#is the best or only story structure

[lewiscarrolatemybrain]

One more time

A Positive Change Arc -- often called a Hero's Journey -- is one possible shape a story can take. It is not the only or the best character arc, it's just one option. In a Positive Change Arc, the protagonist begins the story believing the Thematic Lie, and must learn and embrace the Thematic Truth over the course of their journey.

TGCF and MDZS are not Positive-Change Arcs. They are Flat Arcs.

(I have not read SVSSS)

A Flat-Arc is a story where the protagonist begins already knowing the Thematic Truth, while the world around them believes the lie. In a Flat Arc, the protagonist will have their knowledge of the Truth challenged and tested, they will be tempted by the Lie, and they will ultimately use their conviction to inspire the world around them to also embrace the Truth.

Flat Arc characters do not need to learn the Thematic Truth. They already know it. They may be seduced by the lie, they may falter, but they will always rally back to the Truth in the end.

(If they ARE successfully converted to the lie, then that isn't a Flat Arc anymore, it's a Corruption Arc, and it's usually a tragedy.)

"But Xie Lian and Wei Wuxian learned--" Nothing they learned impacted the Thematic Truth. Did they learn things? Yes! That's how Being A Person works. Both of them DID change and grow as people from the start of the series to the end. But neither of them learned anything that impacted the Thematic Truth. Because they already knew it.

Xie Lian was already kind, he already wanted to help people, he already believed that common people should be protected and uplifted. His suffering at the hands of BWX did not teach him any deep or important lessons. He already knew the Truth. BWX tried to tempt him to embrace the lie -- that people are undeserving, that you should never do anything for anyone who won't grovel with gratitude, that caring for other people is a waste -- and failed, because Xie Lian knew the truth and even when he was at his lowest he was searching for confirmation that he was right. Xie Lian only needed one single act of kindness to reassure himself that he was right and BWX was wrong. He did not learn anything new, he reaffirmed what he already knew and understood.

Wei Wuxian is good, and righteous, and morally upright. He is a character who does the right thing regardless of the consequences he might face. The sects collectively wanted to destroy him because he refused to bow to them, not because he ever at any point actually did anything wrong. Even the vengefulness he showed while actively at war is narratively justified, and it's key that the sects did not care about the desecration of bodies while it served them. He did not learn any valuable or important lessons when the Sects raided the Burial Mounds. The fact that Lan Sizhui exists at all is proof for us as the audience that everything Wei Wuxian did was worth it. All of it mattered, and all of it was the right choice, because a-Yuan is alive. He doesn't come back to life having learned anything new, he already understood the Truth.

Obviously neither of them are Omnipotent. They learn that there's dudes in love with them, they solve the mysteries of their respective true Big Bads, they uncover some other stuff. But the Thematic Truth, the core theme of the story, is not a lesson either of them needs to learn. It is a lesson they teach others by refusing to bend to the Lie the rest of the world believes.

#MXTX #MDZS #TGCF #Heaven Official's Blessing #Grandmaster Of Demonic Cultivation #Xie Lian #Wei Wuxian #story structure #character arc #please I am begging you. Please. #I know school failed you but please #if you are going to try and get into meta #do some research into story theory #do independent studying into how story craft works #I know school probably taught you that the Hero's Journey #is the best or only story structure #but it is not. It isn't even the most common. #school probably also failed to teach you how Themes works #but you really do need to understand them if youre going to try and write deep meta #you cannot dissect a story if you don't understand the pieces it's made of

[fictionadventurer]

In my continuing quest to learn more about Laura Ingalls Wilder as a writer beyond the Little House books, one of the most surprising things I've learned is that apparently she wrote a small collection of cutesy poems about nature fairies.

They were originally published in a children's column in the San Francisco Bulletin in 1915, and are apparently about a couple of fairy characters who paint flowers and bring dewdrops and bring about other natural phenomena. This post goes into more detail about the poems, and the interesting blend of practicality and whimsy that goes into her presentation of fairies.

It also provides one of the poems.

And this quote about the importance of giving children fairy tales that's almost Chestertonian.

Wilder explained why she preferred such magical images of natural processes in a column for the Missouri Ruralist called “Look for Fairies Now.” She argued that children needed tales of fairies to help them see beyond the surface and to use their imaginations. In the olden days, she explained, farmers left some of their harvest for the Little People who “worked hard in the ground to help the farmer grow his crops.” Perhaps this idea was just superstition, she continued, “but I leave it to you if it has not been proved true that where the ‘Little People’ of the soil are not fed the crops are poor. We call them different names now, nitrogen and humus and all the rest of it, but I always have preferred to think of them as fairy folk who must be treated right.

On the one hand, this feels like just another example of how it was apparently a requirement for female authors of a certain era to write cute nature fairy poems. But with the context of the quote, it's also surprisingly fitting for who she is as an author.

#books #poetry #laura ingalls wilder #the couple of books i've reread have me more interested in her writing as writing #her style her storytelling structure her outlook #most of the discussion of her i've seen rarely goes beyond 'this is how the books match/differ from her life' #or 'let's talk about the indians' #at most you might get 'she learned description by being mary's eyes' #(which is really just another facet of the biography obsession) #yes she drew those books from her life but let's examine *how* she wrote about it #even rose's dismissive 'her books read like a grandma telling stories until i got my hands on them' overlooks her very real prose styling #there's this ongoing campaign to present laura as just 'a sweet old lady writing down her memories' #but she had years of writing experience! #even if she wrote her best work in collaboration she brought a lot of talent to that collaboration! #let's examine the style! the choices about how to tell the story! #there's a lot here that's not just biography--it's art! let's talk about it! #and apparently the only way to do that is to look at her writing beyond little house

[chimaerakitten]

a lot of episodic media will have like...a tension between the nature of episodic media’s need to maintain the status quo and the need for events to effect characters to make them appear to be emotionally and psychologically coherent. The longer the status quo remains unchanged despite evidence that it should or would change, the more characters start to flatten into caricatures, especially when the story is structured around some single big secret or reveal. The superhero's family and friends’ memories of his secret identity can only be accidentally erased so many times before you start to wonder why the hell he can’t just tell them—after all, he remembers at least two incidences and they reacted well in both.

Everyone already knows this—it’s why a solid half of the body of fanfic for any show like this will be about the big reveal finally happening, and a third of those will go on after the reveal in an effort to prove that the status quo can change in this way without the entire premise of the show being moot. Sort of a, “We’ve proved we’ll all still watch a superhero show with reduced identity shenanigans, why the hell won’t the writers get on with it?” thing.

But then there’s a slightly less common tension that happens where instead of flattening into caricatures, characters under the sway of an episodic status quo will stay 3D, but in a way the writers obviously didn’t intend. The first time the hero intentionally erases his family’s memories of his secret identity in episode four, we sympathize, because at that point he doesn't know how they’ll react and he’s trying to protect them. When he does it again in episode 43 after he knows they’ll be ok with it and also that the villains will find out his secret identity and target his family regardless of if they know, he’s an irrational paranoid asshole. And sometimes of course that’s the intent, die a hero etc etc, but it fascinates me that sometimes it’s not and the writers were clearly expecting you to sympathize in episode 43 the same way you did in episode 4.

#and that last thing only needs to happen a few times #before there's this point of no return crossed #where the reveal when it happens #cannot POSSIBLY be any good #because if it had happened at the end of season 2 it would've been a high note and apoint of trust #but now it structurally cannot happen before the series finale since the lead has done too many bad things to protect the secret #and by the series finale everyone's reaction ought to just be "wow you an ASSHOLE for hiding this' #anyway I'm generally not best pleased with media structured this way if you can't tell #because it ends up looking like the writers lack confidence #in all aspects of their story other than the lead playing secret keep-away #the kitten rambles #and I mean really rambles this is a total stream of consciousness thing

[timeisacephalopod]

It really strikes me that people treat fanfic authors as if they don't know anything about writing, which is weird because even before I wrote fic I cowrote a stage play I got an award for back in high school, poetry my teachers would frequently compliment, and my own original ideas in novel format- which structurally you learn in high school it's not some fucking Devine Knowledge no one knows about? If you didn't learn what an inciting incident is and the basic structure of a novel and tropes like The Heroes Journey by eleventh grade then fine but don't project that onto a format of writing you have some weird vendetta against. After that I went to uni and wrote dozens of academic essays for my degree, some of them quite extensive in length and obviously there's technical skill involved in that writing.

Besides that after I stopped writing fic I learned how to write screenplays and wrote like 3 episodes of TV shows in film school- which by the way used other showrunners ideas because writing an episode of an existing show is how you build a portfolio. That's right fanfic hating assholes, if you want a tv writing job pull out ur fuckin fanfic out so your ability to capture the voice of another show can be judged. I also wrote a movie script in school and I highly doubt I'm some Special Snowflake among fic authors, so where the hell does this idea that fic authors are all 13 year old yaoi obsessed morons who've never even seen a book their whole life and never learned even the most basics of writing like what an adjective is come from?

I know people who hold this idea don't seem to think they're misogynists but they treat fic identical to how people treat romance and erotica outside of Fic World and I highly doubt two areas in which women are the ones doing most of the writing would get targeted with the exact same rhetoric of "that's not real writing" for completely different reasons if the arguments against the fiction are basically the same. Because obviously Real Literature doesn't have romance, sex, or women writing it.

Regardless, it's utterly asinine to assume fic authors have no idea how to write because they're writing fic- like actually no, technically speaking I'm qualified to write all kinds of shit as far as what I know, so I don't much appreciate that my writing a single form of writing somehow means I have no skills or training just because Ive written that particular format according to some people. It's deeply insulting and I really do wonder if people think people who write as a hobby should even be allowed to have that hobby if theyre this obsessed with publish or don't ever even LOOK at a word. Like not only is it insulting to suggest that my hobby is somehow some particularly god awful drivel, but apparently those people don't know what a hobby is given that zero other hobbies get treated like this. No one walks around telling people if they aren't playing professional sports they can't play them at all- we just know that normal dudes playing football probably aren't Tom Brady and aren't looking to be either.

#winters ramblings #just because YOU dont know anything about writing doesnt mean everyone is in your boat #and ill tell you right now just because you know about writing doesnt make you good either #im fairly mediocre- raw talent in several areas but VERY diamond in the rough #granted i have more talent than the hacks shitting on fanfic im sure but ill bet im 1000X better an editor #than theyd ever be. editing isy strong suit im VERY good at looking others work over amd figuring out what to shimmy #around to make it better. sucks because i wish i was a better writer but like TECHNICALLY i can write several formats #so to suggest i dont know what im doing because i write FIC is absurd. im bad at writing because i cant plot for the life of me #story im good at worldbuilding im great at character voice im good at but plot? god help me i suck at it #still busdy WEIRD to make the assumption fic authors dont know how to write because they write fic #as if you cant learn how to write outside of fic and apply thay knowledge to the fic?? #because im willing to bet of the talented authors people like they probably have experience writing #be it by themselves be it real writing jobs or training in a writing feild. theres outliers for sure but ill bet #of the REST they arent fucking morons and know how a fucking book works its not rocket science #being good at writing is almost less structure and more everything else mostly because you can get away with bad structure #assuming you have other stuff to offer but if you have the best structure in the world and BORING writing and characters well #no one will boher with that on account of reading is entertainment. you have to ENTERTAIN #by that metric dic authors do more than their hobbies on that and thats true of shite media too #like scouts guide to the zombie apocalypse isnt some Grand Amazing Oscar Winner but it doesnt need to be #like fuck if you insist on only watching oscar winners thats fine but lets not act like your Refined Taste makes you superior #like bitch ive seen oscar winners and ive read best sellers- winning awards doesnt make it Iron Clad Amazing #im sure people have lots to say about Green Books oscar win including me it should've gone to blackkklansman #point being 'good' media doesnt even escape criticism so lets not act as if only watching 'good' media #is like eating the fruits and veggies of media. you are not what you read write or watch lmao #spitting out takes that fucking dumb- as if only watching and reading Quality Content makes you lacking in anti intellectualism? #makes you sound dumber than what you paint fic authors as. media dont need to be good and hobbies arent meant to be oscar winners #or Pulitzer prize winners. fic is a fucking HOBBY and even if it wasnt that doesnt mean people who write it dont know how to write #you have no realiztic idea WHAT someones background is and book structure isnt something So Rare no one knows about it #im aure fic authors know how to ficking GOOGLE shit if they didnt go to high school you arent packing #you dont have Special Book Knowledge karen we all went to high school and if we didnt dont shit on that persons writing asshole??

[opens-up-4-nobody]

...

#the more i learn about the history of life. the more alien it seems to me #thats how i want to start my letter of intent #but i dont remember how im supposed to write one. ur supposed to talk about all ur qualifications. i think. y ur the right person for the #position. but i dont want to do that. i just want to chase down the words to make the ideas in my head make sense #bc its true. life to me has become increasingly alien. and i mean that in only the best of ways. #astrobiology has always been my focus but im not quite sure its an accurate descriptor anymore #i mean. it is the way i understand it. for understanding life we have a sample size of 1. we have to start here #until we find something else. so i want to study and understand the life on this planet. how it came to be. how its changed. whats pushing #those changes. but thats not what people think when they hear astrobiology. nobody else seems to get it #like the way i see plants has completely changed. a plant is a very strange thing. it is a body with many cells reaching up to capture #light from a far off star. making sugar from starlight. and plants have a history having been something soft bodied. green goo #but they developed structure. they consumed another small gooey body and crept across the barren surface of the early earth #a biome is dicated by the plant life in a given location. plants have helped to sculpture the ecology of the world #making a landscape of green hands reaching higher and high toward the light #its weird. alien. and i never thought about that before. there r so many things i want to know. im streched in a million directions. i want #to read papers but i cant hold the words long enough to make them make sense. i want to listen to people talk about life but i know they #generalize. they miss the finer details. i want narratives and poetry. i want stories that make me think about the world differently. but i #want to listen to the same things over and over and over until ive felt out every detail and every contour of why its wonderful. until i #understand. but i can only occupy one place at a time. so ive been laying here for 3 hours. thinking about all the things i want to do and #not doing any of them. but its not all terrible bc at least i have things i want to do. and the way i feel abt these things is so different #from how i feel abt what im paid to do. my interests have diverged too much. im not having fun there anymore. i havent been for a while. #all my good will burned away and now theres nothing but the guilt of no longer being invested. but i only have to be here until the end of #spring. so not much longer. and then ill b somwhere else. doing something more interesting. hopefully #that's all. i just put too much pressure on things and then i cant do anything bc im crushing myself #hm i should stop that #unrelated #lol welcome to my blog where i draw ninjas while being unironically haunted by the mysteries of life in the universe

[babylonbirdmeat]

so can you tell me about the basic plot/thrust of your setting with the OCs?

Okay so initially it was just like an excuse for Yasha and I to write weird nasty gore vignettes together that would eventually end in Florian getting his own perfect artsy death (And it does still kinda serve that purpose)

But the introduction of Andrey has made an actual plot start to form, in which he's trying to very desperately to stop Phin from being another person so entangled in Florian's murder shit that he can't get back out

Florian thinks this is a love triangle and is daydreaming that they're fighting over which one of them gets to kill him

#rutena speaks #Andrey was only able to break the weird entanglement because he had his sister to try and chase down #Phin doesn't have jack shit going on like no connection to family no other real friends #It's still in the early stages of being a structured story and not just an excuse to write grisly murder #No matter what the ending is going to probably be like bittersweet at best

[chisatowo]

I love tragedies I love tragedies that could have been prevented I love tragedies that couldn't I love tragedies built from the inevitable downfall of a character brought upon by only themselves I love tragedies built from a cruelty of a character's only crime having been being in the wrong place at the wrong times I love tragedies where the characters are unaware they're in a tragedy I love tragedies where the characters fight so hard to overcome the narrative structure but ultimately fail I love tragedies that are fantastical and other worldly I love tragedies that are so painfully mundane. I love tragedies

#rat rambles #apologies I thought abt things and stuff too much ftyfkdkdh #also just every now and then I see a post thats like 'tragedies arent this theyre *long very specific tragedy trope*' #like yeah!! that shit makes me insane too!! but the genre is so big and complicated and thats whats so good abt it!! #obviously ppl can have their tragedy preferences but it just annoys me a lil when ppl try to define a one and only way a tragedy can be #theyres badly written tragedies and well written tragedies but that has less to do with the structure and more the excecution #structure does matter too but yknow best structure in the world can still lead to a shitty story if excecuted poorly #but yeah tragedies make my brain explode theyre so so fun especially to write #best feeling in the world is connecting two dots in a story on accident and realising how much suffering you can cause with it #thanks to one of my dnd party memvers for letting me ramble abt softie and make me remember how yummy tasty tragedies are

[sunfoxfic]

Oh my God tomorrow is chapter 24. Oh my god. Oh my goooooooood.

#i LOVE chapter 24 #i also actually need to prepare the series that sf is gonna go in bc i have some bonus content that can be posted w ch 24 #it's like. 200 words that never were because i was really rushing to get to the end of the story at this point #and in my rush i did not take the time to structure the story in such a way that this scene could be included #but it's a scene that i wanted to write for *months.* literally by the time i had the basics of the story down #(djwifi strangers to friends to lovers roommates au) #i knew that i wanted to do this scene. before i even had the plot figured out #(that makes it sound like i had the plot figured out early but to be honest i only figured out the plot like. at least 10 chaps in) #(but this scene was conceptualized VERY early is the point and i'm really sad it never got included) #(but it's for the best because i do absolutely adore the scene it got replaced with) #rambles #strangely familiar

[aria0fgold]

I just realized that the setting in which I put my OCs' stories in is... sci-fi, isn't it? This is sci-fi........ This is a baby sci-fi in the making......... losing my mind why did I do this.......

#aria rants #I DONT KNOW HOW TO DO SCI-FI???????? the best genre i can do is fantasy cuz im good at making things up with no #basis to some complicated term nor is there a need for some complex structural method in which creation is brought upon #i cant do sci-fi........ science and math are my WEAKEST subjects and sci-fi has BOTH. i can... try????? to do a very very #mini form of it cuz it isn't rlly all that much of a focus when it comes to my ocs' stories. like at the root of it the genre is just #slice of life i think? it only becomes a LIIIIIITTTLLEE bit like sci-fi by alec's story cuz of his past but it shooouuld be fine right?

[arolesbianism]

I am being bewitched by the random card au once more. I <3 inventing more and more ways to ruin characters lives with magic bullshit I pulled out of my ass

#rat rambles #band posting #random card au #this is abt kasumi and nanana btw Ive been thinking more abt how the water curse works #the two had very different experiences with it tho mostly because kasumi was able to fight against it for a lot longer #still only like an hour but thats an eternity compared to nanana's like 5 minutes lol #nanana mostly succumed as quickly as she did because shes a spellcaster meaning that her body has reshaped itself to funnel magic through it #much faster and with less resistance than a non spellcaster would #that isnt to say the curse struggles with a normal person but that her specific body structure made it particularly fast acting #kasumi on the other hand had some mild experience with magic but mostly through much more external sources #basically using physical objects to create magical effects instead of actively channeling it #she also just fought back extremely hard which ended up in it being all the worse by the end #basically nanana melted and kasumi exploded #it wasnt too gorey tho since the whole deal is that it turns their bodies into water and keeps their souls tied to it #asuka did get to see it happen tho which did not help with kasumi trying to convince her to carry on the rebellion #its ok eventually she caused an even bigger one anyways despite her best efforts #and kasumi is still around in the main story even if she is in a fish tank in rinko's office #nanana has a lot of worldbuilding relevance and does appear once but is only rly relevant by association to the curse and her history #she basically only appears to tell ako yeah your family sucks sorry bro #but shes important To Me I love her so dearly #oh to be the first to fall yet the last one standing #nanana is mostly just hanging out with the other water ghosts nowadays (emu is also there fun fact) #she got a lil too silly so sad #they're doing better than they could be tho at least they have their own lil ghost town #except for kasumi but hey she has uhhh. rinko ig. #eventually tsukishi gets her out of there tho dw #god this is reminding me I Really need to worldbuild fairies more #theres like 3 of those bastards and one of them is actually mildly important + they Need to exist for other worldbuilding shit #maya is the important one btw she is stuck being chu2s music buddy

[uglypastels]

the Special | Sanji x reader

a/n - my first One Piece fic. absolutely terrifying but definitely a needed change of scenario to get out of my writing block. please be kind; I'm taking all my inspo from the live-action as that is what I am currently the most familiar with. but, well, we just have to see how it goes. bon appetite

Shoutout to my dear @mydearzero for encouraging my newfound obsession with this show and this character, as well as generally encouraging me to write. this is all your fault. And to everyone else who had been expecting me to finally post one of the other million fics I had promised... I'm sorry

And kind reminder that reblogs is what makes tumblr work. Please, if you enjoyed the story, reblog

word count: 9.9k

warning: 18+ only. MDNI. smut. piv sex. oral sex (f!receiving). unprotected sex [wrap up your eggplants yall]. semi-public sex. several FDA regulation code breaks, probably. afab reader. swearing. little bit of angst. shitty and fat-shaming [oc!]boyfriend/date. fist fight. alcohol consumption.

“Look at your waiter's face. He knows. It's another reason to be polite to your waiter; he could save your life with a raised eyebrow or a sigh.”

― Anthony Bourdain, 

The first thing you saw was the red, bright sign spelling out the restaurant's name.

Baratie. You had no clue what it meant but could only hope that “the best restaurant in the East Blue” was somewhere down the list of its definitions, especially after the months that they had kept you on the waiting list and the tumultuous trip that it took to sail there. Next, as your ship approached, you saw the… fish head. The sight of the sculpture at the front of the ship structure buried some worry in the pit of your stomach, but surely, if so many people had given it such fond reviews, the exterior was not to speak for what awaited you inside. 

‘Believe me, baby, you’ll love it here.’

‘I really hope so,’ you smiled as you got off your boat. Your legs shook at the knee as you stepped onto the sturdy dock planks. Days at sea, which had never been your friend, had clearly done more damage than you expected. You would have been on the floor if it wasn’t for the pair of arms holding on to you.

‘Thanks, Chosi,’ you said towards your boyfriend as he helped you steadily get back onto your feet. 

‘Can’t have you faceplant the second we get here,’ he brushed some invisible dust off your shoulder, and with his arm entwined with yours, he led you to the entrance of the establishment. You grabbed at the skirt of your dress to keep it down as the wind blew by.

As you walked, you looked at all the other ships harboured on the… was this an island? Was the entirety just one large ship? Was it anchored to something then, or was it drifting around the seas constantly? You couldn’t quite comprehend the logistics of it all. But you could tell that humans and other creatures of all walks of life–royalty, commoners, marines, pirates—were unbothered by each other's presence and enjoying the outing. Once inside, the shushed sound of the waves was exchanged for a whisper of swing music, as well as the chatter of the restaurant’s patrons and the clinking of their cutlery on plates. The walls were lined in crimson wallpaper as well as painted depictions of sea battles, accented in gold and bronze details matching the furniture placed spaciously around the room and the two stories above it that lead the eye to a beautiful aquamarine ceiling that gave the illusion as if one was looking up at the bright sky from underwater. 

The maitre’d, a Fishman, stood to attention at your entrance. 

‘Good afternoon, how may I help you?’ he asked kindly. 

‘We have a reservation. Name is Chosi,’ Chosi stated with his head held high. Despite you doubting that anyone knew his name in these parts of the world, he never ceased to pronounce it with a level of expectation to it. It was commendable, as well as disappointing, when nothing happened afterwards. The maitre’d simply nodded and glanced down at his long list of names, searching for the one he had just heard, ready to cross it off.

 ‘Ah, yes, right here. Please, do follow me to your table.’ And so, you did just that, walking down the grand staircase onto the restaurant's main floor, where you seated at one of the smaller tables, perfect for a romantic dinner for two. ‘Your waiter will be right with you.’ The Fishman bid you farewell just like that and returned to his position at the door. 

‘So?’ Chosi looked at you with a raised brow as you looked around.

‘It is quite stunning.’ You must admit that you did not expect this kind of splendour when looking at the carved fish that gaped at you outside. Something about that just did not exude the same essence as the timeless and classy beauty of the interior. You barely even felt the shake of the waves beneath you. 

Maybe your response wasn’t sufficient, for Chosi had opened his mouth to respond, something in the angles of his face announcing displeasure, but he was interrupted by a new presence at your table. You looked up at the tall figure towering over you. 

‘Welcome,’ the man spoke, his accent clearly indicating his origin if only you had been aware of where that was. Simultaneously, he put down a plate of bread rolls, perfectly and meticulously positioned atop it. ‘...to Baratie. My name is Sanji; I will be your waiter this afternoon.’

‘Took you long enough.’ Chosi mumbled under his breath, giving you an immense urge to kick him underneath the table, but you knew better than to do that, especially when he did not seem to be ready to stop any time soon. ‘Trying to convince my girl this place is worth visiting, heh.’ You could feel your cheeks burning up in embarrassment. Nevertheless, the waiter—Sanji, he said was his name—did not seem to give the comment much thought as he looked down at you with a curve to his thin-lined lips.

‘My apologies, madame; I hope my service will not give you the false impression of this establishment being worth any of your precious time.’ The smoothness of his voice almost concealed the true meaning behind his speech, leaving you, as well as your date, speechless. However, you felt your speaking ability to be taken away by more than just his words as you spared a second to take your waiter in properly. You just could not help but notice how his suit wrapped around his arms, and although one was covered by his blonde hair, his eyes had a glint of something that excited you despite not even knowing the root of that excitement. 

Like nothing had happened, Sanji continued, ‘Would you care to see the menu? Hear the specials?’ That is when you noticed the menu cards he was holding in his hand. And he must have been ready to list the special items, but Chosi was a step ahead. 

‘Actually, I think we are ready to order.’ That was the first you had heard of it, but you stayed put as he continued. After all, Chosi had eaten here before. He knew what was good, and you could trust his judgement. 

‘Prime rib, medium rare,’ as your boyfriend spoke, you kept your eye on the waiter, noticing the appearance of the smallest of flinches in his face at the sound of the dish, but never faltering his picture-perfect appearance, ‘and my lady will have the salad.’

Another twitch, right below his visible eyes, followed, but Sanji’s professional facade stayed on as he inquired: ‘We offer quite a variety of salads; which would madame prefer?’ And with that, he turned to you, that smile plastered on like a sticker, but he had trouble keeping it on as the answer to his question did not come from your mouth.

‘Whichever is the best, of course.’ Chosi rolled his eyes, and you wished you could do so as well. The waiter glanced between you and him, turning back to you momentarily. Long enough for you to give him a reassuring smile. It would be in everyone’s best interest if he just moved on from the matter. 

‘Drinks, then,’ Sanji again spoke with an unphased essence about him, as if nothing from the past few minutes had ever occurred, or at least tried to emulate this. ‘Madam, anything I can get you?’ The way he emphasised that word didn’t require any pointed glares. 

‘Uhm,’ you hesitated as he kept his full attention on you, completely ignoring the man sitting opposite you at the table, making Chosi stare at you just as, if not more, intensely, for all the opposite reasons. Out of panic, you just blurted out the most straightforward order. ‘Just water, thank you.’ It being the first words you said in the waiter's presence, they came out soft. Nothing like your regular voice, which startled you slightly. 

‘Still, sparkling or mineral?’ Sanji pursued. 

‘Still please,’ you smiled shyly, unsure where that actual shyness derived from. 

‘Ice? Cubed or crushed?’ He fired the questions at a rapid pace.

‘A bit of ice is fine. Thank you,’ you repeated yourself, looking down at the table and letting the waiter move on to the rest of the order. He didn’t say anything else but looked at Chosi with anticipation. 

‘I’ll have your finest brew.’

‘Coming up,’ his voice had a sudden coldness to it as he walked away, back to the kitchen, leaving the table to a thick silence. 

‘I could have ordered for myself, you know,’ you said, with that same soft tone you had spoken with earlier, although this felt much more familiar seeing who you talked to. 

 ‘And have you stuff yourself with some useless carbs? C’mon, you know I’m just looking out for you, here.’ 

‘I know.’ You straightened out a fork in front of you, suddenly feeling uneasy at how far away from the plate it was positioned compared to the knife on the opposite side. You were straightening out a crease in the tablecloth when Sanji returned with a silver tray in one hand. He placed the pint glass full of golden brew in front of Chosi before turning your way and setting a glass beside your plate. With a pair of tongs, one by one, he let ice cubes fall to the bottom of it, the clinking against the glass almost deafening. Then, he followed up with another pair of tongs and reached for a little tray but stopped himself to ask you: ‘Care for a slice of lemon, madame?’

‘Oh, uhm, sure,’ you shrugged, unable to look away. This process of pouring a glass of water felt rather extensive, but you could not deny the fact you were enjoying it all. As he grabbed the large pitcher to pour the water, you were unsure how he had carried all of these items with one hand and did so seemingly effortlessly.

‘There we go,’ he smiled, ‘your food will be with you shortly, but do let me know if you require anything else.’ And just like that, he was gone again, but not without leaving you feeling that he had meant his parting words especially for you and that that sentiment had undoubtedly not escaped your date.

‘I don’t like the look of that guy.’ Chosi glared at you as he took a sip from his pint, slurping up the top layer of foam with it. 

‘I think he’s quite sweet.’ You straightened out the fork again and reached for a bread roll to tear it apart piece by piece. 

‘Of course you would,’ he rolled his eyes, which made you look up from your little snack.

‘What is that supposed to mean?’ You put the bread roll down as the pit in your stomach hollowed out your appetite. Right, making space for that damn salad.

‘Nothing.’ Chosi shrugged, ‘Just that it's typical that somehow I’m the only one to notice when some guy is trying to cop a feel.’

‘He was doing no such thing.’ You had to bite your tongue not to raise your voice as his insinuation, despite being on the waiter's actions, seemed to be brutally judging yourself. ‘The poor guy is just doing his job. I’m not bothered by it, and neither should you be.’ Usually, you would attach some sweet nickname at the end of that sentence, but this was one too many times you had said a variant of the confirmation, and you were growing tired of just the thought of it.

Somewhere in the distance, a table erupted into a shouting match that had to be broken up by a handful of waiters. While usually, you turned away from such brutalities, never having been fond of violence and not particularly having a necessity in seeing people getting their teeth punched out minutes before eating a meal, this time you stretched your neck out to glance across the room, secretly hoping to catch a glimpse of the white-blonde hair among the rousing heads. Someone had pulled a pistol, but the weapon was kicked out of the man's grip before they could shoot or even alarm people enough to hide beneath their tables. Just like that, the restaurant resumed its normal state of pleasantries, and you got back to your abysmal date and hoped it was still worth saving… or that saving was still even an option to begin with. 

‘From what you had told me about the place, Chi, it is much grander than I had expected.’ You smiled, and he nodded to your affirmations.

‘Well, I didn’t want to raise the expectations too high, but you know I don’t do anything but the best for you, sweet cheeks.’

‘Of course—’ you were interrupted by the footsteps nearing your table, and the weight nearly lifted off your shoulders at the sight of Sanji carrying too large plates. 

‘Hello there,’ he grinned slyly, ‘hope I don’t interrupt anythin’.’ 

‘Not at all,’ You moved your glass aside to make space for your dish, but Sanji put Chosi’s plate down first, announcing the food.

‘Prime rib, medium rare, for the gentleman.’ Like everything else, he precisely placed it so the gold details on the plate faced the diner exactly right. The roast glistened in the restaurant's dim light, and the smell hit you right at the nerves that reminded you of your hunger. But that was for the gentleman, and the gentleman had ordered for you the—

‘And for the madame,’ Sanji put a plate in front of you, ‘what I like to call the Sanji Special.’

You looked down at your plate of food with a stunned expression and then looked back up. Just in time, you caught the slight wink that your waiter had sent you before stepping back to then, with a nod, say, ‘Bon appetite.’ 

He got to take about three steps and had just turned his back towards your table when Chosi called out to him, clearing his throat. ‘Ehem, excuse me, Sonny.’ 

‘Is there a problem?’ Sanji returned with his hands behind his back, but you didn’t need to see his fists to know he was clenching them. It was all visible in the strain of his upper arms and jaw as he restrained himself to keep up a polite smile. 

‘I am pretty sure we had ordered a salad?’ Chosi tried to play it off with a casual laugh, but it turned out to be anything but. Sanji leaned forward to grab the plate, but then your boyfriend exclaimed, ‘No, not for me; for her.’ before the waiter got his hand on his prime rib.

With a satisfied smile, Sanji glanced at your plate and stated: ‘That is a salad.’

Not that you did not appreciate what was in front of you, but if it was a salad, it was the loosest interpretation of the definition possible. You had to keep your laugh in as he explained that the dish was a “twist on kensui salad with steamed components, egg, and pork” or, in your simpler terms… the most delicious-looking pot of ramen you had ever encountered in your life, but no, definitely not a salad in the traditional sense. You smiled at the food, not daring to look up at Sanji while your boyfriend’s head seemed to be boiling alive, but the waiter was a step ahead of you. 

‘Ah, almost forgot, for the lady,’ almost out of nowhere, he made a pair of chopsticks appear for you. 

‘She will not be eating that,’ Chosi grunted. 

‘I think that is for her to decide,’ Sanji didn’t even bother to look at him, keeping his sweet smile on you, which, in turn, rushed a hot flush over your cheeks. 

‘Chosi, don’t be like that; this looks delicious.’ You spoke, hoping he would calm down and let you finally sink your teeth into this gorgeous meal. After a tense second, Chosi finally huffed out and sank back down in his chair, making you realise he had been on the verge of getting up for whatever reason. Either way, his intentions could not have been good. In the meantime, Sanji excused himself once more to finally leave you to eat. 

You had perhaps taken half a bite when Chosi, his food untouched, spoke up again. ‘Why do you always do this?’

‘Do what?’ your throat tightened around the pork you had just swallowed.

‘Embarrass me like that?’ He sighed, a vein in his forehead looking more prominent than ever.

‘I didn’t—’

‘Cut the shit, you know what you’re doing.’ Chosi slammed his fist on the table, startling you and the few people sitting at the nearest tables to you.

‘Please, can we not do this now,’ you kept your head down, ignoring all the pairs of eyes that must have started catching on to what was happening. Chosi had turned red from anger by that point. 

‘What, am I being too much for you? Imagine what it’s like going out with a slut—’

‘Chosi!’ you snapped, immediately covering your face with your hand as if you had not meant to shout and grab the attention of even more people. 

Deep breath in. 

Out. 

‘What the fuck is wrong with you?’ You hissed at the man across the table from you. 

‘With me? You’re the one that has been eyefucking the waiter this whole time, and now you disrespected me like that in front of him? Do I mean so little to you?’

‘I did no such thing.’ You rolled your eyes, catching glimpses of the room you were in. The people that sat around, the employees. Of course, Sanji stood only a few tables away, taking an order. Could he hear what was happening? Most likely, the idea of that burned you in a new, much more unpleasant manner. Chosi must have said something, but you had been too occupied by your surroundings and too tired to even listen to what other vile things he had to tell you. The only thing that kept you at that table was the food, but no matter how good, it wasn’t worth enduring him. ‘You know what,’ you grabbed your napkin and slapped it onto the table, ‘I can’t do this right now. I’ll see you on the boat.’ The chair shrieked as you shoved it back.

‘Where the hell do you think you’re going,’ Chosi growled practically, and despite you having already turned your back to him, you heard his own chair scrape the deck floor. You had your eyes squeezed shut as you got ready for what was coming. He reached out, but nothing happened. 

You looked over your shoulder to see Sanji pulling Chosi in by the sleeve. 

‘Believe me, we don’t wanna do that, mate.’ Sanji said, his eyes filled with a new rage that made you take a step back.

‘Let go of me, you sleaze.’ Chosi suddenly reminded you of a feral kitten, how he tried to wriggle himself out of the waiter’s grip. ‘I’ll make you regret ever touching me. Do you know who I am?’

‘Do I look like I give a shit?’ he let go with a laugh, almost pushing Chosi to the ground. As your date dusted off his sleeves, Sanji took a step forward, pressing himself against him. Now that both men were standing face to face, did you only realise how much taller Sanji was than your boyfriend. How much bigger and, most likely, how much stronger. With a hushed and reserved tone yet somehow full of intimidation, the waiter said, ‘Don’t you ever try to touch or speak to a woman like that again, you hear me? Or I’ll make you regret you were ever born.’ 

Chosi could only nod with his eyes blown wide open. The restaurant was dead quiet, unable to pull their eyes away from the scene unfolding before them. No one said anything or moved, and yet, somewhere, a stack of plates fell. The crash of porcelain echoed through the space, and Sanji turned his attention toward the kitchen’s double doors for a second. That quick moment was enough for Chosi to find his moment and attack.

Or at least make an attempt at it. 

Sanji was still looking toward the kitchen, and Chosi’s fist was in mid-air, but the waiter flawlessly manoeuvred around it, swinging himself back and letting Chosi fall forward. To make matters worse, Sanji supplemented the fall by kicking him over. If it wasn’t for the fact that your boyfriend’s chin had smacked against the table, you would have missed the entire thing, as Sanji’s movements were so elegant that it seemed as if he had not moved at all. He might as well have been refilling your water, ignorant of the groaning mess of a man he had kicked down to the ground with such ease. 

Chosi got up shakily. A nasty cut was already dripping blood from the underside of his face, but the redness didn’t compare to the rage on his face. He looked around until his eyes caught yours. ‘What, you’re just gonna stand there like some dumb–’

‘What did I just say?’ Sanji said, this time much louder, not trying to hide the row from the rest of the diners. But before he could make another move, Chosi reached for the nearest thing he could reach, which in his case was your dish of ramen, and threw a fistful of noodles Sanji’s way, hitting him square in the chest. 

Silence. 

He must have been too stunned at the audacious strike to move out of the way for it. Everyone must have been watching the noodles unstick from his navy jacket and slowly fall to the ground, then watched as Sanji raised his head back up, his expression unamused and cold, but his eyes filled with a passionate and furious fire. One that was enough to live up to the promise he had made the man you had come to the restaurant with. And so, just like that, without another word needing to be said by anyone, you watched Chosi back away—one, two, three steps, whimpering and mumbling some comments that could almost make up an apology, before he sprinted up the stairs to the exit. 

‘Ridiculous,’ you heard Sanji mutter under his breath. ‘Fucking waste of food.’

Before you could think any better about it, you walked up and knelt down, as he did, to reach for the spilt noodles. ‘I am so sorry,’ you started apologising. ‘I swear normally he–’

  ‘Is exactly like that,’ Sanji chuckled with a rasp. You looked up at him, a bit dumbfounded. He had managed to scoop most of the food before you had and was already getting up. ‘You have nothing to apologise for.’ One of his colleagues had been quick with bringing over cleaning supplies. ‘If anything, I should be the one saying sorry. Let me make it up to you—a drink in the bar, on the house.’

‘No, that is really not necessary.’ You couldn’t accept anything for free after your boyfriend pulled off such a scene and… had run off without paying. The realisation hit you like a brick on the head as you cursed under your breath with a strong sense of panic, which Sanji caught on to immediately. 

‘Please,’ He reached gently for your arm. ‘I insist.’

You stuttered for a moment before actually answering in defeated agreement. With a satisfied smile, Sanji led you to another exit, leading to the bar deck. ‘Right this way, madame.’

The bar deck, located in the mouth of that giant fish head, was moderately empty. Except for you and the appointed barman behind the counter, only a handful of others were sprinkled across the couches and futons. You chose a seat overlooking the sea and the setting sun that coloured the sky and waters an array of warm colours. 

You understood that you had to go up to the bar to order, but you felt no particular need for it, just enjoying the breeze that brought over the calm sea air towards you. 

It was unclear how much time you spent sitting out there, looking at the waves splashing by and the clouds above you and the people around you. Only once the sun had set entirely, darkening the sky completely, and most people had left the area, you decide to finally walk up to the bartender and place an order. The man nodded and proceeded to make your drink with only a few attached flourishes to the craft, but the result was charming and tasted delicious.

‘I hope I had made it clear that that was one drink on the house,’ you heard from behind you. 

‘Don’t worry, this is my first.’ You said, turning around to see Sanji standing behind you. 

‘You might just be the slowest drinker I have ever met,’ he said as he took the spot by your side.

‘Jeez, do your manners flush away the second you’re off the clock?’ You smiled, taking a sip of your drink, most likely also proving Sanji his point as the sip you took was particularly small. 

‘For what it’s worth, madame, I was about to tell you that your bill has been taken care of.’ He leaned against the bar countertop with his forearms. ‘But I will make myself scarce now.’

‘No, wait,’ you stopped him before he could push himself back. ‘What do you mean it was– I would have happily paid. At least let me leave a tip.’ You were ready to pull out your purse when he took his turn to halt your movements. 

‘I will not be accepting any tips for my service today. And honestly, you barely had a meal to eat, let alone to pay for. It is all taken care of. I promise.’

You looked up at him apprehensively, but something about his–not necessarily laidback–but how he was so comfortable with the situation put you at ease, too. But something was gnawing at your conscience. 

‘Alright then, but I disagree with the review of your service. You most certainly need something for it in return.’ How could you repay the man who had just gotten you out of your horrific relationship? You doubted anything in the world could match your actual gratefulness. Although, maybe the smile that pulled at Sanji’s lips said something different.

‘Let me cook for you.’

‘What?’ You blinked slowly, making him smile even wider.

‘You haven’t eaten anything proper in hours. Let me make you something in the kitchen–an exclusive guest experience.’

‘That doesn’t sound much like a gratuity for you.’ You pointed out, but he did not seem to mind.

‘Indulge me,’ was all he responded with. Feeling giddy at the prospect, you glanced over at the bartender, who was definitely listening in on the conversation. Understanding what you meant with your look, he simply shrugged while wiping the glasses. 

‘Ok then.’ This entire thing felt utterly ridiculous, and you didn’t hide the amusement you felt from it as Sanji opened the door to the kitchen for you. That is when your smile lightly faltered, only to be replaced with a fallen jaw as you looked around in amazement. Like the dining area, this room had a high ceiling but wasn’t decorated as much as simply visually enhanced by all the bronze pots and pans hanging around, and the pipes leading from the ovens and stoves up to the chimneys. There were long lines of prep stations, behind which one Sanji comfortably made himself at home as he immediately got started on something.

The first few minutes, after you watched him exchange his suit jacket for a white chef’s uniform, you were occupied with the kitchen itself, but once you had gotten used to the environment, you wondered where you could make yourself equally comfortable as not a nuisance to him as he cooked. 

‘Make yourself at home, sweetheart,’ he said while chopping some ingredients at a speed that made your heart skip a beat in fear. Or did that come from the new nickname that caught you by surprise? 

‘What happened to “madame”?’ you walked closer to his station. Sanji just looked up briefly, eye covered by his hair but his smile evermore present. Your smile lasted longer as you forgot you had meant to look at what he was doing, not to stare at him. Noticing he was not planning on answering your question, you asked another. ‘So, what exactly are you making?’

‘Since I’m sure dinner did not turn out entirely as you had planned, I thought maybe dessert would be a good pick-me-up. Rose and chocolate meringue tartes, how does that sound?’

  ‘Makes me wonder what I did to deserve it,’ you laugh it off while speaking the question that had been on your mind this whole time. 

‘I like to show a lady how she’s meant to be treated,’ he said as he poured several ingredients into a glass bowl and began wicking at a pace that should have stopped him from looking so effortless long ago. ‘It’s all part of the special package deal.’

‘Right, the Sanji Special, was it?’ You looked around at the countertop next to him, which seemed free from ingredients and anything you could set on fire. You glanced his way, and he swiftly nodded your way. With that permission in mind, you pushed yourself up on the counter, swinging your legs lightly back and forth. ‘So what exactly does this special indicate?’

‘A nice meal, a little surprise, a few kind words, nothing too crazy. I would like to think that, with it, I have perfected the recipe on how to eliminate shitbag boyfriends like that prince charming you came here with.’

‘My knight in shining armour.’ You rolled your eyes, hiding how much you appreciated all his actions from that day. ‘Must have worked on quite a few girls then?’

‘Can’t say it has,’ he said as he pushed the oven open to prebake a few tartelette frames. The speed at which he worked truly was otherworldly. 

‘Can’t because of a bad success rate or because you hadn’t actually tried it before?’

He appeared next to you from beside the oven; tiny droplets of sweat were forming at his temple, but his energy was still burning like the fire under the pot where he was melting the chocolate. ‘Let's say the latter. For both our dignity’s sake.’ It did not come as a surprise to you that he was a flirt and most likely tried these tricks out on the entirety of the female clientele, and yet, for reasons unknown, you did not mind one bit, and it still did not seize to make the smallest of his advances work on you with tremendous effect. 

‘Don’t think I have much more of that left after  everything that happened out there.’ You cringed at the memory of the shouting, the mess, and just how many people had been sitting there watching you. 

‘There’s been much worse out there, believe me.’ Sanji lowered the fire under the pan lightly.

‘I hardly believe that. He threw noodles at you. That is absolutely revolting behaviour.’ And somehow, you managed not to get kicked out of the restaurant along with Chosi but even got to hang out in the kitchen after hours as a special dessert was being prepared for you… by the waiter that your boyfriend had tried to assault— no, that your ex-boyfriend tried to assault. That felt much better, but still didn’t let the whole situation make any more sense.

‘And that wouldn’t even make the top ten of shit that’s happened around this place.’

‘I… am not sure wether to be relieved or disappointed.’ For an inexplicable reason, you thought you would be more memorable to him. However, would you have wanted that, seeing the actual circumstances under which that would be? Ugh.

As if he could read your mind, Sanji added in. ‘Don’t worry, I’m not planning on forgetting you anytime soon.’

‘I bet you say that to everyone.’ You rolled your eyes, to which he just smiled. ‘But really, I am sorry for what happened—especially to your suit.’

‘I care more about the noodles, honestly, don’t like seeing food go to waste—’ he drifted off with his thoughts before coming back up to the surface with another question, ‘speaking of noodles, where’d you meet this guy anyway?’

‘It’s complicated,’ you sighed, not wanting to burden him with your story, but from the eager attitude he was conveying as he managed his ingredients, he did not hold the same sentiment over it. ‘We had been friends for ages—out dads worked together—and it seemed, to everyone, apparently, like the natural progression of events that we would end up together.’

‘Everyone… except for you?’ he assumed, looking up at you from the counter space.

‘No, I mean, at first I thought so too, but over time… well, you saw it yourself. But by the time I had realised what a mess I had gotten myself into, it felt like I was already too late.’

‘How so?’ You heard the gentleness in his question like he was treading the topic lightly, not wanting to put any pressure on it or on you to answer. 

‘Heard people talking he had been planning to propose.’ You shrugged it off. ‘But I doubt that will be happening anymore.’

‘What are you going to do now?’ The question came with that same carefulness but perhaps a bit more intrigue. You simply shrugged again.

‘Will probably have to find another ship to get back home on, as I can’t imagine he would want me on board with him.’ It was crazy you had not bothered to check but assumed that he had already taken off hours ago, leaving you behind to fend for yourself. ‘And then, if I see him again… well, not much else I can do but officially dump his ass.’

‘So I shouldn’t feel bad for what I did?’ He stopped what he was doing as he waited for an answer.

‘Absolutely not. I can’t thank you enough for doing that.’ 

The both of you shared sheepish smiles before you watched him work silently for a few more minutes. The tarte frames came out of the oven in a beautifully crisp golden tone, and he mixed the chocolate into a thick mousse while the rosy syrup lay back to cool off. While the two of you remained quiet, the kitchen was anything but that as his utensils clinked around the pans. You thought back to a few hours ago and how the silence at your table had been anything but this. You had sat in a cold dread, waiting for something to snap until it inevitably did. However, you sat back comfortably here, happily watching as Sanji focused on his work. 

It really was his element. While you thought the man had been exemplary at waiting tables, it was nothing compared to the ease at which he performed here. Each move he made seemed like second nature to him. 

‘Do all the waiters here know how to cook like this?’ you inquired, leaning in to see how he filled the pastries up, hands in a tight grip on the piping bag. 

‘The ones that are cooks do,’ he chuckled. 

‘You’re a cook?’ you blinked, ‘then what were you doing out there earlier?’ 

‘Ah, the old shitbag that runs this place likes to torture me and send me off to do the waitin’.’ He readjusted his hold on the piping bag, briefly stopping to wipe his hand on the towel tucked between his belt. 

‘Doesn’t that bother you? I’m sure you’d much rather work here.’ You certainly would. Some people could be real assholes to serve… your former date being a prime example. But Sanji simply laughed it off.

‘Nah, not when beautiful women are out there waiting to be served.’ He stopped to look up at you with a shit-eating grin, and the unseriousness dripping off of it made you blush, smile along with him and push him back by his shoulder before you would do something else much more irrational. Perhaps a bit too hard, as he lost his balance, only finding it on the counter, exactly where the piping bag had been left behind. His palm fell right over the ending, bursting out the mousse in an unfortunate mess, spilling all over him and the counter.

‘Oh no,’ you said, covering your mouth but not the giggles from it, ‘I’m so sorry.’

‘You think it’s funny, don’t you?’ He couldn’t keep his smile, but you shook your head harshly. ‘You’ll pay for this,’ he pointed his hand, covered in chocolate, at you. Several thoughts ran through your mind initially, but you managed to suppress most of them, opting for simply running your finger over the back of his hand where most of the mousse had spilt and giving it a taste. 

‘That is really good.’ you hummed at the sweetness. Sanji stood back, somewhat frozen at what you had done, but quickly thawed out with a few blinks.

‘Well, what else did you expect?’ He wiped the rest of his hand on the towel at his side, ‘and I’ll have you know it’s rude to eat the food before it’s done. Takes away from the experience.’

‘I’m sorry,’ you pouted, ‘but I promise you I am still very much enjoying this whole experience.’

‘You better.’ Sanji said, taking the baking tray and putting it back in the oven for the last few minutes. With the oven door shut, he sighed and leaned against the counter opposite you. ‘Now we wait.’

‘How long exactly?’

‘In a rush, are we?’ He glanced at you from behind his hair, and the question made you heat up in the face. Because how could you explain to this practical stranger that you were feeling the opposite of what he insinuated. That you did not want this night to end at all. That being here with him, even if you were just waiting for a damn tart to bake, you were having more fun than you had had in weeks, if not longer. So, all you did was simply shake your head again. 

‘It will be just a few minutes, and then gotta let it cool for a bit.’ He reassured you. That is when you noticed the bowl he had mixed the mousse in, mostly scraped clean while filling up the piping bag, but even the best chef can’t always scrape every last ounce out. Now, you might not have had any particular urge to leave any time soon, but you certainly were hungry, and having tasted just how delicious Sanji’s food was, you couldn’t help but lean in to get another little taste. 

‘What do you think you’re doing?’ He said, bemused, reaching to stop you from taking another swipe of mousse onto your finger. His hand gently grabbed your wrist, but he had been too late. When he caught you, you had your hand directly over your lips, looking up at him. He glared down at you in a daring manner. 

You licked the chocolate off yourself as innocently as possible without bursting into laughter. 

‘I can’t believe you’d do that.’ He took a step forward, nearly closing the gap between you. The presence of his body, so close to yours, almost touching, reverberated off of you with warmth, and suddenly, you felt the breath you had taken to be stuck in the back of your throat. ‘Did you not listen to anything I just said?’ His breath was hot against your skin, and if you didn’t know any better, you would have thought it was a direct source of the skip in your heart. 

‘Of course I did.’ You ignored the fast beating of your heart and the feeling like it might just burst out of your chest as you took him by the arm to give you some space and let you slide down the counter back onto your feet. ‘Something about experience and…’ you slid out from between him and the counter, and as you did so, swooped by the bowl of mousse with your finger one last time. ‘I forgot what else.’

‘You are unbelievable,’ Sanji reached for your hand, but you were quicker and manoeuvred around him and from his arm’s reach. Taunting him with the mousse, you walked around the work counters, and he, happily playing along, followed suit. 

Like children, you ran around the kitchen, with him not far behind you, trying to catch you until he finally did, picking you up by the waist. Unintentionally, a squeak of a shriek came out of you, followed by both your laughs. You kept on laughing until you heard something outside the door. Heavy footsteps, freezing you both in your place until they moved on by. That is when you noted the time. Hours past midnight.

‘Are we even allowed to be in here at this time?’ You whispered as if the person who had walked by would suddenly be able to hear you.

‘Of course,’ Sanji said with confidence, but his expression juxtaposed this with signs that you could only read as “absolutely fucking not.” chances were that if you were caught in the kitchen at this time of night, you would be shot on the spot by, what did Sanji call him, the old shitbag.

But before you could run away in fear of getting caught, it was Sanji’s turn to take you by surprise. As you stood in his arms, he leaned in and wrapped his mouth around your finger, sucking all the chocolate right off. You could feel his tongue move down your knuckles and back up until he released it, leaving you stunned and wide-eyed. 

‘I thought it’s rude to eat a dish before it’s done,’ you managed to sputter out. 

‘So you did listen,’ he smiled, ‘but you might want to know that a good cook always tastes their dishes in the process, and that… was delicious.’

‘Are you always this humble about your cooking?’ Your heart was basically in your throat at this moment.

‘Wasn’t talking about the food,’ his tone was deep, sultry, as he leaned closer. ‘But care to give me another taste?’

Your breath was officially hitched in your throat, unable to breathe properly, as you stared at him, body flooding with heat and need for him. As words escaped you, you nodded lightly and leaned in as he did the same, meeting your lips in the middle with a kiss.

As soon as it happened, his arms found their spot on your side as you fastened yourself on his shoulders. It was nothing like you expected it to be. For a man spending his entire nights and days in the kitchen, he felt nothing like it. You could smell the cologne, taste the cigarettes and the fresh mint he used to conceal the former. His tender but firm touch held you in your place as he pressed closer.

There was a force to it, but nothing that you didn’t feel in yourself to copy as the need for him boiled deep inside you. 

Your hand moved slowly up to his cheek, over to his hair at the nape of his neck.

One of his hands, in the meantime, had found your thigh, pulling it up over his leg as he squeezed your soft flesh, but before giving you a chance to even react to this new position and all its implications, Sanji moved.

Pulling apart, leaving your lips to be the last piece he detached from as he kept your bottom lip between his teeth lightly, he apologised, ‘Excuse me for a moment.’ because while you might have forgotten all about the world around you, he had still been keeping track of the tartelettes that were baking down in the oven. 

He pulled the tray of pastries out with a white tea towel, practically throwing it down on the counter, discarding it with a metal clang.

‘Now we wait for them to cool,’ he explained as he got back to you.

‘And what were you planning on doing in the meantime,’ you pulled him back in by the blue ascot tie. 

With his lips ghosting over yours, he half-whispered, ‘I might have a few things in mind,’ and with it, kissed you again. While the kiss itself was not much different, with that same intensity and passion running through both of you as before, now you were very much aware of what was to follow. If it wasn’t your need that spurred you on, then it was Sanji and his eagerness. Despite his chef’s uniform and the navy apron, you could feel him grow harder against you as the kiss continued. A moan escaped you as his lips travelled down to your neck, leaving sloppy kisses one by one until he reached a spot that was more sensitive than others. The simple touch sparked a fuse inside you.

As he continued playing with your sensitive skin, he led both your bodies to one of the empty tables at the side of the room, pressing you right against the edge and locking you in between it and him.

Without needing him to say a word, you understood exactly what you needed to do and climbed on top of the table, spreading your legs to make space for him right in the middle. 

Your dress might have hiked up slightly over your thighs, but it wasn’t enough for Sanji, who took it upon himself to pull it up. 

‘I hope you don’t mind me saying’,’ he smiled as he kissed the corner of your mouth and as his hand reached the top of your leg, ‘but I had been thinkin' about this ever since I saw you.’

‘Me too,’ you exhaled deeply, letting the confession sink in. Maybe Chosi was right after all. Now, with him out of the picture, you could admit that something had been there from the start, from the moment you caught a glimpse of the waiter cook. And if it wasn’t for all the shit that occurred that day, maybe you would have felt a twinge of guilt as you guided Sanji’s hand between your legs. If you had not shut that chapter behind you, perhaps you would have felt bad, but any insecurities of that disappeared as Sanji began to toy with your core. His slender fingers grazed slowly over your slit, putting enough pressure on it to make you arch your back in need of more. 

‘Already so needy,’ he smirked. ‘And I barely touched you.’

‘Touch me then,’ you said with gritted teeth.

‘Don’t need to tell me twice.’ His fingers moved up in pace and barely went any deeper, keeping you on the edge of satisfaction. ‘And what would madame like me to do?’ He threaded his movements, and you were growing impatient with the teasing.

‘Fuck me,’ ready to hear his next question, you added, ‘I don’t care how.’

His grin only grew wider at your words. Much to your dislike, he pulled his hand away to place both at your thighs, pressing his fingers into your skin and using that as leverage to make more space for himself in between.

‘As madame wishes.’ He spoke softly right below your ear as he descended onto his knees. 

The kiss he left over your panties already invoked a tremble through your entire body, and it only got worse from there, in the best sense. He pushed your underwear aside and took his time giving you all his attention and care. Kissing your core deeply until his nose pressed up against you. His tongue licked up your juices like a starving man until your eyes rolled back, and you felt weak. 

The table you were perched on was empty, so you only had Sanji to hold on to. At first, you reached for his shoulder, but it was just not high enough for you to find support. As you tried to look for it, Sanji reached for your hand and brought it up to the side of his head for you to tangle your fingers in his light locks. Before you even managed to grab onto them, simply letting your nails trace over his hair, you felt the vibrations of his moans strike you. Another deep blow to your senses pulled you further down to the edge. Closer and closer until you couldn’t take it anymore. Your grip on his hair tightened as your breath grew sporadic. 

‘Fuck, fuck,’ you moaned, voice filled with desperation for a release, and one that Sanji would be more than pleased to give you… just not quite yet. As he pulled away from you, you deflated with the feeling of a ruined climax and the urge to pull him back to finish what he had started, but all you could do was whimper in protest. 

‘Don’t worry,’ he kissed your knee softly, ‘all in good time. I promise to take good care of you,’ and with that, he rose back up to his feet, untying his apron.

‘That was good,’ your chest still moving up and down heavily as you caught your breath. ‘Really good.’

‘It pleases me to hear that,’  he said as he threw the apron aside onto the ground. ‘And believe me, I would love to go back for seconds—’

‘Does all your pillow talk stem from restaurant jargon?’ you interrupted jokingly. 

‘You laugh, and yet you’re the one begging me to fuck you.’ God, he was so cocky, with the way he stood there in front of you, his head tilted sideways, and his lip turned up in a grin that told you he knew he was right. ‘So, please, let me.’ His hand was already on his belt buckle. 

There was no time or need for either of you to undress. With your dress hiked up to your hips, he already had easy enough access, and once his belt was loose, it only took a few sharp pulls for you to release him from the material restraints. 

‘You ready?’ he asked.

‘For the love of god,’ grabbing him by the arm, you pulled him in, ‘stop talking and just take me.’ You knew he was about to respond, but before he got the chance to make another absurdly silly but nonetheless flirtatious comment, you shit him up with a kiss. Just like that, the two of you melted into one another. Sanji made himself comfortable between you and let his lips wander down to your neck again, to that one spot he found that drove you crazy. 

He kept kissing your neck as he finally slid into you. The two feelings made your body go weak, melting you into a puddle of burning nerves as he spread your walls and filled you up perfectly. 

First, he moved slowly, but with each thrust, he sped up more and more, putting more force into it until you were both shaking with ferocity, and the table underneath you scratched over the planks it stood upon. The sound of the tortured floor was the only thing covering up both your moans and that of the messy skin-to-skin contact. 

While he practically pounded into you, you reached for his hair again. There was just something about it: how messy you managed to make it with a few tugs and brushstrokes. All of it, how he acted and reacted, it was all in response to you. Just how he made you see stars with each move he made. 

‘Feels so good, fuck,’ he groaned over your shoulder as you grabbed for his, pulling him closer if possible. He had your legs pressed against his sides. He shook his head quickly, letting the hair flick out of his sight, but the attempt was poor as the lock quickly fell back over his eye despite his efforts. 

‘San–’ you moaned, ‘Sanji–’ 

‘That’s right,’ he might as well have been kissing you, so close were his lips to you, but instead, the only thing you truly felt was his hot breath on your skin as he kept going deeper and harder. ‘Gonna come for me? His voice got even deeper the longer he kept going. At the sound of it, your nails dug into his back, his striped shirt being the only thing saving him from possibly some nasty scratches, but it seemed to only spur him on more. ‘I–’ you gasped out as you felt him hit the deepest part of you.

‘Yeah?’ 

‘I’m close, fuck.’ the pit in your stomach tightened, your muscles strained as you tried to hold on to that feeling of pleasure he brought over you. The tension built up like a band being pulled tighter and tighter, ready to snap at any moment; he had you in his grip, waiting to let go of you at the exact right time. All you needed was that touch, just the right one in the right spot. 

You could feel it all. Could feel just how close he was himself as his thrusts got sloppier, and his breathing grew heavier and rougher between his words. ‘Yeah, c’mon. I know you can do it. Come all over my cock. ‘’s gonna feel so good, I promise you.’

The encouragement might not have been necessarily what did it. It was more like a concoction of things that all led to this precise moment when ecstasy overtook your body and washed over you like a hot flash. Sanji was not far behind you, riding his high as he ensured you got to yours. His movements slowed down as you felt the cum slick down your thighs. While you both caught your breath, it became quiet once more. 

It took you a bit longer to catch up on air in your lungs, and so while you closed your eyes and focused on your breathing, you heard Sanji zip his trousers back up and lightly walk across the aisle between the workstations. When you opened your eyes again, he was making his way back to you already, a handful of paper towels in his hand. 

Despite the burn you already felt in your sore muscles, you spread your legs one last time to give him access to clean you up. His soft touches to your sensitive core now were in stark contrast to what he had been doing to you moments ago, but the cold of the damp towel brought a nice sense of comfort. 

‘You think you can stand up for me?’ he asked gently, and the little words in that tone were enough to make your heart flutter. 

‘Yeah, I think so.’ You said, but that was quickly proven wrong when your knees buckled almost immediately when your feet touched the ground. It was only because of the way that Sanji held your arm that you had not completely toppled over. 

‘Woah, alright.’ He smiled, never letting go of you, ‘How about we just sit for now.’ Slowly, he guided you to sit on the ground, back against a cabinet. ‘Water?’ 

You nodded in agreement. The question had made you realise just how parched you were.

‘Still, sparkling, mineral?’

‘Surprise me.’ You said through a tired smile at the reference to how he waited on you earlier, but moments later, you reminded yourself of your preference, ‘just not sparkling! It just tastes foul.’ 

‘Anything but sparkling water, coming right up.’ He moved around the room to pour you some surprise water, and while he did so, you pressed your face into your hands, laughing at the absurdity of it all. Less than 12 hours ago, you had been walking up the deck, arm in arm, with your good-for-nothing boyfriend, soon-to-be fiance. Now you sat on the ground of a restaurant kitchen, with no idea where said–now ex–-boyfriend was in the world, coming down from one of the best orgasms you had ever received… all by the hand of a stranger. A handsome stranger at that. One that you could imagine seeing much more of in the future, but it was all just too silly. 

And you were tired. And hungry. 

‘Voila,’ Sanji appeared in front of you with impeccable timing, a large ice-cold looking glass in one hand, filled with ice cubes and cucumber, and two plates in the other hand. The rose and chocolate meringue tartes look particularly inviting. ‘Thought you might finally want to try one,’ he said as he handed you a plate and fork.

‘I swear, you’re a godsend.’ No matter in how much need you were of a drink, the sight of the dessert made your mouth water. 

‘Ah, just a little something sweet for—’

‘If you’re going to say what I think you’re going to say, I will shove this tarte in your face.’ One could only endure so much of this sappy flirting, even if you found it very endearing. Sanji shut his mouth and sat beside you, poking his fork into his portion.

The two of you ate quickly but still took enough time to appreciate the flavours that oozed out of the pastry and its filling. The moan you made as it all reached your tastebuds might have been more pornographic than any sound you made while he had been deep inside you. 

‘Mmm, this is delicious,’ you said through another bite. The praise brought a huge smile to the cook’s lips. ‘Seriously, thank you. For everything.’

‘It’s been my pleasure,’ he spoke in a way that almost made you think he was getting shy on you. That felt unlikely, but you let him process it all for a moment as you kept eating. 

Only once you had eaten everything off your plate did you ask your next question of the evening. ‘How did you know I would like this?’

‘It’s a chef’s best trait,’ he pulled the fork out of his mouth with a pop, ‘to be able to read their customers well. To be able to tell what they like or dislike; to know them better than they know themselves.’

‘But how?’ With intrigue, you moved closer to him. He had been leaning against the same cupboard as you, one of his knees raised up and an arm hanging casually over it. His hair was still messy, falling over his eye. ‘How could you tell I would enjoy this specific dish?’ 

The one unobstructed eye fell over you, looking up and down over your body as his mischievous smile reappeared. ‘It felt fitting.’

‘How so?’ You blinked, confused as to what he meant.

‘Sweet, decadent and hot; what’s there not to like? I mean—’ he leaned in over his arm to kiss you, feather-light. Then, he hummed as he pulled back. ‘It is an absolutely divine combination.’

Your cheeks burned up for what felt like the millionth time that evening, and you could not dare keep looking at him as he stared down at you with that innate hunger. That kind that could only be filled with one thing, and it just so happened to have wholly exhausted you. 

‘Is this still all part of that special of yours?’

To this, Sanji shrugged, ‘Depends.’

‘On what?’

‘On how long you want to keep me around.’ He scraped some leftover mousse from his plate, licking it off his fork.

‘I think for a while,’ you admitted. Yeah, you definitely hadn’t had enough of him yet. 

‘Well, then there’s so much more I can do for you, madame.’

the end

thank you so much for reading! If you enjoyed this story, please consider reblogging and commenting-either through the comments, in a reblog or through my inbox <3 to hear your thoughts on my writing means the world to me and really is a huge help in motivation to keep going.

you can find my other writing here

#opla sanji #opla sanji x reader #sanji x reader #one piece fanfiction #one piece x reader #sanji fanfiction #sanji fanfic #sanji #sanji vinsmoke #sanji vinsmoke x reader #one piece live action #one piece live action fanfiction #opla fanfiction #opla #opla x reader #opla x y/n #sanji x y/n #vinsmoke sanji x reader #vinsmoke sanji x y/n

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[artsekey]

Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

 When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”).  She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too!  Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

              What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

              But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

              In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

              While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.  

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

              But then��� he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

            It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

 But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

              Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

              It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

              They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

 The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

#wish #disney #review #magnifico

[zyk1ng]

I was gonna make this post way way earlier but I forgot lol but Uhm

I have played through the splatoon 2 story fully and am replaying it (for a future post bc a lot of the dialogue is rlly funny) and honestly while I absolutely loved it it makes me even sadder that splat 2’s story mode was kinda tossed aside (for valid reasons ofc) because it’s so Cool.

Excluding the gameplay, I think they did marie so well, because she sells the desperation of someone who’s got nobody she knows by her side. While she of course keeps the sassy attitude of sneak dissing her best friends (agent 3) and also telekinetically telling you to fuck off if you talk to her too much it’s very clear she genuinely cares so much about agent 4 and is so grateful they’re doing what they do.

these are only two screenshots of 8(?) of Marie randomly being really sentimental to 4 because this stranger chose to help her in her time of need rather than just ignore this GROWN WOMAN hanging out on a sewer drain

It’s like heavily emphasized multiple times that Marie could not be more grateful for 4’s help in retrieving not just the zapfish but also her cousin.

But then revealing that 4 knew about Callie the WHOLE TIME (I have a lot to say about this part but it’s mostly hc so) which is so KIND OF THEM???? this random woman recruits them into a secret military agency and hides the fact she rlly misses her cousin but they help anyway bc they WANT TO. (They didn’t even know either of them were famous btw) Marie shows a lot of gratitude toward 4 ESPECIALLY after the big reveal.

(You could make arguments for 3 being similar bc an old kook made them do it but this isn’t about them..)

And it’s not just being grateful for the one time, she genuinely enjoys 4’s company and wants to be better friends with them and chat after the zapfish and Callie are saved 😭😭😭

It’s so cute too, because 100%ing the game and even just being a little nosy is something that Marie picks up on, and remembers way later in the game. (More abt this later)

god I love this socially inept squid woman and her adopted child soldier that likes finding pieces of paper

Speaking of said soldier! I think the way they characterized 4 via the actual gameplay rather than art/statements/whatever is so cool

4 doesn’t have many illustrations besides the chaos splatfest and that one group photo where they’re being funky in the corner (and the apartment) but I feel like the reason for that is the fact that a lot of Marie’s dialogue as well as how splatoon 2’s hero mode is structured/designed speaks a lot about how they wanted to represent 4.

From a realistic standpoint, of course splatoon 2’s story mode has to be more creative both prompt wise and secret wise. But it feels like the reason its that way is because both 4 and Marie are separate types of people from Craig and 3.

The bosses help a lot with this too, being more gimmicky and weird (subtracting stamp.) Octo shower and samurai being bosses where you have to either react well or change your positioning to effectively beat them. (Octo shower is my fave btw I loved fighting it the first time)

The level design also shines in this aspect because if I’m honest I remember none of the splat 1 levels significantly besides the few octoling ones. Splatoon 2’s levels are very detailed (and also insanely pretty) and have some rlly fun puzzles in a handful of them and even the more fast ones are a blast to play through

And then all the little extras (sardiniums and scrolls alike) are hidden so well and you usually have to go out of your way to find them and even the secrets that aren’t either of those things have substance

Small note, a lot of extras are also made so that it flows well with the levels design (like the first dualie request mission) which is also extremely fucking cool.

the way marie touches on those little discoveries is so smart too because it (as I said before) characterizes 4 as someone who loves to look for things even if it’s on a whim especially since the sunken scrolls in the game are so much harder to find than in splat1.

And the fact that unlike splat 1, you can (technically) 800% the game by playing EVERY SINGLE LEVEL WITH EVER SINGLE WEAPON TYPE. to me it feels like it deepens the fact that 4 likes to be really thorough. marie goes “you have a problem.” When you break like two hidden egg crates in this one level and it’s so great.

I love what they’ve done with 4, whether it was intentional or I’m over-analytical.

Nothing gets past them, looking in every nook and cranny whether or not there’s secrets to be found. They’re too nosy and thorough and they like to be around marie after completing missions, they don’t know who the squid sisters are, hate balloons, may or may not be ok, have impulsive secret finding, partake in many extracurriculars, can be needy at times, go with the flow and they apparently smell better than agent 3.

Agent four, of the New Squidbeak Splatoon.

#agent 4 #splatoon #splatoon 2 #marie splatoon #marie cuttlefish

[byoldervine]

Writing Tips - Beating Perfectionism

1. Recognising writing perfectionism. It’s not usually as literal as “This isn’t 100% perfect and so it is the worst thing ever”, in my experience it usually sneaks up more subtly. Things like where you should probably be continuing on but if you don’t figure out how to word this paragraph better it’s just going to bug you the whole time, or where you’re growing demotivated because you don’t know how to describe the scene 100% exactly as you can imagine it in your head, or things along those lines where your desire to be exact can get in the way of progression. In isolated scenarios this is natural, but if it’s regularly and notably impacting your progress then there’s a more pressing issue

2. Write now, edit later. Easier said than done, which always infuriated me until I worked out how it translates into practice; you need to recognise what the purpose of this stage of the writing process is and when editing will hinder you more than help you. Anything up to and including your first draft is purely done for structural and creative purposes, and trying to impose perfection on a creative process will naturally stifle said creativity. Creativity demands the freedom of imperfection

3. Perfection is stagnant. We all know that we have to give our characters flaws and challenges to overcome since, otherwise, there’s no room for growth or conflict or plot, and it ends up being boring and predictable at best - and it’s just the same as your writing. Say you wrote the absolute perfect book; the perfect plot, the perfect characters, the perfect arcs, the perfect ending, etc etc. It’s an overnight bestseller and you’re discussed as a literary great for all time. Everyone, even those outside of your target demographic, call it the perfect book. Not only would that first require you to turn the perfect book into something objective, which is impossible, but it would also mean that you would either never write again, because you can never do better than your perfect book, or you’ll always write the exact same thing in the exact same way to ensure constant perfection. It’s repetitive, it’s boring, and all in all it’s just fearful behaviour meant to protect you from criticism that you aren’t used to, rather than allowing yourself to get acclimated to less than purely positive feedback

4. Faulty comparisons. Comparing your writing to that of a published author’s is great from an analytical perspective, but it can easily just become a case of “Their work is so much better, mine sucks, I’ll never be as good as them or as good as any ‘real’ writer”. You need to remember that you’re comparing a completely finished draft, which likely underwent at least three major edits and could have even had upwards of ten, to wherever it is you’re at. A surprising number of people compare their *first* draft to a finished product, which is insanity when you think of it that way; it seems so obvious from this perspective why your first attempt isn’t as good as their tenth. You also end up comparing your ability to describe the images in your head to their ability to craft a new image in your head; I guarantee you that the image the author came up with isn’t the one their readers have, and they’re kicking themselves for not being able to get it exactly as they themselves imagine it. Only the author knows what image they’re working off of; the readers don’t, and they can imagine their own variation which is just as amazing

5. Up close and too personal. Expanding on the last point, just in general it’s harder to describe something in coherent words than it is to process it when someone else prompts you to do so. You end up frustrated and going over it a gazillion times, even to the point where words don’t even look like words anymore. You’ve got this perfect vision of how the whole story is supposed to go, and when you very understandably can’t flawlessly translate every single minute detail to your satisfaction, it’s demotivating. You’re emotionally attached to this perfect version that can’t ever be fully articulated through any other medium. But on the other hand, when consuming other media that you didn’t have a hand in creating, you’re viewing it with perfectly fresh eyes; you have no ‘perfect ideal’ of how everything is supposed to look and feel and be, so the images the final product conjures up become that idealised version - its no wonder why it always feels like every writer except you can pull off their visions when your writing is the only one you have such rigorous preconceived notions of

6. That’s entertainment. Of course writing can be stressful and draining and frustrating and all other sorts of nasty things, but if overall you can’t say that you ultimately enjoy it, you’re not writing for the right reasons. You’ll never take true pride in your work if it only brings you misery. Take a step back, figure out what you can do to make things more fun for you - or at least less like a chore - and work from there

7. Write for yourself. One of the things that most gets to me when writing is “If this was found and read by someone I know, how would that feel?”, which has lead me on multiple occasions to backtrack and try to be less cringe or less weird or less preachy or whatever else. It’s harder to share your work with people you know whose opinions you care about and whose impressions of you have the potential of shifting based on this - sharing it to strangers whose opinions ultimately don’t matter and who you’ll never have to interact with again is somehow a lot less scary because their judgements won’t stick. But allowing the imaginary opinions of others to dictate not even your finished project, but your unmoderated creative process in general? Nobody is going to see this without your say so; this is not the time to be fussing over how others may perceive your writing. The only opinion that matters at this stage is your own

8. Redirection. Instead of focusing on quality, focusing on quantity has helped me to improve my perfectionism issues; it doesn’t matter if I write twenty paragraphs of complete BS so long as I’ve written twenty paragraphs or something that may or may not be useful later. I can still let myself feel accomplished regardless of quality, and if I later have to throw out whole chapters, so be it

9. That’s a problem for future me. A lot of people have no idea how to edit, or what to look for when they do so, so having a clear idea of what you want to edit by the time the editing session comes around is gonna be a game-changer once you’re supposed to be editing. Save the clear work for when you’re allocating time for it and you’ll have a much easier and more focused start to the editing process. It’ll be more motivating than staring blankly at the intimidating word count, at least

10. The application of applications. If all else fails and you’re still going back to edit what you’ve just wrote in some struggle for the perfect writing, there are apps and websites that you can use that physically prevent you from editing your work until you’re done with it. If nothing else, maybe it can help train you away from major edits as you go

#perfectionism #perfection #writing #writers #writeblr #bookblr #book #writers on tumblr #writerscommunity #writers of tumblr #writer #my writing #how to write #on writing #creative writing #write #writing tips #writblr #female writers #queer writers #writer things #writer stuff #writing is hard #writing advice #writing life #writer problems #writerscreed #writersnetwork #writerblr #writersociety

[magerightsmagefights]

I know people tend to forget Wyll a lot in this fandom (I wonder why. What Could Possibly Be Different. Can you spot the difference?/s) but I'm genuinely surprised at the lack of Durge x Wyll content. Especially if you're going Redeemed, there's that inherent flavor of "My lover cannot know the truth, I am horrible and they would hate me, they would be correct to hate me." And with Wyll it's just... so juicy, he's so pure and shining, and Durge is so filled with filth and misery that there's barely a person left underneath.

Idk, as a femme romance reader I've spent so many years reading the "love redeems" arc where a FMC plays beauty to an MMC beast, in every genre, medium, budget, etc. I'm not here to yuck anyone's yum, but beauty and the beast as a story structure has never done it for me.

until it's reversed, apparently, because Wyll as the beauty to Durge's beast needs to be injected directly into my veins like yesterday. All the other companions are good and sweet, don't get me wrong, but their reactions are coded like 'i accept you,' where Wyll to me comes off much more as 'we will heal you.' He doesn't have any funny little quips about you trying to bite him, no innuendos, no "I Will Put You Down" a la Laezel, he's just... so good, and he believes in your inherent goodness, he so easily sees "you" and "your urges" as wholly seperate entities he would step between if he could.

Speaking of which!! The coronation scene, when everyone finds out you're Bhaalspawn? I never see anyone talking about Wyll's reaction compared to other companions getting angry (even Dark Shadowheart will yell at you) because Wyll seems to be the ONLY PERSON who immediately separates you(the person he knows) from you(the person you used to be). Astarion isn't angry, he even appreciates your scheme freeing him from Cazador, but he also kinda falls into the whole "I will talk to you as if you are the exact same person who did these things, this is Your True Nature and I feel positive about it."

Wyll's reaction feels like the only one saying "You WERE that," instead of "You ARE that." It also feels like the only one that kinda-sorta acknowledges Durge's actual amnesia, because he doesn't treat this revelation like a betrayal the way the other "good" companions do. They be saying "The real evil was hiding within our ranks all along" like wym hiding? Durge didn't know either, how tf they supposed to tell you?

Wyll doesn't even blink. Once he knows what you are, his No.1 priority is reassuring YOU about it. The fact you're Bhaalspawn isn't a betrayal; it's a Horrible Burden and he's sorry you have to bear it, but there have been others like you who were good, who overcame, and your blood isn't who you are. His first instinct is to offer hope, to reassure you that there's a way out, he believes so hard that your urges are a defeatable enemy and he's ready to fight them with you.

(I also fall into the Durge And Gortash Fucked camp, and I cannot overstate the tastiness of Durge waltzing into the coronation of their ex, the Worst Man Alive, while bringing along their new boyfriend, the Best Man Alive)

Idk, I've just never engaged in a romance where I played the part of the Beast. As much as people rag on pure, princely archetypes, I don't actually see them that often. I genuinely don't remember the last time I read/saw a male lead behave like Wyll, but I've seen plenty of Astarions, Fenrises, Rhysands, etc. Romance loves a fixable MMC, but so rarely an MMC who wants to do the fixing.

Anyway. Justice for Wyll or whatever. I can only cross my fingers that future DLC will include more romance content, because we all deserve to have a Beauty for our Beast sometimes.

#bg3 spoilers #baldurs gate 3 #bg3 #baldurs gate spoilers #the dark urge #bg3 durge #durge bg3 #wyll ravengard #wyll x durge #bg3 wyll #baldurs gate wyll #durgewyll