🦎🧤

I am posting on tumblr now YAOO‼️ this is a repost cause i really like this drawing

i love cbeeduo you get me like no other

So, I went on a bike ride to go to the nearest library to me to meet up with a friend. When I get back, this little fucker-

-decided that immediately nipping at me for attention would be a good idea! And yes, Enzo the cat will nip you just because he wants your attention.

League of Villain Headcanon - Being Drunk

Shigaraki:

When he gets drunk he pretty much goes completely nonverbal, not bothering to use his words anymore and instead communicating through grumbles and grunts. He also gets really clingy when drunk, with the more drunk he gets the more willing he is to cling to absolutely anyone who gets close to him. This makes it a requirement for him to wear his gloves when he's drinking, otherwise someone may end up a pile of dust on the ground.

Spinner:

He gets pretty chatty while drunk, an insane amount actually. He'll talk about practically anything; his past, his favorite video games, his parents, his thoughts Pokémon strength and weakness, absolutely anything becomes on the table and it's imposable to shut him up. The more drunk he gets, the more incoherent his words become until he just passes out.

Dabi:

He starts having a go at the karaoke machine and dancing like a man who's got nothin' to lose. He's actually really good at singing despite being drunk, I know typically when someone's drunk their singing gets worse but in Dabi's case, he actually just keeps his skill level, just less impulse control. He's an incredibly well coronated drunk, never once falls during his dance routine unless he intended to.

Mr. Compress:

He becomes a lot flirtier than he normally would be, with him losing the impulse control to not flirt with anyone he finds attractive. Interesting enough though, if he's in a monogamous relationship he'll only flirt with his partner. Even if he's around someone he was attracted to before he started dating this other person, he'll still only flirt with his SO. Basically, when he's in a committed relationship his ability to find others attractive kinda just vanishes except for his partner. Also, his ability to flirt is a lot less sophisticated than it normally would be. Not in a, "he's being creepy" way, more so in a, "he won't stop telling you how pretty/cute/hot you are". His ability to use big, sophisticated, and well put together words/sentences to flirt has disappeared for the time being, he'll regain them when sober.

Kurogiri:

He can't really get drunk. Now hear me out on this one! A personal headcanon of mine is that Kurogiri was not only given Warp Gate as a quirk, but also a bunch of smaller less noticeable quirks. One grants him a regenerative ability that makes it so injuries that would normally take a day to heal will instead heal in a few hours, another gives him a perfect internal clock, and (the one important for the headcanon here) one that gives him heighten poison resistance. Since alcohol is technically a poison, a side effect of this quirk is that he can now chug straight vodka and remain sober. This also leads to him having a high spice tolerance and caffeine not doing anything for him, with both caffeine and capsaicin are poisons. This ultimately led to the headcanon that in the MHA Panera's Charged Lemonade, instead of being an affront to God and a sin against the FDA, is instead marketed specifically for those with quirks around poison resentence so that they can use caffeine to get through their day. So that's how Kurogiri is able to handle the League and all their stillness, with the lawsuit making lemonade.

Twice:

He's a sad drunk, like, a really sad drunk. He just starts sobbing and questioning all of his life decisions. He won't stop crying until he passes out. He needs to down soooooooooo much water afterwards to regain all the hydration he lost through his tears. This has kinda lead to him being banned from getting drunk anywhere away from the League, as they're concerned that if this 30-year-old man starts sobbing uncontrollably in public that'll draw to much attention and someone might recognize him and get the pros called on him. He doesn't really have an issue with this, after all he lives with the League now so he can basically just stay home and drink with family instead of going out to some bar with a bunch of strangers who probably couldn't give less of fuck about him.

Toga:

Currently is not allowed to drink, has she is 16. When she becomes 18, she'll be allowed to drink (that's the legal age for drinking in Japan, for my fellow Americans who forget that other countries decided that if you're old enough to sign a contract you're old enough to drink). When she is able to get drunk, all of her impulse control goes out the fucking window. Not only does this mean that she's more likely to stab people, it also means that she's willing to jump out a window to see if she can fly. After her first time being drunk lead to her being put out of commission for a week and all of the League (except Kurogiri, he's very good at dodging) having new knife scars, it is now a requirement for someone who's sober to be responsible for her when she's drunk. Luckily Kurogiri fits into this role perfectly, so he's now the one to be responsible to make sure she doesn't hurt herself or others when drunk.

Game Friends 🛜💓🛜

FUCK YEAH, GREAT JOB!

Need me a high five you amazing fucks.

I BOOKED APPOINTMENTS. For the doctors. FOR THERAPY.

Guys, you have no idea how long it's taken me to take action on this. Executive dysfunction at its best. Me + appointment making and general admin tasks of life = nope. I know how important it is and the more I have put it off the harder it's been to try and get it done.

I did it!

You know, with everything new we've gotten out of the Book of Bill, there's one thing in particular that my mind keep coming back to. Sure theres Bill's past, his relationship with Ford, seeing him on the verge of a breakdown due to going to a mental hospital, but that's not what I'm talking about here. It's this:

For those using text to speach, it's the part of the book where Bill talking about dreams. This one being about Wendy. It says, "Almost every dream is about her mom. Sorry, Pine Tree!"

Now why would this be so interesting, isn't it a basic description of Wendy's dreams with a mild dig towards Dipper? Well, the thing that makes this so fascinating to me is that by the end of the series Dipper is over his feelings for Wendy. He finally understood that he wasn't an option for her, he was just to young for her (she being 15 and him being 12). They built an incredible friendship together with no possibility of things becoming romantic. There's also the fact that Dipper would never be so selfish as to get butt hurt about someone he liked dreaming about their family instead of him.

So why would Bill take a dig at Dipper? Is it that...he's incapable of understanding someone changing? That he expects everything to ultimately stay the same? For Dipper to be the same anxious hormonal pre-teen he was at the beginning of the series? That Dipper being able to do something that he never could, probably even outright refuse to do, enrages him? We may never know, but it does show how Bill is antagonistic to the show's message itself (how things won't stay the same forever).

Writing Advice

If you want to include dark subjects and/or difficult topics in your writing (character death, addiction, mental health, SA, abuse, etc.) then you have to dive into the consequences of the topic - never shove it into the story just for the sake of drama, stakes, audience retention, or whatever other reason that doesn't have to do with the story itself.

To use one of the "lighter" examples here, let's so you decide to kill of a character - for the sake of simplicity let's call this character A. Now that they're dead, how does A's absence affect the story? How do other characters feel and cope with A's death? Who's grieves and morons A? Who's denying that A is even gone? Who's numbed and confused about A's death? Who's happy about A being gone? How long does it take for everyone to settle into a new normal without A? What does this new normal look like for them? What makes A's death actually important instead of a background character that no one would notice is gone?

These are all very important questions to ask if you're going to kill of a character, with each piece making the characters feel more alive and making A's death have actual weight behind it. To ignore these questions, leads to a flat world with characters who feel inhuman for how they can move on form the ultimate end and A's death feeling unimportant and something you'd only remember when looking over a wiki. This also means having characters die at the end of the story a half-assed choice. Don't get me wrong, it can still work if handled well - one way to handle this well is focusing completely on character reaction instead of the long running consequences. It's just that many times I've seen characters dying at the end of the story is just to ramp up the stakes, so their death isn't lingered on for long enough for it to feel like it has any importance other than being recognizable characters being the ones dying.

This advice runs true for all examples of dark subjects and difficult topics. You can't just have traumatizing things happen to characters and then not bother to look into the permeant ramifications of that trauma, along with just saying a character has a mental illness, not bothering to research the mental illness, and instead show only a stereotype of a mentally ill person. Not properly showing the consequences makes the world feel flat, the audience feel bored or annoyed, and worst-case scenario cause legitimate harm to those engaging with your work.

This is a rather common mistakes for first time writers to make, they tend not to fully think about the consequences of certain scenes and how it will permanently affect the story. If you've made this mistake before then that's absolutely okay, just remember to ask these impotent questions in the future.

Okay, fair warning, this last paragraph as less to do with actual advice and more me complaining about this mistake happening on a professional level even though if you've been in this creative field long enough to make it into a career you should know better by then. Okay? Okay.

But, and this is what led to me thinking over all this stuff and wanting to give out this advice to the world, this is also a common mistake made by middle aged or older men who are professionals in their creative field to make towards female characters and the topic of SA. I think this mistake stems from these producers/writers viewing SA as a "female trauma" (incorrect but you can't expect much of these dudes), so if they have a female character that they need to give trauma they'll just go with SA and not care about the long terms ramifications. Meanwhile male characters get family death, commonly his wife and/or child[ren], as their main trauma and it's still not treated with much respect - it's mostly just treated as the motive for why the male character is doing what he's doing and the dead wife and/or child[ren] are never shown having a life or personality of their own that would really make their death feel like a tragedy outside of the relationship with the male character, which is a disservice to the character(s). If you're going to make a character, or multiple characters, someone's whole motive then you should at least try and get us to care about the character on their own.

🌧️🐰☎️

Peak game, you know…

rlly self indulgent dabihawks