’t even necessarily agree with the criticism that this version of Annabeth feels like it prioritizes Percabeth more, but I can see why people made that complaint. Y’all took away so much of what made this character endearing, because you felt like it was a much bigger priority to have Percy help her unlock humanity than to let her be human prior to meeting him and outside of him. Not only does her personality get shafted, but her relationships with other people get shafted too! Her interactions with Luke are affection-less, she sent Grover off on his own in the Lotus so she could go off with Percy, and I don’t even think that she and Chiron interacted once this season; I don’t even think she mentioned the part about her calling him to come pick her up after she attempted living at home again!

But don’t worry; we’ll get plenty of scenes doubling down and tripling down on how Percy is the center of her world now! Yay!

#rick riordan #annabeth chase #percy jackson #pjo #percy jackon and the olympians #pjo hoo toa #pjo series #pjo tv show #percabeth #pjo tv crit #anti pjo #anti percabeth

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raisedbythetv89 · 7 days

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The writers I think mostly completely by accident with the assistance of James charming his way into becoming a main character created the perfect storm to ensure people who love spike would reach absolute peak levels of being completely obsessively deranged about him forever

Season 2:

He’s a punk rock villain with killer cheekbones, enchanting eyes, and an absolutely DEVILISH smile - who’s an incredibly dedicated and dangerous fighter who specifically seeks out challenging fights he’s not guaranteed to win (brave and reckless - normally traits seen in heroes) hates everyone except his mentally ill physically sick wife (the statistics of men who leave their wives when they get sick in the US is horrifying like nurses literally have to warn married women who get sick it happens so often) who he’s hopelessly devoted to and unbelievably soft with and always listens to her while also exuding a psychotic amount of sex appeal and is just F U N he loves being a vampire and he loves fighting and it makes it so much fun for the audience. While still showing how much he respects and admires his enemy for her skill, strength, resourcefulness, and intelligence - NEVER underestimating her just because she’s a tiny blonde girl - and instead of destroying the world for love he SAVES the world for love - a villain doing good to get the love of his life back who essentially dumped him for her ex????????? D E V O T E D and shockingly extremely trustworthy??? And has amazing chemistry with our heroine and is there for a pivotal moment in her life and is the only one there for her when she has no one else????? *enemies to lovers girlies ENTER THE CHAT*

Season 3:

He shows he fucking MEANS IT when he says Dru is the love of his life when he shows up in Sunnydale because he blames Angel not Buffy or Drusilla but the man actually responsible for all their problems and he is the most pathetic mess we’ve ever SEEN!!!! He’s crying and drunk all the time and he’s so sad he goes to Buffy’s mom TO TALK 💀😭 our pathetic sensitive little self admitted lover boy who KNOWS he’s love’s bitch and he won’t be pretending he’s anything otherwise who shows how clearly he sees and understands other people and the depths of his emotional intelligence so much so Buffy herself admits she can’t fool Spike she can fool her friends BUT NOT SPIKE OR HERSELF EXCUSE ME MA’AM WHAT???????

AND Spike doesn’t just uselessly MOPE forever he gets some perspective and is like I know what I’m gonna do to her back and I’m gonna go do that now! 😁👍🏻 showing he never stays down for long and is always gonna get back up to keep fighting for his love while BOTH he and Buffy still honor the truce even though he’s broken it by coming back??? While Buffy’s all “I violently dislike you” YEAH OK GIRL WHATEVER YOU SAY *enemies to lovers girlies chomping at the bit intensifies*

Season 4:

CLEARLY heartbroken about Drusilla (DEVOTED!!!) but it’s turned into anger and resentment directed at Harmony who how bizarre looks nothing like Drusilla but A LOT like Buffy…… hmmmmmmmmmmmmm HOW INTERESTING *enemies to lovers girlies are vibrating with anticipation that turns into a full blown combustion when something blue happens*

Spike doesn’t pretend to love Harmony in order to get what he wants from her (shown in direct contrast to Parker) he’s ironically very honest despite being a villain - he’s showing he’s STILL loyal to Drusilla in ONLY loving her even after she’s dumped him... again!

We see Spike treat Buffy the EXACT same way he treated Drusilla during something blue reaffirming THIS IS HOW THIS MAN LOVES WHEN HE LOVES YOU. He’s extremely affectionate, helpful, protective, caring - D E V O T E D - and is truly just the most certified lover boy we’ve ever fucking seen

Season 5:

SURPRISE HE’S SECRETLY A LOVESICK MAMA’S BOY POET AT HEART UNDERNEATH THE BAD BOY PERSONA AND A PROTECTIVE BIG BROTHER AND NOW BUFFY AND HER FAMILY’S MOST LOYAL DEFENDER AND IS WILLING TO DIE NOT JUST FOR BUFFY BUT FOR ALL THE SUMMERS WOMEN AND HE KNOWS AND SEES BUFFY SO DEEPLY AND INTIMATELY AND CAN HOLD SPACE FOR HER PAIN LIKE NO ON ELSE CAN AND SHOWS THE DEVOTION THAT ONCE BELONGED TO DRUSILLA NOW BELONGS TO BUFFY AND IT IS GOING NOWHERE EVEN WHEN SHE DIES AND WE'VE SEEN IN HIM CRY BEFORE BUT NEVER HAVE WE SEEN HIM BREAK DOWN LIKE HE DOES AT THE SIGHT OF BUFFY'S BODY!!!!!!!!!!!

*all of us screaming, crying, throwing up, climbing the walls and generally just losing our minds*

Season 6:

No soul, his love is so great for Buffy as is his loyalty and devotion to her, he now helps all of his dead love’s friends fight evil and is raising her sister and dreams of saving her every night for 148 nights 🤚🏻😭 don’t even fucking talk to me I can’t take it

Forgive the absolute 180 in tone change here:

Dick game is FIRE - his touch is the only thing that makes Buffy feel alive AND SHE WAS IN HEAVEN BRO SHE KNOWS WHAT IT FEELS LIKE TO BE IN HEAVEN AND SPIKE IS THE ONLY THING KEEPING HER GOING like damn girl yes YOU FUCK THAT HOUSE DOWN!!! Also he is now just naked 50% of the time just to drive us all even FURTHER out of our minds and somehow has just gotten even hotter as the seasons have gone on like this is what’s been hiding under the leather jacket all this time! Enjoy!

And THE MOST unintended consequence of jw’s vindictive writing:

SPITE

He clearly didn’t want us to love Spike and tried to manipulate us into hating him in such a blatant and clumsy ooc attempt all that did was weed out the weakest amongst the Spuffy/Spike fans until all that remained were us:

The most devoted and stubborn fans who REFUSED to have the thing they loved ruined or taken away from us and were smart enough to see through his bullshit manipulation attempt in the first place.

Genuinely they created the equivalent of supersoilder strength level fans with this absolutely lethal combination of events 💀

AND THEN as if all that wasn't enough he goes and gets his soul on purpose for Buffy so he can be the man she deserves and she can love him without hating herself for loving him despite the immense pain it will cause him which is the most selfless thing we have ever seen anyone do for Buffy only to be topped when he sacrifices himself to destroy the hellmouth, save the world and free her from Sunnydale!!! Plus ya know once he gets the soul even though he did it for her he never tries to use that as leverage to get anything from her like he truly expects nothing from her at all but still wants to help her and James delivers the most devastating performances we've ever fucking seen, finally tells her friends off which has needed to happen for 5 seasons, the "you're the one speech" him being a dad to all the potentials with Buffy giving us supernatural parent core who made it through their rough patch with their first kid in season 6 with Dawn and now are just the beautiful team with their found family and Buffy finally has someone who can truly carry her burdens with her and just all the tenderness and devotion they both deserve after so many years of pain and fighting. Basically giving the audience the message that even if you have a metric ton of pain and trauma there are people out there who see you and understand you and there is a chance for you to heal both together and separately to build your own version of a more normal and stable life. It's a message of such hope and I personally know several people, including myself who watched what Spike and Buffy have and it inspired us to look at the relationships we were in and realize we deserved SO MUCH MORE than what we were getting and in my case it turned out I was being emotionally abused and manipulated that entire time!! Much like Buffy was by both Riley and Angel. So it isn't an exaggeration to say Spuffy saved my life in a lot of ways both in being there for me at such a dark time and helping me draw a map of how to get out. Not to mention loving them in fandom spaces has helped me connect with so many people just like me who share very similar experiences and have helped me feel so much less alone and has helped me heal in so many ways 🖤

Spuffies get "hOw cAn yOu liKe sPiKe aFtEr wHaT hE dId" all the fucking time and truly the better question is how can you NOT like Spike???? HAVE YOU BEEN PAYING ATTENTION AT ALL??? DO YOU EVEN KNOW WHAT GOOD RELATIONSHIPS NEED TO WORK?? BECAUSE AT THEIR CORE SPUFFY HAS THEM ALL!

It's jw writing so NOTHING will escape his toxic bullshit but Spike - because he was hated by jw for so long - so much of the time when he tried to make Spike less popular he just kept making him better and more complex and more and more targeted to the female gaze which is exactly why he snapped and made the choices he literally forced everyone else to go along with despite their protests with that scene to make it the most traumatizing scene in all of Buffy history not just for the audience but for the actors as well because yes it is incredibly horrific and upsetting to watch (which is why I skip it on rewatches) but I still am able to see if for what it is which is a narcissist lashing out at people he hates because he hasn't been able to control them and too bad for him I refuse to be manipulated by his bullshit so it failed completely and made so many of us that much more stubbornly protective of Spike and his and Buffy's relationship not just from other fans but from the creator himself 🙃🖕🏻like he basically just trauma bonded us to Spike and Buffy which has led to the creation of one of the most devoted, loyal, intelligent fanbases who is absolutely unhinged (affectionate) with their love of this character and his relationship which is why we are all still creating and writing about this character 25 year later and show absolutely zero signs of slowing down or stopping 💀

#spuffy #spike btvs #meta #btvs meta #spike and buffy meta #spike btvs meta #spuffy meta #also every spuffy I know shares so much life experiences and personality traits with buffy herself like we are often making choices #and judgements about the narrative from the perspective of buffy herself & we’re all picking spike #so many people who pick other love interests truly so often rarely see buffy for who she is either #if you don’t get spuffy you don’t truly understand buffy herself

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starry-bi-sky · 4 months

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thomas wayne au excerpts - things that could've been part of a grander fic except there's no grander fic

thomas wayne au - an au i made last year where danny is literally just. thomas wayne. his full name was Daniel Thomas Fenton and he started going by Thomas Nightingale after he was disowned. because of course. here is a link to the first post if anyone wants to see a more in depth view of the au (its also the start of me using the ‘danny fenton is not the ghost king’ au lmao

additional info: bruce is the result of a failed cloning attempt from vlad - vlad used a combination of danny's dna and an unnamed girl (Martha's) to make him to try and balance out the ectoplasm use. this resulted in a slightly liminal but otherwise completely human and stable baby boy. Bruce is, by all accounts, Danny's biological son. Danny named him Bruce

Danny was 24 when he died, he took in Bruce when he was 16. He is, so far, a single father in this au. (But if I WERE to add martha she wouldn't be sam or a DP character but rather a separate character on her own.)

Essentially they would go as:

Martha, 19: water does terrifying things to corpses

Danny, 19, half ghost: *heart eyes* really? tell me more they're morticia and gomez your honor

---- Like starlight -----

Bruce's father could light up a room. He was like a sun, his gravitational field could just pull you in, and before you knew it you'd be orbiting around him like one of his many planets.

He's seen it in action before, in the rare moments Thomas Wayne would allow him to accompany him to the socialite events he went to; the fundraisers; the charities. Bruce, as tall as his father's waist, would cling to his leg and watch as people drifted towards him and his star-blinding smile.

It's fitting that his father's favorite thing in the world were stars, he fit right in with them.

As an adult, Bruce has tried copious amount of times to mimic him. To try and capture a fraction of that light, that charm, in his own act - but here's the thing. Thomas Wayne wasn't made of starlight only in front of the cameras, he was made of starlight outside of it as well.

(So when older socialites laugh and tell him he's so much like his father, Bruce just thinks they are liars. They've only ever seen the Thomas Wayne his father showed them, Bruce is nothing like his father.)

In the manor, whatever room he stepped into seemed to brighten, and maybe it was just Bruce's own child-memory fuzzing it to raise his father onto a pedestal, but he stands by it. His father was a solar system, his very own galaxy. Bruce was just the lucky planet that was close enough to orbit him.

--------- arrival time ------

Ancients, ancients, what the fuck convinced Danny to ever go to Gotham of all places? Crime Capitol of the world? He's not sure, but he's been wandering around the country for the last few months, swapping between flying late at night as Phantom, and taking the busses and trains when he had the money, and was too exhausted to fly.

And of course, what convinced him to come here with his kid no less, who was just at the cusp of turning a year old? Whose curiosity of the world was growing greater by the day? Who wanted to look around and explore, and was growing tired of being held at all hours of the day by his father.

But he was going to be held, at least for as long as they were in Gotham for. He didn't trust the stuff on the sidewalks, and he didn't trust the people walking on it. Bruce was tiny, and Danny would lose his mind if he lost him in a crowd.

In his arms, Bruce whined and wriggled, pushing at his shoulders in the signature way he did when he wanted to be let down. Danny tightened his hold, and adjusted his place on his hip.

"I know, bumblebee." Danny muttered, resting his chin on Bruce's small head. His hair was still thin, but it was dark and soft, and tickled his throat a little. "But not yet, I need to find somewhere for us to stay first."

He needed to find somewhere for them to stay, permanently. He couldn't keep living like this, and he couldn't let Bruce grow up like this either. Constantly moving, homeless, unsure of when he was going to eat next? It wasn't good for him. But he needed to find a city he liked, and after that? He wasn't sure. Where did he start?

But Bruce doesn't like his answer, he whines at him, louder, and his wriggling increases. He wants down, he wants to move. They were in a new place again, he wanted to explore. He's too little to fully understand what his dad's saying. "Dada." He said, his voice thick with the accent of a child first learning to speak.

"I know," Danny repeats, stressing the word as his eyes flitted about. There was a park nearby -- maybe he and Bruce could stop there for a bit. Bruce could move around, and Danny could figure out his next move.

It was getting dark, he didn't want to be out in Gotham when it was dark. Shuffling, he moved the inside of his jacket to wrap around Bruce better. It was getting cold, too. Last winter with Bruce had been hellish - Bruce's liminality meant that Danny's immunity to the cold hadn't been passed down to him. Danny had spent all winter terrified that Bruce was going to get sick and die. He didn't want to go through that stress again, especially now that Bruce would be moving.

He hoped they could find new living arrangements soon.

---- dniwer eht klolc - clockwork's conversation ---

Laughing quietly as Bruce ran out of the room, Danny turned his attention back to the mirror, his fingers curled around the knot of his tie. They'd been planning this outing for weeks since the movie was first announced, and Danny wasn't going to let anything ruin tonight.

Humming under his breath, his hands fell from his tie and he steps back. They were leaving in half an hour, at best, but experience from the last six years has taught Danny that he wants to be ready before then.

In his reflection, the clock behind him stops ticking, and a wave of nothing washes over him, a subtle shift he's gotten used to that was the sensation of time stopping. Ticking, soft and coming from all four sides of the room, filled his ears.

Danny's smile drops. And behind him, Clockwork swirled into existence like a blackhole reversing its pull. "Don't go out tonight, Thomas." He says, his voice stern.

That wasn't happening.

He reaches up to push back a loose strand of hair out of his face. "Does something happen to Bruce, Clockwork?" He asks, his voice deceptively calm. That would be the only reason he would postpone tonight. If it endangered Bruce, then he would just have to break the news to him that they'd have to go tomorrow.

In the reflection, Clockwork's lips thinned, pressing together tersely. He looked tense, the grip on his staff was tight, tighter than Danny's seen it before in recent years. And it worried him a little.

Clockwork is silent for a few seconds, hesitant, before he finally speaks. "No, Bruce will be fine." He says, and uncharacteristic of him, he shuffles, "But--"

Ah, good then. Danny's smile returns briefly across his face. Then it could be something Danny can handle. "But nothing then, Clockwork." He says, interrupting the Ancient firmly. He leans back slightly to look over himself again in the mirror, before going to undo his tie. He's changed his mind about it.

"Boo has been looking forward to our movie all week, I'm not crushing his hopes by changing my mind last minute." In just a few seconds the tie was off his neck and tossed onto bed behind him. And Danny was reaching over the dresser beside him to grab a pearl necklace, he normally didn't wear it, it belonged to Mrs. Wayne and he inherited it after she and Mr. Wayne passed away last year. It wouldn't hurt to wear it for a special occasion like this.

Clockwork's lips tightened, and his shoulders tensed up. "Thomas," He says lowly, "Please."

...Clockwork never said please. Danny's never heard him say please in the last ten years he's known him. This... must have been pretty serious -- but, his core tugged at him. He couldn't cancel without finding the reason why. Bruce was so important to him, Danny couldn't break his heart with this without learning why. He wouldn't allow it, and neither would his core.

He hooks the necklace around his neck and turns to face Clockwork, frowning deeply. "Does something happen tonight?" If he knew the reason -- he just needed to know the reason.

Clockwork stares at him, and something that Danny can't catch appears across his face. "...I cannot tell you." He says after a long moment, his voice quiet.

That... is not the answer Danny wants. He won't cancel.

He frowns. "If something happens tonight..." He says slowly -- Clockwork said that Bruce is unharmed. That must mean Danny was able to handle it. He allows himself to smile reassuringly, and he steps forward to clap a hand on Clockwork's shoulder. "Then I will handle it, alright? I promise."

He gets no response back. Clockwork's expression unreadable as he nods silently - Danny's anxiety curls in his gut. He's being so unlike himself. But he shakes Clockwork's shoulder gently and steps around him, leaving the room.

After a minute, he feels time return to normal.

#dpxdc #dp x dc #dp x dc crossover #dpxdc crossover #dp crossover #dpdc #danny fenton is not the ghost king #dc x dp #dp dc #dp dc crossover #dc x dp crossover #danny is thomas wayne au #danny calling bruce 'bumblebee' >>>>>#he adores his kid man. absolutely loves him. he'd give him the world on a silver platter if he even so much asked.#dont have many tag thoughts for this au unfortunately. its pr straight forward considering danny is going to die when bruce is eight #left the movie they went to see pr ambiguous since mark of zorro came out in 1940 #only thought of it now that danny wore the pearls as i was writing this. just for the extra reference to canon #single dad danny #martha and danny would fall in love with each other via hyperfixations. they'd be engaged by the time they died.#their wedding would be in a month - little bruce was gonna be ringbearer at his dad's wedding :) and he'd already be calling Martha mom #danny: CW said bruce was unharmed tonight so everything will be fine :) i will handle it.#danny: dies and becomes a whalefall - and thus incapable of returning as a ghost to watch over bruce #yeah clockwork meant physically unharmed. he was in pain while talking to danny - his boy was gonna die tonight and he was never gonna see #him again bc danny wasnt coming back as a ghost.

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writersneedreblogs · 3 months

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So I’ve read Zayne’s anecdote 3 and oh my fucking god

SPOILERS

The man has yearned like a man has never yearned before. It’s hard for me to grasp the depth this man has in his love for mc. He’s awkward with her but this man has dreamt for YEARS of being the doctor she loves that he essentially planned his life to make sure it happened.

The fucking watching the doctor tv shows, the jasmine plant, the clean bench in an abandoned garden THE GUIDE BOOK destroyed me he was living in bad conditions but it feels like the only thing that kept him going was him becoming the doctor that got her love at 27.

THIS EMOTIONALLY UNAVAILABLE MAN WANTS TO LOVE AND BE LOVED SO MUCH ITS SO FUCKING SAD.

HE DOESNT CELEBRATE HIS BIRTHDAYS ANYMORE BUT HE WAS SO HAPPY WHEN HE DREAMT HE WAS CELEBRATING IT WITH HER.

I don’t know yet if this is like a completely canonical thing because I don’t know how it works timeline wise since him and mc are old friends but DAMN CAN THAT MAN LOVE

#love and deepspace #love and deep space #zayne #zayne love and deepspace #Zayne love and deep space #THE MANS BEEN STUDYING DREAMS HE PINES

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flower-boi16 · 4 days

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The Millie Problem

The first Helluva Boss short came out and...it was mid. It's cute and harmless, sure, but it's also nothing special or anything that great. The short once again tries and fails to give Millie any real depth and it made me realize the biggest flaw with Millie as a character...

....the writers don't know how to give her depth. I've talked this before but now it seems like a fairly common thing for Millie as a character that it's time to make a post about this. The writers clearly want to give Millie depth but like I said the problem is that they don't seem to know HOW, and here I'm going to explain why the writers' attempts at giving Millie depth simply don't work.

In Season 1 Millie kinda just...existed. She was there. She had little personality or character depth beyond being Moxxie's wife, she was completely one-dimensional as a character.

Season 2 would come and try to give her depth with Unhappy Campers, and this is where the problem begins to arise. Instead of actually focusing on Millie as a character, Unhappy Campers wasted it's runtime on focusing on Moxxie being jealous and decided to just. Randomly give Millie validation issues completely out of nowhere.

I've spoken before about this doesn't work, so I'll just explain it quick; it comes out of nowhere. Millie has never shown to want validation from others, there was no foreshadowing or build-up to this, thus it feels forced and rushed. It's just a random character flaw the writers pulled out their ass in a rushed and failed attempt at giving Millie depth.

But it doesn't give her depth because it came out of nowhere. This flaw is also never explored upoun; the show never explores this insecurity or why Millie even has it. Feels tacked on to her.

It is, essentially, a rushed attempt at giving her depth. This is a conflict that comes completely out of nowhere and is heavily underdeveloped. It does little for Millie as a character and fails to give her depth.

The new short is the second instance of this; once again we have a conflict where Sally is upset that Millie moved away and they reconcile in the end. This conflict is at least better than the other two of three times is happened, however, it still has the same problems; it doesn't really do that much for Millie as a character. It comes out of nowhere and is explored very little.

It's not enough to develop Millie as a character, it simply feels like the bare minimum. Once again; it's a conflict that comes out of nowhere, is explored very little, and gives little depth to Millie as a character. It once again, feels tacked on.

Now we're going to go into leak territory here as a future episode called GhostFuckers shows the third instance of the writers attempting to give Millie depth. How are they going to do it this time?

By making Millie suicidal of course! ....wait I'm sorry what???? Like with Unhappy Campers I've spoken before about why this doesn't work but of the three instances, this is easily the worst one. Why is Millie being suicidal here??? WHY have her be suicidal in the first place??? What's the point?????

This adds nothing to Millie as a character and once again feels forced and tacked on. Like the other two instances, it comes completely out of nowhere. Plus it just flat out makes no sense! Why does Millie apparently hate herself for "being a killing machine" when that is LITERALLY THE THING HER HUSBAND LOVES ABOUT HER AND WHEN THAT'S THE THING THAT MAKES HER ONE OF THE BEST MEMBERS OF THE GROUP???? WHY DOES SHE HATE HERSELF??? AND WHY IS SHE SUDDENELY SUICIDAL???? WHY DOES SHE SUDDENLY FEEL LIKE A BURDEN TO HER HUSBAND????? Once again, it's a forced attempt at giving Millie depth and feels tacked on.

It comes out of nowhere & is extremely forced. Granted, the episode hasn't come out yet, however judging by the leaks it seems like the episode will be the third instance of the writers randomly introducing conflicts out of nowhere in order to give Millie depth.

It's clear that the writers want to flesh out Millie as a character, but the problem is that they don't seem to know how. They constantly try introducing random conflicts for Millie to try and give her character depth, but they fail because every time the writers try to give Millie depth, it always comes out of nowhere. They always feel rushed, tacked on, and they just don't add anything to her as a character. It just feels like the bare minimum.

I want to like Millie, I really do, but it seems like the writers just don't know what to do with her anymore.

#vivziepop critical #hazbin hotel critical #helluva boss critical #vivziepop criticism #helluva boss criticism

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i-heart-hxh · 4 months

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is Killua truly jealous of Palm?

Yes, I absolutely think he is!

It's never explicitly stated, but the subtext is so in your face in a few different ways that it's essentially not even subtext any more.

Togashi could have chosen so many different ways to portray the way Killua feels about the Gon/Palm date subplot, but making it clear over and over again how bothered Killua is by the whole situation absolutely reads as jealousy, especially within the larger context of the arc. Look at these especially!

Togashi puts so much emphasis on Killua's expressions and distress throughout the whole subplot. Of course it's partly intended to be comedic, but this situation with Gon and Palm does have serious emotional weight for Killua as well--pulling out the needle, his breakdown in front of Palm, what she ends up saying to him after that, etc. I do think the exaggerated and extreme ways Togashi expresses Killua's feelings are intended to make the audience go, "Oh, he's really jealous, isn't he?"

People can argue Killua's reactions are just because of who Gon is on a date with (someone unhinged/violent and much older than him), or that it's just "concern" about Gon because of his nen situation, and those are both definitely aspects of what's going on here--but to reduce it down to only that ignores those deeper emotional impacts it has on Killua. I think the protectiveness aspect is something Killua uses to veil some of the other things he's feeling about it even though of course he is legitimately protective of Gon in this situation (and he has good reasons to be so). I also think Togashi himself uses the ambiguity to his advantage here, because if he put in romantic jealousy that was any clearer, would Jump allow it?

The way Killua goes immediately from the topic of going on dates/being freaked out about the prospect of Gon having been on dates before to feeling heartbroken because he wants to be with Gon forever the next panel is telling, in my opinion... (The English translation is a little vague, seems like it was intentionally toned down. In the original Japanese version he says he wanted to be with Gon forever.)

Here's a post where @tjlnn22 and I discuss this weightlifting scene in more detail.

I firmly believe that a big part of Palm's role as a character is to get the audience to question the nature of Killua's feelings for Gon. Without considering this context, the way her character is set up from the beginning and what role she's intended to play in Chimera Ant Arc is confusing. But when if you look at her character as having been built for that role, suddenly her entire character and subplot makes sense. Here's an older post where OP talks about some of the framing of Palm's character, and then I talk in more depth about why Palm is written the way she is.

It especially makes sense when you consider that the date with Palm is one of the factors that destabilizes Killua's faith in his relationship with Gon, leading to him wondering if they're acting together as friends or just as teammates. Here's an awesome post @tjlnn22 put together and submitted to me on this topic, with specific details supporting this argument. I think this is an important part of the arc that gets overlooked, and I love how clearly it's laid out in the linked post.

Killua also acts dismissive of Gon worrying about Palm to the point where other characters comment on his behavior, which to me seems like another sign of jealousy and bitterness on Killua's part. Then when he encounters Palm again after her transformation, this is how he behaves towards her:

Hands on his hips, full sass mode here. Again with the jealousy...

...And then shortly after this he proceeds to have a total emotional breakdown when he admits to himself that he thinks maybe Gon cares more about Palm than him, and that Palm might be the only one who can help Gon, rather than Killua. Of course there are more factors than this behind his breakdown, including him getting pushed away by Gon prior, but this is DIRECTLY the thought that leads him to start crying and then sobbing on the ground.

The Palm subplot is one of the biggest things in the series that makes me confident that the romantic subtext around Killua's feelings is completely and utterly intentional. The way the whole subplot is constructed, the decisions Togashi makes around Palm and how she's presented as a character, the way Killua's reactions and emotions are emphasized with regards to it, and the significance of this subplot in the greater arc of Killua's character all show a great deal of thought and care, and it's hard to come to any other conclusion when looking at it carefully.

Thank you for asking!

#hxh #hunter x hunter #gon #killua #palm #killugon #gonkillu #asks #psy-onic #my posts #meta #long post

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thetriumphantpanda · 9 months

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Tale As Old As Time | Joel Miller Fantasy AU (Chapter One)

Series Summary | A Prince, cursed to be unloved, hardened by years of staring at his scars and sitting in his loneliness. A girl, headstrong and wanting of adventure, to escape the life curated for her, a breath of fresh air against the dark of his heart and his home. Can she really learn to love the beast he has become? Truly, a tale as old as time.

Chapter Summary | The origin of a cursed Prince and a girl, unwilling to set aside her dreams for a fate already decided on, thrown together with consequences neither of them could have dreamed about.

Pairing | Joel Miller x F!Reader (Beauty and The Beast AU)

Chapter Warnings | Descriptions of magic, discussion of arranged marriages/betrothal, people being mean, an obnoxious male figure, what is essentially a kidnapping, talk of food, no use of Y/N, but I believe that to be it.

Word Count | 4.5K

Authors Note | You guys simply have no idea how truly excited I am to finally be able to share this with you. This is so out of my comfort zone but holy HELL I've had the best time creating it, and I really hope that you enjoy reading it just as much. Again, just a massive shout out to @cavillscurls for gifting this idea to me and trusting me to bring this to life for her, I really hope I do it justice for you! And another big thank you to @dinsdjrn for casting an eye over this first chapter to make sure it wasn't absolute clown shoes. I'd really love to know what you guys think, so please leave a comment, reblog or pop over to my ask to spread the love. And as always, if you'd like to leave me a tip, you can do so here on Ko-Fi.

Series Masterlist | Main Masterlist

He often thinks back, in the depths of the dark nights he spends alone, to the moment that changed everything. He was, once upon a time, happy. Vain, conceited and a pompous asshole, but he was happy. The kingdom, handed to him quite abruptly on the death of his father. The power and the riches which had been rationed to him before, now all his own to do with as he pleased. A palace, full of beautiful things, beautiful people, there was nothing he could have wanted for. There were parties, opulent and extravagant, filled with beautiful women who would fawn over his every word. Days spent hunting, ignoring all his other princely commitments because he could, he made the rules.

Then, the night that changed it all. He was drunk, he’d had far too much wine, indulged in the lips of far too many women, when one of his servants gripped his arm, dragging him to the doors of the castle. On his step was a haggard old woman, bent double with the hood of a cloak covering her face. She reached out a hand, old and wrinkled, shaking from the cold of the bitter storm that was raging outside and begged.

“Please, my lord, take pity on an old woman,” She speaks wearily, as if she’d been walking for days, “Just a night’s shelter from the storm, that’s all I seek.”

“And what do you offer in return?” He scoffs, already knowing what his answer will be, there is no place for this woman in his home.

The old woman pulls a singular red rose from one of her sleeves, petals full and a deep crimson and extends it towards the prince. He plucks it from her fingers and takes a moment to admire the flower, for it is, after all, a thing of beauty, although he knows it was plucked from his own garden.

“You insult me,” He mocks, “Offering my own rose, stolen from my garden,” He lets the flower drop to the floor in front of the beggar woman, “You will not find shelter here, now, be gone.”

He turns on his heel, intent on making it back to his party, to forget this whole intrusion, when he hears the woman behind him start to chuckle. He turns back and watches as she stands, chuckle turning into some kind of sinister laughter as that exterior that had so repulsed him before melted away to reveal someone, something, far more beautiful. The hood of her cloak falls from her head – beautiful tresses of blonde hair and a young, ethereal face stare back at him.

“You, my prince, have an ugly soul,” She speaks, voice lilting like a song now, “And it is time that you match that.”

He is aware that the commotion has drawn his guests from the main hall, out to witness what he is about to become, as he is surrounded by the gold tendrils of air that this woman, no, enchantress, has created. He feels the skin on his face tighten and contort, not painfully, but uncomfortably. He can feel his bones cracking as his frame grows, he’d always been bigger in frame than most, but now he was towering over everyone. His hands, once blemish free, are covered in tiny scars as if he’d spent a life fighting with his fists. His clothes, of silk and velvet, torn and destroyed on his body.

When he can no longer feel the magic at work around his body, he turns away from the enchantress to the faces of the party, who gasp, talk amongst themselves. Some of them scream and then they’re running, as the woman behind him continues her onslaught on his home now. She drapes it in darkness, the opulent gardens are transformed to nothing but weeds and dead plants. The fountains run no more, and the sound of birdsong is gone. Then, when she is satisfied that her work is done, she bends to the discarded rose and offers it to him once more.

“Any curse can be broken, and this one is no different,” She taunts, “If you can learn to love another, and earn their love in return, by the time the last petal falls, then the spell will be broken, otherwise, you shall remain this beast forever.”

Then, he is all alone, save for his servants, cursed alongside him, though she’d spared them the humiliation of a face covered in scars, and had just cursed them to spend eternity stuck with their master, now bitter, violent and closed off. None of them, not even him, able to leave the grounds of his castle. He falls into despair, spends his days finding another thing he can take his anger out on. He tears down the paintings – ripping through their canvas, punches his fist through every mirror he can find so he doesn’t have to look at himself and steels himself away in those first years. Then, when the first petal drops from the rose, protected in its glass case by one of his servants, he thinks there should be a sense of urgency, but there isn’t, just a daily reminder that this is what his greed and vanity had done to him. If he cannot leave, and no-one knows he or his palace exist any longer, then what hope does he have of someone finding him, let alone falling in love with him?

For who could truly learn to love a beast?

The morning is bright, the sun rising above the hills, as you step out, wicker basket hooked into the crook of your elbow, the book perched in the bottom, covered with a cloth to protect it as you make your way into town. The townsfolk are already milling about as you walk the streets. Women are haggling for bread and eggs, men are greeting each other in booming voices and there are children running around, playing with each other as their parents focus on other things. You don’t miss how, when you pass, they stop their conversations, whispering to each other. You know what they say about you, because no-one in this God forsaken town is ever truly quiet. Funny Girl. Oddity. Strange. Dazed and distracted. Away with the fairies. You’d heard it all, and today, like all days, you let it lie, because none of them are wrong. You are an oddity. A girl of your age, unmarried and living alone with her father, despite his recent efforts to marry you off. A girl, nose stuck firmly in a book whenever it possibly could be. A girl, dreaming of better things, a life outside the provincial village you’d always known, although what that looked like you truly didn’t know.

You buy a loaf of bread and some cheese with the coins your father had pressed into your palm that morning, ensuring that you had everything you needed at home before indulging yourself. The bookshop, at the very end of town, was your sanctuary. Alexander, a firm friend of your father for years, had owned it since before you were born, his father and grandfather before him. He knew that like most folks around here, the price of the books you wanted to read came second to the price of the books your father needed for his work, so there was an understanding between Alexander and yourself that you borrowed yours, bringing them back to swap for a new novel whenever you needed.

“Ah, good morning,” He greets when you open the door, bell tinkling as it opens and closes, “And how are we this morning?”

“Fine, thank you,” You smile, offering him the book you’d chosen just yesterday, “I’ve come to return the book I borrowed.”

He takes it from your hand, setting it on his counter to reshelve later, “You’re going to run out of things to read if you carry on this quickly,” He teases, motioning with his hand to the shelves behind him, “Nothing new since yesterday, but please, I’m sure you can find something to enjoy.”

You spend a few moments studying the spines in front of you. There are very few here that you haven’t read, and whilst you could choose something new, there is something in your bones that craves the familiar today. A story you know will warm your heart and make you yearn for what you truly desire.

“I’ll take this one.” You muse simply, pulling it off the shelf to hand to him.

“This one?” He fakes shock, “You’ve read it twice already.”

“Well, it’s my favourite,” You chuckle, “Faraway lands, magic, a handsome prince, strong women who can make their own destiny in life.”

“Well, if you like it that much, why don’t you keep it?” He hands it over to you, laughing at the shock on your face, “Don’t try and argue with me now,” He insists, “I don’t think anyone other than you has ever chosen it, consider it a gift.”

“Thank you,” You smile, bending down to the old man to give him a kiss on the cheek, sharing a smile as a blush creeps onto his weathered cheeks, “I shall cherish it.”

You bid him a fond farewell and head back out onto the streets, book clutched in your arms like it was your most treasured possession. It might actually have been just that. You walk back through the crowds, basket still hooked onto your elbow as you zone in on the fountain at the edge of town. Usually reserved for washing, it’s not so crowded yet, the heat of the day still too frigid to consider dipping hands into water, so you perch on the edge, basket between your feet on the ground and open the book, promising yourself you’ll only spend a few moments familiarizing yourself with the story again.

Of course, that’s a promise you can’t keep to yourself, and you’re rounding onto chapter three when the book in unceremoniously plucked from your hands.

“Hey!” You exclaim, “Give that back!”

“I just want to see what could possibly hold your attention for this long.”

You groan to yourself. Of course. Henry. The object of all of your ire. The man your father wants you to marry. You couldn’t imagine a worse match – whilst he was objectively handsome, all of the young women fawning over him, falling over each other to impress him, he was so stuck up his own ass he could fold himself inside out if he wanted.

“They’re called books, perhaps you should try reading one sometime?” You speak, trying to grab your book from his hands as he flips through the pages.

“And end up like you?” He scoffs, throwing it back to you, “You need to get your head out of those pages and into the real world, you’re not getting any younger and soon, people are going to start wondering what’s wrong with you.”

“Like they don’t already?” You mutter, dusting off the cover and placing it carefully in the basket on the floor.

“Have you thought anymore about my proposal?” He asks, draping a thick arm across your shoulders as you try and walk away.

You groan, because his offer of marriage is all you’ve been able to think about. Or more importantly, how to say no without ruining the hard-fought relationships your father had forged with the most powerful family in town.

“It’s a big decision,” You say simply as you cross the bridge at the end of town, “I promise I’ll have an answer for you in a few days.”

You manage to slip away from his grip and close the small gate behind you, turning on your heel to jog as fast as possible into your home, all whilst he’s calling out to you. Regrettably, you’re not fast enough to miss the last thing he says before the front door slams.

“If you say no to me, no-one will have you!”

You let your head hit the back of the door, sucking in deep breaths to stop yourself from yanking open the door and telling him that nothing in the world would ever be enough to convince you to marry him.

“He isn’t wrong.” Your father’s voice startles you, your head turning to the door of his study.

“I beg you, not another word.” You demand, walking in the opposite direction, towards the kitchen.

“You’ve made him wait almost a week,” Your father’s heavy footsteps are clear behind you, “Any other woman would have fallen to their knees and agreed to the match.”

“Well, I’m not any other woman,” You huff, unwrapping the bread and cheese to set on the table, “I don’t want to marry him, papa.”

“Well, I’m afraid, young lady, you don’t have much choice,” He’s folded his arms across his chest, “I have worked too hard to get you under that family’s nose, and I will not let you throw that hard work away.”

“Is this all I was ever destined to be?” You exclaim, rounding on him, “Like a prize cow to be bartered and bought on the whim of men?”

“If your mother could see you now,” He mutters, “She would tell you exactly the same as I would.”

“You and I both know that’s a lie,” You speak softly, “You married each other because you were in love, she wouldn’t want this for me.”

He tries to embrace you, like he always does when he knows he’s about to force you to do something you don’t want to do, like it will make it better for you, easier for you to say yes. This time, you push him away, stepping towards the open window.

“I can’t keep you here much longer and you know it,” He sighs behind you, “Money is far too tight and if we aren’t careful, we won’t have a home much longer, you marry Henry, our debts are forgiven, you’ll be safe, warm with a home all of your own.”

“So now I am to be payment for your debts?” You snorted, “Raised only to be worth something to sell,” Your father tries to open his mouth, no doubt to convince you otherwise, but you truly see him for what he is, “I wish to be alone.” You speak finally, picking up your book and retreating to your room with a pointed slam of the door.

It is late. The sun set hours ago. You haven’t left your room all day, not even when your father insisted leaving a plate of food outside for you. All you can think in your mind is that you cannot stay here. You will not stay here. You will not be forced into a life you do not want, to marry a man you cannot stand. All you keep thinking, as you watch those stars twinkle in the sky, is what must be beyond the hills of this town. You think of all the people you haven’t met, all the experiences you haven’t had. You won’t trade those dreams for a life as Henry’s housewife.

As quietly as you can muster, you slip your cloak around your shoulders, tying it across your neck, pulling the hood up over your head. You find your satchel and make sure it has your book inside and the other few possessions you held dear. You slink from your room and into your father’s study, long abandoned by him for his bedroom. You find his inkpot and quill and scrawl a note on the paper he has left strewn across his workstation.

‘Gone to find my adventure.’

You slip quietly from the house and to the small stable where Phillipe, your father’s horse, is slowly chewing on some hay. You run your hand down his nose to soothe him, saddling him up and then leading him away from the house. It isn’t until you’re riding the trail into the forest that you finally feel the sense of freedom you had so craved. As Phillipe leads you further into the thick woods, you don’t once look back on the provincial life you’re abandoning. Eyes forward and onto the life you’d always wanted.

You ride through the night, following unfamiliar paths through the forest until you come out the other side. It’s still desolate, but now, in the low morning sun, it’s just rolling fields and hills, animals grazing and the sound of birds singing. A little while later, you can feel the tightening in your tummy, the pang of hunger, cursing that you hadn’t thought, in your haste to leave, to shove some of the bread you’d bought into your bag. Phillipe has also slowed in his speed; it won’t be long before he needs to drink some water and eat something either.

As you round a corner, a valley appears in front of you. The change in weather is stark, where you’re surrounded in bright sunshine and the start of the warmth from the early morning sun, the valley in front of you is clouded in dark grey clouds and you think you can make out the slight rumble of thunder. There is a voice in the back of your mind that tells you to turn back, to take the right at the crossroads from the forest and not the left you’d chosen, but wasn’t this the point of leaving? You take a deep breath and let Phillipe continue the ride down into the valley, wrapping your cloak as far around your body as you can as the temperature drops and the darkness envelops you.

You ride a little while longer, Phillipe becoming restless with the change in the air, when you stumble upon a great fence, covered in ivy and looking decidedly worse for wear. But this fence, in its wrought-iron glory, is a sign of a home, a grand one judging by the height. You can’t peer into the grounds, the ivy too dense to see through, but you guide Phillipe around its perimeter until you find gates, just a grand as the rest of the iron structure.

You let yourself down from Phillipe’s back, gripping the reigns so he continues to follow you. You try and pull at the gate, but it’s just your luck that it’s locked shut. You can, however, finally see into the grounds. They’re sweeping, some of the biggest gardens you had ever seen in your life. You can imagine that when they were cared for, they would have been magnificent, but they’re dilapidated, obviously long abandoned. In the distance, you can see a similarly magnificent castle. Incredibly big, with turrets and ivy growing over the brickwork, just like something from one of your books. You can’t see any lights that indicate it’s occupied, and you think that if you tried, you could fit through the gaps between the ironwork. It had to be worth a try, even if it was to seek some shelter whilst the storm that was clearly brewing was passing.

You take Phillipe’s reigns and tie him to the gate, promising that you’ll come back for him once you’ve deemed the castle a safe place to stay, although you’re pretty certain he’s not fitting through the gap in the ironwork, considering the amount you had to suck your body in to fit through.

It’s a long trek through the grounds of the castle. Each step of your foot bringing an increasing sense of unease over you. You try and tell yourself that it’s just the storm brewing, that it’s dark and clearly abandoned nature is what’s making you uneasy. When you finally reach the front of the castle, you pick the hem of your dress up and take the steps one at a time. You press a hand to the large wooden door and push, surprised that it opens without much effort. You let out a breath of relief. If someone lived here, surely, they’d keep their doors properly shut.

That relief is short-lived though. The castle is as much in need of love and attention inside as it is outside. Years of weather have damaged the windows, letting all sorts of foliage make home in this entry way. There is a grand staircase, with carpets that are sodden from rain, and a musky smell that somehow sends a chill up your spine.

“Hello?” You call out, listening to your voice echo through the large room.

You listen but nothing calls back to you. All you can really hear is the wind whipping through broken glass. You take a few more tentative steps forward, taking in the surroundings. There are side tables with candelabra sat on top. Trinkets of gold and silver. Grand paintings along the walls that are weathered from the elements, but there are some that catch your eye.

“Hello?!” You call out once more, louder this time, as you walk towards the wall of paintings.

Some of them are damaged, like they’ve been intentionally torn. Ripped through the likeness of the man that has been painted on them, but the rest, of women and other older men, remain intact. What had this particular man done to deserve this kind of ire? To have his likeness scratched out like this?

Your hand comes up to touch one of the damaged paintings – canvas flapping in a breeze from somewhere. The man in the painting is handsome, he looks young and fit and happy, standing with his foot on top of a deer that had been hunted. You wonder if this is the person who used to live here and what had happened to them, and everyone else, that made them leave.

“What are you doing in my home?”

The voice startles you enough to scream. You turn around, back pressed to the wall, chest heaving as you try and calm yourself down. Your eyes search through the darkness, trying to find where the voice had come from, but to no avail.

“I asked you a question.”

The voice in commanding, low and threatening, and now, pressed up against the wall, trying to make yourself as small and insignificant as possible, you almost wish you hadn’t left home. Fear thrums through your veins as you once again try to find the owner of the voice.

“I-I’m sorry,” You manage to force out from your throat, “I c-called out, d-didn’t know a-anyone lived h-here.”

You’re watching the ground when a foot, clad in black leather boots moves into the dim light that is cast through the broken window above you. It’s enough light that you can make out a little of the man’s silhouette. Tall, much taller than you, and broad, as commanding a presence as his voice makes him out to be, and yet he doesn’t move further into the light.

“Didn’t your parents teach you to knock?” He demands.

“The d-door,” You motion with your hand, watching as it shakes in front of you, “When I t-touched it, it just opened.”

“Bad manners will get you into danger, little dove,” He taunts, “You picked the wrong home to trespass on.”

“I’m sorry!” You exclaim, moving away from the wall and back the way you came, trying to make your escape, “I’ll leave.”

He is quicker than you are though. His hand envelops your wrist, much larger than your own, and drags you toward him. Your front collides with his own with the strength that he’s used to pull you to him. His frame is a solid as it seems, like hitting a brick wall.

“Another lesson your parents clearly forgot to teach you,” You look up to the voice but it’s so dark you still can’t make any of his features out, “When you do bad things, you have to be punished.”

You try and fight your way out of his grip but it’s no use. Whoever this man is in front of you, he clearly has the upper hand in strength and agility. But you aren’t going to go down without a fight. You continue pulling at your wrist, wrapping your free hand around the one that has you in a vice grip, digging your fingernails into his skin as you try and scream for help, but nothing seems to work.

You’re suddenly picked up and flipped over his shoulder like a sack of flour, which gives you the purchase to wriggle around. You ball your fists and take punches to his solid back, but all that does is create a dull throb in your hands.

“Put me down!” You scream, trying to kick your feet enough for him to lose his grip on your as he takes the stairs two at a time.

“I would advise you to keep still,” He speaks low and calm, “Unless you want to end up thrown over the railings.”

From your completely undignified vantage point you can tell he’s right. He’s keeping a grip on you but if you continue to wriggle, all that awaits you is a drop onto that cold concrete floor below. As he takes more steps upwards, all you can do is let the fear take over. Your body shakes as tears fill your eyes, dripping down onto the floor as this mystery brute takes you to God knows where.

It's colder up here, wherever here is. As he walks up yet more stairs, you make out the clear iron bars of cell doors. And your stomach drops. You wanted adventure and now all you get is a prison cell. You can hear him fiddling with a lock, before a creaking sound meets your ears and you’re unceremoniously dumped onto the floor. You try and crawl as fast as you can, hell bent on an escape, but yet again, your captor is faster than you are, shutting the door to the cell and clicking the lock to trap you.

“Please let me go!” You beg, hands clinging around the bars, “I didn’t steal anything, please let me go!”

He’s walking away, back down the spiral stone staircase he had come up. Silent and seemingly uncaring in your plight. You continue to call after him, even once his figure is long gone, hands pulling at the bars in an attempt to free yourself, but all clearly to no avail. You slump onto the damp floor and take some heaving breathes through your mouth, but nothing will calm the fear and dread coursing through you. How could this have gone so wrong? Not even a day’s ride from home and you’re captured, no-one will know where you are. Would anyone even come looking for you?

You continue to pull at the bars until your bones out, calling into the dark until you’re hoarse. Finally accepting your fate, that you’d been naive enough to walk into the first sign of shelter like it was your right, you curl up into a ball in a corner of the call further from the window and wrap your cloak around you, shivering until you fall into the most fitful sleep you’ve ever experienced.

tags : @sinsofsummers @dinsdjrn @tightjeansjavi @morning-star-joy @darkroastjoel @cavillscurls @cupofjoel @patti7dc @drewharrisonwriter

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sprucewoodmpreg · 2 years

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hi vaguely serious messy post about hermitblr and new members and just. letting everyone know that we’ve had history with cc interaction on here before that i think would be useful for people to learn about

Trafficblr/Hermitblr has seen a lot of growth lately, largely in part from people migrating over here from the DSMP side of MCYTblr. This in of itself is completely fine! New people jumping onto the bus with us are always welcome, and the growth of the community as a whole is really nice to see.

However, I have noticed a lot of these newer blogs sharing the same very specific behaviours, and if possible, I’d like to just make a few things about the community and our history clear. Because this isn’t DSMP, and the CCs here handle content creation and their own fanbases very differently to them.

While I’m not going to go in-depth on 2019 since I don’t have nearly as much information about it as other people do, I would like to say that back then, Hermitblr was kind of an active war zone. It was comparable to how Hermittwt is now, with infighting about shipping and similar topics being the norm (however in Hermitblr’s case many of these argument were far more personal due to the smaller fandom size). What I want to point out specifically however, is when one of the CCs, Cleo, was thrown into the community infighting. I don’t remember the specifics of it, but she was sent an ask asking about shipping, and her opinions on it, and eventually dealt with so much backlash that she was forced to leave the site entirely (this post here has a slightly more comprehensive summary, if need be).

I’m just a little concerned, because there seems to have been a slight increase in that demographic of people recently. Specifically, members of the community who want to rely on CCs to dictate what happens in fan spaces; for them to give us bullet point lists of what their exact boundaries are for every single situation.

This rarely ends well. As in, it almost always just causes infighting and hostility. There will always be people making content that will “break boundaries”, regardless of any creator’s wishes. However, this is usually mitigated by the fact that many of these CCs aren’t on Tumblr (at least not anymore....mostly). The problem arises when members of the community attempt to act as Heroes Of Justice, and go out of their way to send asks to other blogs, informing them exactly of how they’ve broken the boundaries of some 40 year old adult. This is all despite the fact that said adult will....never see whatever post went against their wishes. It just encourages policing and this weird superiority....thing, where despite the lack of content creators, people are still fighting to make sure that the site is clean from any possibly upsetting posts.

I say this all while also acknowledging that many of the creators in this sphere also don’t have a very comprehensive understanding of how fandom interacts with their “characters”. To them, “shipping” has always been RPF, and there are so many other aspects of the community that simply can’t be explained easily, as they haven’t been immersed in this culture like we have. This is to say that asking for “boundaries” is likely to get you a very confused and unhelpful answer, as the Hermits have always had a very different way of interacting and viewing their fanbase than the DSMP creators do. There is no “c!” or “cc!” to them, to put it simply.

Essentially, the Hermits are adults. They’ve been doing content creation for years, and I can guarantee you they’ve seen worse things in their lives than art of their Minecraft character kissing another Minecraft character. They’ve dealt with this shit before, and if they wanted it to stop, they’re free to make a post about it whenever want. And yet, they haven’t. They leave fandom up to us. Boundaries and rules and infighting and just...all of that? Let’s leave it to the Twitter users, please. Post what you want, make sure to tag your posts correctly, and we’ll all be fine.

Also, while I’m going to try not to rehash any discourse about inviting CCs to Tumblr, I also do just want to implore you guys to consider that the environment on Hermittwt is partially the way it is because of the active presence of the Hermits there, with people flocking for attention or a single notice, and obsessively checking posts to make sure they’re not potentially “boundary-breaking” and such. Please just consider that many people are here to avoid the dynamics of that site. Tumblr is a site for fans, not for the CCs. So we create content here for ourselves, and not for them. Having creators join almost always leads to the culture of their fanbase on here changing, with content posted in the maintags being catered more towards them rather than the fanbase. (This isn’t to say that they can’t join!! But at least keeping in mind why many of us are here in the first place and weighing that against potential CC interactions would mean a lot).

I fear that my point may have been lost a little bit, but I hope my explanation at least brings a little bit of light to why many members of the community here are wary of Creators coming over to the site, and also of how many newer blogs tend to treat the CCs. Hermitblr has had some really bad history in the past when it comes to this stuff, and seeing newer fans bring over similar ideas from DSMPblr just worries me a little bit.

TL:DR - Just...please treat the Hermits like the adults they are, and keep in mind they have a very different dynamic with their fanbases to the DSMP creators. Asking for “boundaries” and granting CCs control of the fanbase will likely lead you nowhere; attempting to police fanspaces here just brings up bad memories of times when Hermitblr was a much more miserable place to be in. Plus, if you want CC interactions, please just go to twitter. Nobody here wants to deal with an attempted “cleanse” of the site to make it more palatable to CCs.

#i hope this is ok. again im not. trying to police or be a ''fandom mom'' or fucking. whatever #just giving my 2 cents on the subject. take it or leave it i don't care im not the boss of you and you dont have to listen to me #also gen if you see this and want me to remove your post just send me an ask and i'll take it out #discourse #if i said anything goofy or fucked up lmk because while i did try 2 proofread this im also not very concise nor clear #just gonna hit post. assuming this isn't gonna get more than like. 20 notes anyway so i likely wont have to worry abt ppl getting mad @ me

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inkofthebrain · 3 months

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Of The Trees (1)

Mizu x masc!foreign!swordswoman!reader

Tags: first-person, follows canon(ish), classic Edo era xenophobia, slight violence, blood (literally once), mentions of captivity, They/He/She pronouns for Mizu (progresses through story just trust)

Word count: 1,050

AN: I got a few requests that had similar vibes so I just combined them. Felt like doing first-person for funzies? Let’s see how it goes… I was giggiling and kicking my feet thinking about this.

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Hidden deep in the trees away from the buzz of civilization there were rumors among the locals of a wakizashi*-weiilding demon. A foreigner living high in the trees, attacking unexpexting travelers. Those brave enough would attempt to kill the horrid thing, yet none ever returned from the depths of trees. Tales of its brutality merged into the existence of life and death.

In that transition I find myself, laying on the thick bark. My journey thus far has been nothing but cruel. Stolen off the streets to be kept as entertainment for a benevolent smuggler known as Fowler. Years spent studying his warriors, earning his trust, sneaking into his office to look at maps. Plotting. Plotting my escape. Years spent traversing the harsh uninhabited nature, far from people. Time spent hunting animals and robbing men who were sent after me for weapons and clothes. I know what the locals think of me, I know they want me dead. A life of seclusion has been the only option.

Sitting close to the trail, waiting for a carriage of supplies to pass hoping to swipe the essentials, my chest slowly rises and falls as I find a moment of relaxation in the harsh Japanese winter. The snap of a branch pulls me into focus as I sit up, hand on my blade, looking into the path. I see a figure, staring up past the branches and into my eyes. Stabilizing myself on the trunk I stand up, jumping to a neighboring tree. The figures gaze follows, switching to the hand gripping the hilt at my side. Examining every detail, every movement. Suddenly they move their hand to unsheathe their blade and I spring forward, tackling them. Subsequently this knocks off their glasses and wide brimmed hat.

As our bodies hit the frozen ground, my blade pinning them to the slush by their neck, a small gasp leaves my body as our eyes meet. Piercing blue eyes look back at me in an almost unnerving way. Holding no emotion, just waiting. Watching. For the first time they blink. The moment has been interrupted, the stare broken for a brief moment. They don’t move at all, they don’t even try to fight you.

They stare down at the blade pressed against their neck and simply takes a breath. The next couple of seconds are spent in complete silence, just eyes looking into eyes. Fear, anger, confusion. All running through my body, burning with adrenaline. The silence is soon broken by a velvety smooth voice.

“You know how to use that sword” They mutter. This comments pulls me back into reality as I kick their katana out for reach and press my blade slightly harder into their neck, scowling at them.

“Then I assume you have killed before?” They speak again, still looking into my eyes.

“I’ll do it again” I say, my voice hoarse from silence.

“I believe that much” They state.

“Who sent you? The Fangs? Shindo?” I demand, bending down closer to their face, slightly applying more pressure to my blade, a thin trail of blood comes from where blade meets skin. The stranger pauses, still staring intently into my eyes as a quick flash of confusion crosses their face.

“I was sent by no one. I am simply passing through, now may I ask you a question?”

I glare at them in response. Staying silent, I glande down at my blade pondering if I’d be better off just killing them now.

“I asked you a question” The voice comes again, sending shocks down your spine. Its smoothness juxtaposing the harsh air. “You did not answer it, let me ask again: May I ask you something?”

I let out a scoff of annoyance, aggravated by their formality.

“Yes but then you must leave and tell no one of me” I say blandly.

They finally has an expression: a slight almost imperceptible frown. It disappears just as fast and the figure simply shrugs their shoulders and nods at me.

“Very well then. I do not care about anyone else enough to speak of this.” She pauses, her eyes have me transfixed, such a beautiful blue. “May you please pull your blade away, this situation is quite uncomfortable.”

I let out a groan as I come to my feet, keeping my blade pointed at their figure.

“Ask your damn question” I snarl, annoyance lacing every letter.

They finally shows a small bit of emotion, but it is nothing more than a small smirk, voice becoming slightly more sarcastic and teasing.

"Such language.” They sigh, “It does not suit you."

“Leave now or I will kill you” I say, tightening my grip on my blade. This time her smirk completely fades into cold apathy and her voice becomes cold and emotionless again.

“You would have done so already, I’ve heard about you. The devil in the trees. Lurking, seeking its revenge on those who brought it to Japan.” She says slowly, inspecting my reaction. My face is still, yet internally my mind is on fire. Questioning how this stranger knew this, how they found me,

“What do you want” I say.

They let out a small hum before speaking, “Information. That of which I know you have” They start.

“Why should I help you?” I question angrily.

“Madam Kaji told me of you, of Fowler. I must find him.” They state. My lips pull into a line at the mention of the brothel owner. We talked countless times while she serviced Fowler, showing me great compassion as I told her of my life under his control. She had helped me plan my escape, providing a safe landing place as long as I was never seen my customers. My eyes leave their gaze as I glance at the ground, taking a breath.

“Why are you looking for Fowler” I ask, shocked at her statement.

“I’m going to kill him.” They say in an emotionless tone, the voice of one that has killed before. My arm falls to my side, lowering my blade. I meet their blue eyes once more.

“Fine.” I pause. A look of approval flashes across their face. “On my terms only.” I say

“And what are those?” The stranger asks, slightly cocking their head to the side.

“I get to help”

——

| Wakizashi (a short sword)

——————

AN: IM SORRYYY, I’m splitting it up into two (maybe more, might make it a series…) parts! Hope you guys enjoyed. Smooches and love.

#bes mizu #blue eye samurai #mizu #mizu blue eye samurai #mizu x reader #bes fanfic #bes x reader #mizu x you #mizu x y/n #mizu my love #mizu fanfic

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god-mouths · 5 months

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Scott pilgrim is a modern retelling of Dante’s Inferno, and I want to talk about it

Hi . Brought this up very briefly a while ago but i rewatched spto with friends last night and got my gears turning. I don’t usually make posts like this but It’s been on my mind and I want to share. Here we goooo. Under read more becwuse I wish not to disturb my beloved friends with a long post

First off, let’s start with theeeee obvious.

Say hello to our Dante and Beatrice.

I don’t think I need to go into this first one much, but Scott and Dante are of course the heroes(term used lightly. Scott is not a good person and honestly neither was fuckinh Dante of all people) of their respective tales, going through hell and back to win over this ethereal, “too good to be true” heavenly dream girl. Scott even dies to get her in the end, like Dante venturing down into the depths of hell, dying and then ascending to get to Beatrice. If I wanted to really stretch it I could say the dreamscape is a sort of purgatory but I don’t think there’s enough evidence for that one.

Next,

Our Virgil. What’s up, Wallace.

In the comics Wallace acts as a sort of guide to Scott. We end up seeing him less as the comic progresses, which I find lines up with Virgil having to part ways with Dante before he enters heaven. Not much to say otherwise admittedly. Love you though buddy

Now for the symbolism of hell. Since there are nine circles of hell, it obviously can’t match up one to one with the exes unless we add some of scott’s relationships to the mix, which both doesn’t make sense, causes this analysis to get stupider than it already is, and leaves some characters left over that already don’t fit in to these parallels.

Luckily, however, there are The Seven Deadly Sins. Going to be going in sin order rather than ex order here

Firstly,

MATTHEW PATEL - PRIDE

- the first boyfriend and the first sin very conveniently line up, which threw me off track because I thought the exes would go in the order of the sins. Enyways

- in the movies, comics, and shows, he is insanely flashy with how he presents himself. It’s the entrance, the dances, the expressive clothing (“that guy’s dressed as a pirate” “pirates are in this year!”, modifying Gideon’s suit to fit his color palette, the outfit he wore while kicking gideon’s ass). The theatre kid in him essentially

- taking the lead in the musical Knives and Stephen presented him with— they knew how to cater to him, because he views himself as the coolest bitch on the planet. Which honestly he kind of is but don’t tell him this

- so headstrong in his pride that he fucks up. Repeatedly. First to get killed, too cocky, spends all of gideons money “I’ve lost billions!”

- believes he’s entitled to Ramona as soon as he wins the fight against Scott

GIDEON- GREED

- I don’t feel like I have to explain this one but I will because I enjoy him greatly

- CEO, billionaire. Money money money mr rich

- literally “owns” or tries to excersize ownership Ramona in the comics and movie as if she belongs to him— with the glow, or with the chip implanted into her neck with his logo on it.

- has all of his past girlfriends cryogenically frozen. All for him none for anyone else. They should only love meeeeee.

- wants everything for himself in excess. Women, fame, money. Almost considered pride for him also but greed is more fitting

KEN AND KYLE- ENVY AND LUST

- holy shit this image has five pixels so sorry about that I’m on my phone and Google images sucks

- anyways of course they’re sharing sins

- not much to say here as they don’t show up much, and it’s easy to make the argument of envy or lust for ANY of the seven exes. These two were the hardest to figure out. Not as sure on Envy, but can definetly advocate for lust— playing around with women, thinking they were playing around with Ramona.

TODD- GLUTTONY

- this one was the easiest one for me. Like come on

- breaks vegan edge in the comics, movie, (vegan police), and show (Wallace breakup event 2 dead 5 injured)

- his whole persona revolves around food. Of course gluttony doesn’t always mean food but here it most definetly equates. Even when he’s vegan he always makes it a talking point of how superior he is to others because of this fact, only for it to blow up in his face when his enjoyment of non vegan food catches up to him.

ROXY- WRATH

- a very angry girl to be sure. Takes her emotions out using violence, attacking Ramona the first time she sees her, even though she is going out of the order of the league and supposed to be attacking Scott (although I guess that point is moot because they all think he’s dead at that point)

- “I’m bi-furious” line from the movie deserves a shout out here I think

- (completely justified) Unending rage against Ramona in the show, and scott in the comics and movies. She is PISSED.

Lastly,

LUCAS LEE- SLOTH

- also one of the easiest ones. Could have made an argument for pride (tries to prove he can land a sick ollie so hard that he dies) or greed (movie star who lives in huge mansion), but sloth ultimately fit the bill the best.

- even before we get into his reoccurring theme of “whatever” in the show, it’s pretty evident in the comics and movie that he doesn’t care enough to extend effort. He tells Scott he’ll leave him alone and say his ass got kicked if Scott gave him a twenty dollar bill, sends his stunt doubles to fight Scott in his stead.

- onto the show, he lets his stardom slip out of his fingers with his attitude, not even caring to read or memorize the script anymore (“is that why half the lines in your last film were ‘Let’s Party’?” “I uhh, read the title.” Etc). Just spends all his time messing around and skateboarding. The title of his episode is literally “Whatever”. He doesn’t give enough of a shit to care. Which. Respect I guess

Extra; the exes ARE referred to as “the seven deadly chumps” in the show.

In conclusion;

#Scott pilgrim #ramona flowers #Wallace wells #matthew patel #gideon graves #todd ingram #roxy richter #lucas lee #kyle katayanagi #ken katayanagi #scott pilgrim takes off #scott pilgrim vs the world #writing #not ocs #this took me an hour to write tghis is why there’s so many tags.#anyways thank you bye bye

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