#And I know I say this about... pretty much all my favorite characters but I MEAN IT this time

[meanbossart]

im so curious-- how well does DUDrow get on with the other companions? I've only seen your art and going off that I feel like: he gets along with Shadowheart, Gale I think he borderline cant stand, and Wyll/Lae'zel/Karlach I have no idea how he'd feel about them but id love to know!

So, funfact, because I was not familiar with these kinds of games at the time I played BG3, I practically stuck with the same exact party the entire playthrough. I distinctly remember swapping Wyll in for Astarion once at the end of act 2 because I thought he NEEDED to be there to find Mizora, and I replaced Gale with Karlach when I went to kill Gortash. Otherwise... It was pretty much always just DU drow, Shadowheart, Astarion and Gale. I did this because they were the characters I liked most, so I wanted to see all they had to offer.

Anyways, I mention this because it reflects how DU drow related to everyone - which is to say that he didn't. He picked his favorites (two because he liked them, one because he has fireball) and didn't get particularly close to anyone else.

BUT, there were definitely notable dynamics!

Lae'zel: She's dead. He killed her night 3 or something. Before that he thought her annoyingly demanding and over the top. I don't think DU drow even remembers her by the end of the game.

Gale: Just to add to your original observation, Gale and DU drow have a little bit of history. Gale tries, for about half of the campaign, to pursue him romantically. DU drow keeps turning him down and is either misinterpreted or ignored, and by the time Gale does give up on him their relationship has completely soured to the point where they are constantly shooting daggers at each other. (this reflects a romance bug I got in my first run, except I didn't realize it was a bug. Either way I think its more interesting storytelling than the intended experience.)

Wyll: DU drow was profoundly frustrated by Wyll every step of the way. He found him to be incredibly naive and a bit delusional in his pursuit for heroism, and could never relate to Wyll's perspective or choices - the few he made for himself, at least. They definitely had the least in common and DU drow avoided interacting with him most of the time.

Halsin: He didn't care for Halsin much. He was vaguely helpful but by the time they got to the shadow-cursed lands DU drow had the impression he'd only been dragged here to help him clear his conscience, which he didn't appreciate. Also, he couldn't bear to have someone in camp be taller than himself. Halsin was left behind in Act 2.

Jaheira: DU drow fucking loves Jaheira. They bickered and borderline insulted each other and had a great time doing it. He can respect anyone who will call him a monster, threaten to murder him in his sleep, and make light fun at him the next day. It helps that she's hot, also.

Minsc: Weird hamster man. Ocasionally rendered him speechless. Puzzling human being.

Karlach: He didn't get Karlach, but he was often amused by her and curious enough to want to hear what she had to say. There was a similar issue here as Wyll's where he just couldn't relate to her enough to have much to discuss, but Karlach at least had an edge to her that made her far better company. They got along pretty well when the topic wasn't serious, but when it came to the problems she actually faced their perspectives shifted significantly. DU drow thought everything could be fixed, that accepting her own demise was a cowardly thing to do - and as they approached the end, and she asked him if he would stay with her when she died, he thought she was weak. I don't know if he ever discusses it with anyone, but he feels guilty about her death to this day and sees it as personal failure.

[mayasaurusss]

I love your writing.Pls, can u do jinx gets reader to try out a lingerie 🙏

It fits you just right

Contains: suggestive themes but not exlicit smut, soft Jinx.

"Babyyy, I've got you something!" Jinx's loud voice echoes inside her hideout, catching your attention.

She has been gone for a couple of hours at least, having told you that she was going to do some of her usual mischief in Piltover. You bet she painted that town blue from head to toe.

She walks in on the helix, humming a made up song and carrying big patched sacks on her shoulders.

You get your from the couch and push away the book she so kindly took -stole- for you, following her small bouncing with your eyes. "Jinx! What have you..." she throws the bags on the ground just before your feet, their contents spilling all over the floor.

Trinkets of any type, scraps of dull metal, old cupboard sweets and clothes overflow from the linen sacks, tinkling resonating inside the room. You marvel at the many trinkets she got, turning over their glass shells and admiring the many colors reflecting on their metal surfaces. "Jinx!" you say while stuffing your hands inside the creases of a brand new coat, "where have you gotten all this stuff?!".

Her silence is enough to make you understand what she did before she even opens her mouth. "What?! They took everything from us, I'm just repaying them the favor" she moves around you and watches as you intently examine every object she took -stole, again-.

"I told you to me and to me again, you gotta stop steal-" you are rudely interrupted by her exasperated voice, "Yeah yeah I get it! I know".

Silence fills the space again, something that doesn't usually happen while Jinx is there. You look up to see her usual pale skin tone replaced by a faint pink. Her bottom lip is pressed beneath her teeth and her eyes avoid yours. You can already feel a bit of annoyance at her almost childish ways taking their place on the sides of your brain, "What is it?". A small choked sound comes from Jinx's throat, she rocks in the balls of her feet for a moment before you see her taking in a deep breath, closing her eyes and pushing a paper bag towards you. You blink your eyes a few times, surprised by her, before you take the paper bag and open it.

Inside it sits a small brown packet. The way it's nearly stored gives away that whatever is in there must be special to Jinx's standards. The brown paper is adorned with Jinx's signature drawings, colorful traces of crayons depicting small characters -mainly you two holding hands- , scenarios and hearts all over it. A pink ribbon ties everything up, completing the picture.

"Jinx, what is this?" you ask her, earning a whine from her blushing figure. "If I told you, it wouldn't be a surprise, no?".

She watches in anticipation as you unite the ribbon, carefully peel the paper back and...

A set of lingerie sits in front of you, all embroidered and neatly stored. "Do you like it? It's even in my color..." Jinx's words make you realize that the set is a deep navy blue.

You snort at her words. "Really? You steal a pair of lingerie and your first thought is to search for blue ones?" she would have reacted shyly if she hadn't seen the playful smirk on your lips. "I-I mean... It's important, you know?" you walk closer to her, making sure to sway your hips as you do.

"Why? You like seeing me all pretty for you, in your favorite color?" as if she wasn't red already, blood starts to pump even faster into her veins, making her look like a tomato.

"Y-yes I do! N-now put these on!" she roughly shoves the pair against your chest, much to your amusement. "Alright, just wait here, cutie" the way your voice drags over the last word makes something inside of Jinx move, pumps blood in her heart and in her hips.

A few minutes pass by, Jinx's mind already finding new things to think about, when she hears your sing songy voice "Cominggg".

A gasp leaves her when she sees you wearing the lingerie on your skin. It's just perfect, emphasizes every curve of your body, every scar, mole or freckle visible through it: and most importantly, it's her color.

"Wow..." Jinx sits up from the couch, reaching her hand to touch your shoulders, then traveling to grab at your hips. "It fits you just right..." her eyes are glazed and cheeks pink as the ribbon she used to tie your little present up.

"Sooo? Do you like it?" you let out a gasp as her grip on your hips tightens, making you suck in a sharp breath. The way she has you at her mercy makes something pull at your heart strings.

And Jinx? She looks like an absolute mess. Pretty flushed cheeks, eyelids heavy with desire, mouth open and heart full of desire. "Like it? I fucking love it" her nose presses against the cease of your neck, inhaling your scent deeply. "You look so good in this..." she starts to press kisses, electric against your skin. "How did I ever find someone as perfect as you?" her words come out as hot as molten lava, as sweet as honey.

"Jinx..." your breaths are heavy against the unnatural cold of your home. Jinx slides her hand up to your neck, hugging you closer to her. All her newfound confidence suddenly blurs and you can feel her heartbeat through her chest on yours. Again, that shyness she harbors for you and you alone resurfaces, making her look so small against your body. She pushes her lips outwards, pouting a bit before she asks something of you.

"Could we...you know..." her voice is hoarse, creacking here and there. Deep violet eyes stare at yours, assessing if you understand her and silently waiting for an answer. "Could we...what?" you already know what she wants to ask you, but you are having far too much fun teasing her. Her eyes widen for a moment and she swallows hard, before looking at her boots. "You know...you know what I mean...".

You still aren't satisfied with your teasing, waiting for her to admit what she truly wants with words instead of embarrassed chocked sounds. "I don't think I do" that dumb smile of yours only makes Jinx feel more and more embarrassed, tempted by your lips but pulled back by her shyness. She can't do it anymore. With an exasperated whine, Jinx strengthens her grip on the back of your neck and pulls you down towards her, kissing your lips fiercely.

The kiss is all teeth and tongue, all sighs and touches, leaving you breathless and yearning for more. You pull back from her, lips wet, feeling blood rise up from your veins into your cheeks. "Woah...I guess that was enough" you say, giving her a knowing smirk and earning a sigh from her, before she brings you back to her lips. "Oh shut up toots".

[the-100-days-of-junkan]

Day 50

Wow. fuck it’s weird to think we’re halfway there. 50 fucking days of Junkan . . . How’s everyone holding up?? I’m still writing these in advance so I have no idea if Future Jem is holding it together having to wait day by day for these, especially as we enter the period of the project where a lot of our favorite pieces come in.

So anyway “No Regrets” There’s the fic again for if you haven’t  read it and are interested.

There is a LOT to talk about with this one. So much that I’ll likely put this in a read under once again. I’ve got history, fun facts, scrapped(?) ideas, and memes.

Let’s start with my history with writing in general. Because the biggest thing that comes to mind with this fic is that it was the first time in Four Years that I had ever written something.

When I was, say, around 15 or 16, I entered the Death Battle Community on Deviantart (I swear to god this is relevant and I won’t take too long). It did a lot of things for me, it gave me a source of income when I was confident enough to open commissions, it helped me make a small amount of close friends (eventually leading to even closer friends), is the community that introduced me to Danganronpa in the first place, and it’s where I first started writing.

Now obviously, what I was writing were fights between fictional characters, most often to the death. With some attempt at a logical outcome for the match. And the account is so old and untouched that it still has he/him pronouns baked into it. I still have a lot of pride in some of the work I did on that account despite the equal amounts of dumb bullshit, grammar issues, and a severe lack of proofreading.

But shock of all shocks, Rocky Balboa fighting an Anime Character (yes that’s really the last thing I published online, it was like 40,000 fucking words and it made someone cry allegedly), is a far cry from a fic about Junko Enoshima really wanting to swap spit with Mikan Tsumiki.

 Suffice to say, I was very, very nervous about writing again. However I’m a woman with too many ideas, and not every idea can be done through just drawings alone. Especially with how I was doing things at this point. This wasn’t the first time I had desired to try writing fanfic, I still have a RWBY x Kamen Rider W fanfic haunting my brain to this day. But it was the first time I had felt so tempted. However as you might have gleamed over time whether through these posts, or talking to me personally, I have a severe lack of self esteem, ESPECIALLY when it comes to writing. And it was even worse at the time of this fic. This was the biggest roadblock for the it.

However, Junkan broke me once, causing me to draw Angst shipping art for the first time. So it only makes sense that it would break me a second time, making me write a god damn fanfic. And I made plenty of memes about this too, which i’ll post in order of creation. 

As you can tell by that last one I was fucking nervous as hell making this, which is understandable since it’s completely new territory for me in a medium i hadn’t touched in years. However, enough friends who also liked DR seem to be into it, so I was able to post it.

My AO3 account was of course originally a secret because at the time of this fic being made I was still deeply paranoid over anyone knowing I shipped Junkan. Now granted CJ is kind of an obvious alias given y’know, it’s just the initials of my fuckin main account. However it does require that someone on AO3 also have a Tumblr account and also be aware of a chick named “Carbonated-Jem” who at the time was drawing a suspicious amount of separate Junko and Mikan art.

Last thing before I talk about the actual fic. This was posted February 4th. Which fucks with me because I’m pretty certain that means that the first 50 Days of this project (reminder that most of the colored ones were after the fact) were made before that date. Half of this project was done in One Month at most. How the fuck did I do that????

Okay. So the fic.

The idea was simple at first, what if Mikan saved Junko from dying at the end of DR1. And then it spiraled from there.

This is not something I plan to talk about on this blog or anywhere but the privacy of my friend groups very often. But I am not a big fan of Danganronpa 3, I have very little nice to say about it, but my biggest issue with that Anime is it’s handling of Mikan. I do not like that Mikan was boiled down to just being whatever that was in the anime, since while I’ll never say that it was definitely a perfect relationship even with what we had teased in DR2, I think there’s a lot of nuance to the way Junko and Mikan described their relationship (moreso Mikan since last I remember at most Junko just made heavy implications that she broke each class member one by one with unknown methods). So seeing it be . . . that in the anime, just never sat right with me. If it were not for events that will be discussed later in the project, I would have been fully adverse to this ship as a result.

As you can see now I’m not only all for the ship, I’m dangerously brainrotted over it dsljfhsdlaf. How things changed.

Point is, regardless of whether you like DR3 and how it handled this dynamic (In which case, more power to you despite my lack of understanding), I had less than fond thoughts toward it. So you can kind of see this fic as also like, a way of me trying to do something more productive with that negativity rather than just wallowing on it. 

I’m gonna be real until Mikan jumps in to save Junko I don’t feel very strongly about the intro. You can very much tell this was my first time writing in 4 years, and not just that but it was me writing Junko for the first time rather than drawing her, and to take it EVEN FURTHER this was at the time the closest I had ever gotten to depicting the canon versions of the characters rather than Non-Despair takes on the characters like I was for every pic before and after this. Which yeah spoiler, beyond I think 2 instances later (there MIGHT be more) everything in this project is non-despair in nature.

You can probably still look at a lot of the art as like, just them dating Pre-Tragedy I suppose? But that’s up to you and your suspension of Disbelief.

Tangent, sorry. Back to it where was I.

Oh yeah, so I don’t know when the hell the idea for the Neo-World Program being implemented came in. But when it did that’s when I had like a solid vision for where I was going.

I think originally Junko wasn’t going to enter the program alongside everyone else? But the more I thought about it, it was like the only sure way that she could get what she wanted in the end. Since if Mikan came back reformed, whether with partial memories or nothing at all it’s a hard sell to think Mikan would be willing to go back to Junko outside of the specific circumstances that brought them together in the first place (that said i can’t say the idea of Junko trying to win her back isn’t interesting). I’d find it more likely for a full reformed Mikan in this context to like, get with Hajime or Ibuki.

So I threw Junko into the program as well, despite my concernsI did actually have a lot of fun writing the interactions. Not just Mikan (we’ll get to her in a sec) but also with Makoto. 

Writing Junko’s first moments in the program was my favorite part though, from what I remember at least. Especially once she starts giving Mikan her full attention. And that’s where we finally get to the art piece.

So here is the singular fun fact about the art. Junko had the bear clips originally, but I realized after the fact since the Neo-World program put the cast in their outfits prior to becoming Remnants, it’d make more sense to give her the bunny and bow clips instead. So I edited the art at some point to make that more clear. 

Anyway here’s the interesting part. There was in fact a time where this was going to be a series. 

The original intention was always a Oneshot, but you know how the mind tends to wander, it was inevitable that I’d be tempted to think about what else could happen in this timeline. 

It would have mostly been a Slice of Life series, more rom-com elements. Focused on the developing relationship between Junko and Mikan, essentially kind of recreating how they first met and fell in love, albeit with less of the evil girlfriends stuff.

Another part of it is that because Junko’s plans are on a hard hiatus till she gets off the Island, and more specifically because of Mikan’s influence on her in these very specific circumstances, the NWP actually does start reforming Junko on some level. I’ve always loved the idea that Mikan could have the potential to help Junko become a better person, whether it’s a Non-Despair AU where that means she just stops being a bitch to everyone (or at least mostly stops), or in Canon where she ponders that maybe starting the apocalypse isn’t the best course of action.

I did plan to try and write the rest of the DR2 cast, which admittedly was a roadblock because I had no idea what the fuck I was gonna do for characters like Nekomaru for example. I’ve only really latched onto a small handful of the overall cast of DR, so i’m severely lacking in my ability to write most of them. I did plan for Junko and Chiaki to become besties though, I feel like under a normal context Junko would just think Chiaki was really funny.

So it would have mostly been romance and shenanigans, one way I thought of to just give random little plotlines for Mikan and Junko was the MonoMono machine. Have Junko just get a bunch of coins and gamble away at the thing getting random items. And then said items just make the plot for the chapter.

That idea is what made me think of the other half of this fics equation.

So you know how there’s a fucking painting of Junko made during the Tragedy??

First off, missed opportunity to have that be a “Love” item for Mikan, would have been great foreshadowing.

Second off, actual point. I was like “how the fuck is junko gonna react if she sees this??” So I realized that while I wanted to have this overall fic have a lot of fluff and shenanigans and Junko kissing Mikan. There is in fact the elephant in the room of what’s outside of the program.

So, why not have Junko by some means start remembering reality, and realizing everything she’s been responsible for. Most importantly, killing her sister and killing Chiaki (yeah I would have kept Chiaki being a real person and not just an AI, partially just cause I think that’d hurt Junko more), and then having to cope with all of that because by that point Mikan would have unintentionally helped to make Junko a less apocalypse hungry person. 

And beyond that I don’t think I had any plans to show like, the aftermath of the program working. Partially because I feel like that’s reaching a level of writing I’m not mentally strong enough to pull off properly, partially because I think keeping it vague similar to how DR2 did it would have worked.

Now all that said, on some level I would try to like writing that story. There’s just a lot of hurdles I’d have to get past first. Not just my normal “Writing makes me want to slam my head into the wall” issue, but also stuff like-

How do I write the other characters when I have very little experience with them?

I actually have to make a plan for this one, I can’t just wing it like I did for the Vampire AU.

I have to write the Canon version of Junko for a big stretch of it and as I already established I barely grasp how the fuck to do that.

I just have other things I want to do which includes other writing.

So if you’ve made it this far into my inane ramblings, would YOU dear audience like to see this fic? I can’t say for sure how soon it would be assuming the response is positive, but I wouldn’t be opposed to making the attempt if there’s even mild interest for it.

Anyway, thankyou for your time! Hopefully will be awhile before I yap this long again.

As always, Reblogs, Comments, and Little Notes in the Tags are appreciated!~ They always make my day!~

[adamnablelittledevil]

Only Blood Communion and Interview With the Vampire to go now. I'll make more elaborated posts about my thoughts once I'm done with everything, but here are some of my opinions:

TVA is absolutely my favorite (I've said it before and will say it again: the most purifying cry I had in my life, it destroyed and restored me in the best possible way), TVL, TQOTD and Prince Lestat are also on my top 4, though I don't know where to place the latter on my personal ranking. The others are sort of tied and the order changes according to specific aspects. Like, Blood and Gold covers a lot of eras and places of the world, has multiple interesting characters, so it's fun in the sense there's a lot of stuff to see, even if I'm not a Marius's fan and he isn't the best narrator imo. On the other hand, something like Merrick is more packed, just her, Louis and David (and some Lestat), but I just love her as a character and the whole story of her family. I can't really choose.

Memnoch would be the last because it was the one I struggled with (tho I loved Armand on it), I thought the concept was great and I could've loved it with a more active, intense and eventful execution. Prince Lestat and the Realms of Atlantis is second-to-last because most of the plot was dumb to me, the part that made sense was solved in an unconvincing way, I had to do a lot of suspending disbelief even for a supernatural/sci-fi story... But it was nice to have so many characters I love reunited, even if some didn't have lines, it's nice to know they're around and I enjoy the vampires having sort of a healthy little community.

Favorite character is definitely Armand, then Lestat, then Pandora, Maharet, Mekare, Flavius, Merrick, Bianca, Gabrielle, Mona, Benji, Avicus and Petronia (they didn't appear much and did awful brutal stuff, yes, but having an intersex/gender-fluid character was great and they had so much baggage I could empathize with them). Most after Armand and Lestat are tied. I don't know if I'd call Benedict a fave, but I'm somewhat attached to him (and I KNOW about those spoilers). I LOVE Vittorio and Ursula too and I hope they can appear in some shape or form on the show. I don't looooove Antoine, but he's alright to me. He just seems to be a poor/broke dude who wants to live, have friends and dedicate his existence to his hyperfixations and I can relate because same lol. I get him.

Favorite pairings (either as an OTP or brotp): Lesmand (👑👑👑), Pandora and Flavius (👑👑), Maharet and Mekare (👑, they just don't get more crowns because they don't appear as much as I wanted 😔), Armand and Benji and Sybelle (as duos and a trio), Armand and Riccardo, Armand and Bianca (pretty much Armand and everyone that isn't Marius lol), Lestat and Mona (their childish siblings-coded beef entertains me), Maharet and Jesse and Vittorio and Ursula (👑👑). I wish I had seen more of some characters/dynamics, tho.

MAYBE I could tolerate Marius and even love Magnus (he seems to have a sad and interesting story) if all I'd seen of them had been the content of the last trilogy, but given the previous books, I'm not sure I can enjoy Anne's decisions. I have a lot of mixed feelings about Magnus apologizing and Marius's behavior not even being seen as something to apologize for in the first place, but that's for another post.

Some of the books I would've been able to read and love with or without the show, some I only read to get information, but I'm mostly glad I'm equipped with so much of the lore now. That's not to say there aren't problematic things even for the genre that I need to compartmentalize and ignore (to some extent and not completely) for my enjoyment, because there is a lot of that, but it hasn't been a waste of time. And I'm glad I know what can happen in the future, make silly little fancasts and have events to look forward to seeing on the series. Obviously, opinions can change with the next books, when I re-read the novels or even with conversations and discussions... And that makes me excited as well.

[fragilefirstchance]

I actually have thoughts about this! I think Ford is a specific type of character.

First of all: Let's talk about fanon!

Something I think that a lot of us forget when we're doing fan analysis is just how caricaturized all blorbos are in canon. This is true of any work of media: the characters aren't real people, they're figments who only exist as we see them on-screen.

Fanon is kind of like those AI image sharpeners that take a blurred photo and make it look like a person's face: yeah, technically that is an accurate way you can interpret the blur, but there are hundreds of faces that would be just as accurate, and not only are they all very different from each other, they don't even agree on the most basic and obvious traits. The same blurry headshot could be a scowling white woman with a square jaw or a smiling black man with sharp features. In a similar way, when we see a character become stressed because they just saw a mouse in a cage, we could say they're scared of mice, or morally opposed to pets, or that they have cage-based trauma - any option that works is plausible.

I think that there are characters who are good characters, characters who are uniquely good subjects for fanon, and a ven diagram between the two. For example, a lot of kids' shows from the nineties are bad, but they managed to produce a really fun and rich fandom. Meanwhile, some really beautiful and culturally important stories don't leave a lot of room for fan works because they've already said what they need to say. I think the absolute best works for fandom are the ones that are objectively good stories, but have really simplified characters: Undertale might be the best example of this, because every single character suggests a rich and beautiful personality while only being on screen for a relatively short time.

So that leads me to part two: Ford!

I think Ford fills a particular fandom niche that was empty for a lot of us.

He's extremely traumatized, and the more we learn about him, the more traumatized he is. He's kind of pushing the limits of what's acceptable from a kids' show, to be honest.

He canonically has a lot of difficulty making friends; this is partly because he's quirky and seemingly neurodivergent, but partly because he has poor social skills. He's not a cartoony, Eeyore-style "has trouble making friends but we love him anyway" character, either; there are tangible, in-story examples of him failing to make friends.

He behaves badly sometimes. This is actually my favorite trait of his - anyone who reads my fanfiction knows how much I love giving people with real flaws a chance to find love and be treated with respect. Most characters have a flaw to overcome, but in his worst moments, Ford actually lashes out and hurts others in a tangible way and not just a child-friendly way. Showrunners don't always like to show that sort of thing.

It is very, very easy to read some severe mental health symptoms into his behavior. Bill is a literal character, but he's also a pretty good metaphor: you can use him to explain hallucinations, dissociative fugues, sudden mood swings, manic episodes, severe depression, paranoia - the list goes on and on.

(That last one is really important. There's a pretty damn big difference between a good metaphor for mental illness and a thoughtful portrayal of that mental illness in a story. It's kind of like how many of us were so starved for queer representation growing up that we read queer metaphors into everything. Well, there still isn't good mental illness representation in most media, so we'll take the metaphors we can get. Ford is a really good metaphor even as he's presented, and there are a lot of holes in his narrative where personality disorder symptoms, manic episodes, delusions, etc. can slot in easily.)

None of those traits make a good Disney character. They only really work because he spends so little time on-screen; the books were only possible because of Gravity Falls's massive commercial success. So, he's a very rare example of a character who's from a light-hearted, positive, optimistic show aimed at children, but who has all of the template features necessary for us to read him as deeply broken in some ways that aren't sanitized or socially acceptable.

So, there are dozens and dozens of Ford AUs in which we project very specific experiences, traumas, and symptom sets into this one man.

How many Ford AUs out there are reflections of our own insecurities, traumas, and just general unresolved issues? Is that, like, his whole purpose in the wider multiverse of alternate Gravity Falls characters? 'Cause I KNOW it isn't just me

[demaparbat-hp]

Little Zuzu for an incoming project 🔥

[triglycercule]

aaaaaah i love this so much,,,, granted i don't focus on the trio being w nightmare a lot (since the gang bad sanses thing IS NOT FOR ME!!! give me trio only or give me death) but QSAAAAAHHHH i love it so much when people play around with them in the bad sanses!!! i must say that the dynamic you described here where theyre like noooot that intimately close but also just like stick together because they gotta stick together with anyone that they can is PEAAAK (it's my favorite mtt in the bad sanses dynamic :3)

the trio truther in me says NOOOO to them breaking up afterwards but,,, the realist in me knows that they don't help each other They CANT help eachother (i always think about how even if they weren't in a bad situation they'd just stagnate each other or do worse,,, sadly these guys just cannot get better with each other. FIRST they have to love themselves (and deal with all their OTHER issues) before they can,,,, even mildly care for THEMSELVES???) (but maybe it'd kinda be like a service animal thing where by taking care of the pet you take care of yourself??? THIS IS A SEPERATE THING I NEED TO TALK ABOUT IN A DIFFERENT POST ACTUALLY NVM)

its so silly and funny that their way of "showing affection" is literally just them having eachothers backs,,,, ITS SO FUNNY TO ME,,,, AND SO CUTE TOO :333 for me personally i dont think they'd ever like. care enough,,,, about eachother to do stuff like taking the blame or just plain ol nights of comfort (they'd SLAUGHTER EACHOTHER before they ever decide to get cozy and fluffy in my head 💔💔) like with bad sanses esque killer i can get why killer would try to like,,, just BARELY keep dust and horror alive bc then nightmare gets what he wants or whatever but i just cant see either of the other 2 reviprocating the bare minimum of "affection" back (dust's grudge against killer would last until the earth's water evaporated and horror simply. would not have enough appreciation in his soul for that. probably wouldnt even get why killer's helping them smh.) PLUS they wouldn't be in a good enough mental space to even CONSIDER any sort of "affection" back with the whole ohhh shiiiit i got kidnapped and now have to do things I dont like!! + nightmare's aura preventing ANY sort of character development. horror n dust permanently keep waking up on the wrong side of the bed in the castle. killer is only immune because bro is just THAT numb (AND EITHER WAY EVEN IF THE TRIO WERE TAKEN OUT OF THE CASTLE DUST AND HORROR WOULDN'T JUST RANDOMLY BE 10X NICER,,, their capacity for niceness wouldn't go up just that the mood swings and pissiness would go down. and when the 2 arent like going through a manic burst or a furious moment theyre preeeetty damn apathetic and non caring. TO ME)

in a non bad sanses context for me i think it would be more interesting if they just like,,,, made comments to each other that are seemingly insignificant but are actually pretty insightful for the one being told so. because they might not have self reflection (because ohhh nooo pain hurty hurty being confronted with my wrongdoings SUCKS) but they have like. INVERSE self reflection on others. it could be the most barebones thing like horror saying that dust smells like shit after not showering due to lethargy and then that's a reminder to shower for him (sometimes that small reminder is all it takes want to do something youve been putting off) or like killer making an observation about how it's weird that horror doesn't eat that bunch and that he knows that people need to EAT to survive (it doesnt do much for horror since he's got that starvation mentality ENGRAINED in him but build that up and you've got a pretty nasty argument between horrorkiller. resulting in probably a nasty remark from killer about horror's ED that makes him want to start taking progress to recovery JUUUST to spite killer). and of course they probably have to take care of each other when one gets injured or nearly DIES because esuaghhh as much as they HATE to admit it theyve kinda gotten ever so slightly attached to the other 2,,, in killer's case it's intrigue but dont be fooled by s2's LIES (ok STAGE ONE gtfo of my brain dude. stage 2 is COOL)

and i DID in fact see that post you made about the "dust and horror trying to help killer with emotions or whatever and then killer feels emotions and goddamn it they HURT so now he's upset and angry at the 2 which alienates them even more" (but i forgot to uhhh like and reblog. my bad,,,,, i do that a lot with posts i like) and i do really Like That Headcanon A Normal Amount. totally normal amount and definitely not fawning over it ADHAGAHGHHHH i love it so much when they keep on pushing each other away and starting more and more conflicts between them. but they cant DO anything about it. in the gang where else would they go with nightmare crawling on their backs all the damn time??? and outside the gang theyre still too attatched to each other despite all of the intricacies of toxicity in their relationship (like a toxic relationship you can't help but keep on coming back to because it's comforting and you miss it and youre too attached even though it was bad because there were SOME good moments right? and in a life filled with sadness and anguish the small moments might be enough to keep them together)

anyways this is a lot. thank you for answering my ask :3333 i love hearing other people's ideas and interpretations on the mtt!!!! this entire reblog was just me being in denial of the trio splitting up with eachother though. erm

dear buubonita,

i'll keep it short and classy: opinions on the murder time trio??? i need to know EVERYTHING

that feeling when knee surgery is tomorrow, triglycercule

Murder Time Trio is my favorite little trio, I used to throw Nightmare into the mix but I don't anymore because I still can't figure out how to integrate him in a way that I like.

Anyway, let's leave Nightmare aside.

I know that many love to think outside the box and put Killer in other groups, and I don't think that's bad at all, they're interesting to watch for a moment. But MTT is my favorite and I wouldn't change it for the world! I love the idea of ​​broken people trying to hold each other up, they need to hold on to something when all three of them are suffering constant stress and pain under Nightmare's tyranny. I love that they can connect through the pain. And their relationship is far from healthy, I'd say that breaking up afterwards is the best thing they can do if they manage to run away together.

Their form of affection is subtle gestures I think. Like Dust decides to redirect Nightmare's rage away from Killer himself when he thinks the man needs a little respite, or like when Horror drags the two of them into a safe space and they stay close to each other on the roughest of nights, or when Killer, who knows Nightmare best, gives the other two advice and warnings to handle themselves carefully around Nightmare. It's little things that try to make the situation a little less shitty, you know?But their relationship isn't perfect and there are moments of high tension that inevitably explode between them.

A friend and I thought about the idea of ​​Killer trying to understand his feelings a long time ago and how Dust and Horror try to help him figure it out only to trigger a stage jump that ends with Nightmare forcing Killer to regress to his stage 2 and with a little resentment towards the two of them for believing they did it on purpose. Or maybe Horror pushes the mental edge too much on Dust on a particularly bad day. Or Dust in a small psychotic outbreak ends up hurting Killer or Horror. These are things that can happen, their relationship is turbulent but they still try to find comfort between them within their possibilities.

I hope this satisfies your fever for them :3 i defo will talk more of them in the future.

[viillette]

it's so crazy how few historical fiction novels are like sharon kay penman's. the way that they're built out of the skeleton of the historical record seems so obvious, but there's so few people who are actually willing to commit to it in the way that she did. it seems like so often that's just a starting point which gets reformed to fit a coherent narrative, but she makes no real attempt to do that. there's themes and foils and patterns, but first and foremost it is a reconstruction. you can't really know what someone who lived that long ago was like, only what they did, and you can feel how she takes these isolated, dramatic events and builds a whole life around them. the books are nothing more than an answer to the question 'what might someone have been like, what could the history between these people have been, to possibly explain something like this?' the ability to string together a handful of facts and events from medieval chronicles to create people that feel so real, and psychology and relationships that develop so naturally that these distant, seemingly impenetrable choices suddenly feel so immediate and clear is just beyond belief. you know this probably wasn't actually how things happened, but it doesn't matter because it was something like this. the particulars are less important the crushing awareness that at one point all of this made sense. there was a time when all of this was right now. the world is unrecognizable and exactly the same. that's something which sounds very simple but is incredibly difficult to accomplish.

you come to know these people so well, their loves and hatreds and ambitions and failures, and those things are rarely resolved in the end. you know them from the time that they're children, you watch each one of them die, and none of it means anything in particular except that they were a human being. things which seem like they must be building to some tragic fallout end in anticlimax. things which seem utterly inconsequential in the moment manifest again decades later in cataclysmic disaster. and then you see it all play out again from the beginning with their children, and their children's children. all these uncanny echoes, this endlessly unfolding palimpsest of lives, each laid over the triumphs and mistakes of those who came before. i've never read anything so epic with so much mastery over the micro and macro levels of history. it's the minute, seemingly inconsequential everyday details, which build into a lifetime, which builds into generation of lives, which builds into the rise and fall of kingdoms and empires. it's the merciless endlessly turning wheel of fortune that replays the same songs in different keys again and again for all time. a person is both an individual with free will, and the prisoner of their blood and circumstances. somehow everything has infinite weight, is tied to everything that has come before and will come after, is the culmination of someone's entire existence—their pains and joys and fears and hopes—and yet is simultaneously completely meaningless, just one more victim of fate in an endless procession of lives and choices. the whole impotent tragedy of humanity is laid out in front of you and it's so repulsive and beautiful. it's deep love and unfathomable, senseless horror briefly and miraculously reverberating in a vacuum, an absurd aberration fading into silence.

if it's not obvious these books have made me cry like 10 different times

[squintsintwink]

Cyberpunk 2077 is my favorite anti-capitalist game that I spent 70 dollars to play

[slingbats]

I am going to need that rewrite on my desk by tomorrow, 12 point font, times new roman, double spaced

noOOOOOO IT'S TOO MUCH WORK!!! I DON'T HAVE TIME AND I DON'T CARE ENOUGH........ girl help!

my rewrite where uhhhhhhhhhh. everything is the same except the writers actually care about female characters. a lot of decisions were made because of actresses no longer being available so plotlines like fish's are more or less the same but like, Ivy either gets to grow up normally or is never a child at the beginning to start with (you can go the weird plant body route if you have to keep her relatively younger since this is a prequel ig), and I don't... even know what to make of KK or Isabella, and Sofia should just be fucking. dont tell me there isn't a single female italian bodybuilder who can act, I don't believe you. let her be buff. let her take up space. let her be huge and wear vintage fashion.

also Oswald is fat and trans

[queenlucythevaliant]

A Liturgy of Surviving

Scarlett always wanted to be like her mother, and maybe in another world she could have been. If the war never happened, she could have grown softer instead of sharper. She could have curbed her temper, married well, and been received in respectable homes all her days. Maybe, if it hadn’t been for the war, Scarlett O’Hara could have lived out her days in genteel artifice, just like Ellen before her.

Maybe. Maybe not. If you asked her, Scarlett would say that the question was irrelevant. “God’s nightgown!” she would exclaim. “Don’t ask me what could have been. The war happened and that’s that.”

          I won’t think about that now.  

The day after Scarlett’s world ended, she swore an oath that she would never be hungry again. 

She woke in pain. Her muscles ached and her joints creaked. She was nineteen, but she felt like she had a hundred years weighing her body down. Morning light slanted through the window and her head ached with the moonshine liquor that she’d downed the night before. From another room, she heard an infant crying. 

She passed through the dining room without eating, pausing only briefly beside her grief-ravaged father. She found Pork on the porch shelling nuts. The sun was up. Scarlett O'Hara drew herself tall and began to marshal her troops. 

Melly and her sisters were still infirm, so they were useless for now. Mammy could tend them, and Pork and Prissy were to round up the livestock. Dilcey to Macintosh, herself to Twelve Oaks; perhaps they’d find food. Yes, I know. I’ll worry about that tomorrow. Now get going. 

Those days as the war staggered to its end were some of the longest of her life. In between them, Scarlett would collapse into bed and rub the welts on her feet with clumsy fingers. Sometimes she’d picture Ellen and all her gentle admonitions to kindness and refinement, and she’d say aloud to the walls, “What happened to me? What am I doing?”

She didn’t dwell on the question, but somehow, she always knew the answer. “I’m doing what I must,” she would answer herself. “I’m surviving.”

People didn’t talk back to Scarlett anymore. They were all afraid of her sharp tongue, of the new person who walked in her body. This Scarlett bullied and cajoled until everyone obeyed her, and inevitably her orders were to work. She was all edges; any softness that she’d once possessed had been sanded away splitting rails and picking cotton. Good, she thought. Let them fear me, if it keeps us all standing. 

          I’ll think about it tomorrow. 

Scarlett was sixteen when the war began: sixteen in green muslin, fearless and unencumbered. She had her mother’s slim waist and her father’s square jaw, but her clear green eyes were her own.

She was sixteen when she married Charles Hamilton and lost him, seventeen when she bore his child and draped herself in black crepe. She got Melly and Wade in the bargain, but she didn’t want either of them. She wanted Ashley. She wanted to dance! She wanted, she wanted. She wanted Scarlett O’Hara back. 

At nineteen years old, Scarlett survived the destruction of her whole world. She could have cried for the loss of her girlhood, for her old self long gone with the soft hands and dancing slippers, but what good would it have done? Curled up in her childhood bed at Tara, Scarlett didn’t cry. Instead, she folded in on herself, knees tucked up to her chest, and tried not to feel her muscles aching. She would have to get up again tomorrow, no matter how badly her shoulders still hurt.

She had strong shoulders, Scarlett O’Hara. That was maybe the most important thing about her. At any time, at any age, her shoulders could bear whatever they were given. “I’m surviving,” she would say each morning when she rose. A stranger’s freckled face greeted her in the mirror, but Scarlett only squared her small thin shoulders, breathed in, took one step and then another.

          Tomorrow, when I can stand it.

Calluses form like this: repeated pressure or friction is applied to the skin, most often of the hand or the foot. The outer layer, which is made of dead cells, begins to be retained rather than flaking off normally. The dead cells accumulate, forming hard layers sometimes hundreds of cells thick. 

They form like this: you use your skin. The shell of hardness around it slowly thickens. 

          I can stand anything now. 

The day after Rhett left, Scarlett packed up Wade and Ella and she once again drove the long road home to Tara. She pushed her way past Suellen at the threshold, exchanged brief pleasantries with Will, and then fell into her old bed as she’d done so many times before.

The next morning found Scarlett basking in the slanting yellow light that struck the porch from the east. Her eyes were fixed on the fields beyond and there was a devilish look on her face. 

When Rhett came back—and he would come back, he had promised he would—he would find her here at Tara, where she was strongest. “He liked when I was strong,” Scarlett said to herself. That was something she’d always known, for all that she’d been blind to the true dimensions of it.

Day after day, Scarlett rose and moved through Tara’s halls. She ate her breakfasts in the place where she’d faced down the Yankee army, sorted through figures where she’d once debated with Melanie over whether they ought to risk sending Pork out on the horse to look for food. Twenty times a day, she walked past the place at the base of the stairs where she’d shot her deserter dead. Here, in these halls, she had made her greatest stands.

She’d stood more rigidly then, threadbare and starving and uncertain. She’d come to the end of herself, only to find that she had wells of strength hidden deeper than she knew. Her hands were calloused and dirty. What else could she do?

          I’ll never be hungry again.

It’s easy to view Scarlett as hard and amoral. Even those closest to her would not have contested that characterization. Perhaps Melly would have argued, but then, Melly always saw the good in everyone. Scarlett killed and she stole and she schemed and she cheated, and she did it all in cold blood. What a selfish, conniving bitch, you might say.

It’s easy to forget Scarlett’s compassion. When she beat that poor horse to keep it trudging the long road home to Tara, she regretted hurting a tired animal. Her concern for Melanie, her friendship for Will Benteen, her joy when Rhett made her laugh: these were all true and genuine.

Didn’t Scarlett love her father and mother? Didn’t she grieve to see her friends and neighbors ruined by war? Scarlett O’Hara risked her life to save Charlie’s sword for Wade to inherit, and she built her mills for him and Ella both.

None of this negates the ruthless things she did in the name of survival, but it does begin to explain them. Scarlett made herself hard when hard was what she needed to be. She determined to live without reservation, without softness and with little kindness. Rhett called her cruel, and maybe he was right. But Melly also called her sacrificial and devoted, and maybe she was right too. 

          No, nor any of my kin.

On that road home to Tara, Scarlett once said, “If the horse is dead, I will curse God and die too.” Someone in the Bible had done just that—cursed God and died. Scarlett remembered feeling like that person, a despair of Biblical magnitude.

But the horse was alive, and so Scarlett did not die. Later, she thanked God that her knees still had the strength to support her, that her neck was still strong enough to hold her head high. Scarlett was not Job’s wife, nor even Job himself. She was Rahab, who escaped the destruction of Jericho, who saved her whole household and survived.

“What a fast trick,” said the Old Guard when she stole Frank Kennedy away from Suellen. No, Scarlett could never be Job. She was Jacob, the trickster and supplanter.

          Just a few more days for to tote the weary load.

Scarlett was easily provoked into courage; that was one of the first things that Rhett learned about her. A few insults, a pointed comment, and Scarlett lifted her chin and flounced off to prove just how brave she could be. She shed her crepe years early, and to Halifax with anyone who objected.

Rhett did that same thing to her on the awful day that Atlanta burned. He insulted her and laughed at her, and when Scarlett spat, “I’m not afraid,” it was true. Her hands, which had moments ago been shaking too badly to hold anything, were steady now, and anger had crowded all the fear out of her voice.

Rhett kept needling her all the way out of the city, until they reached the Rough and Ready where he left her. The banter kept her sharp. As long as her eyes were flashing in indignation, she hardly noticed the fire.

Even after Rhett left, his jabs stayed with her. “What would Rhett say if he knew I couldn’t do this?” spurred her back into action more times than she would ever admit. It was a petty kind of courage, and it felt smaller than the great, soaring motivation that came with thoughts of Tara, of the O’Hara name and Irish pride and red earth, but sometimes petty courage was enough to bridge the gap between strength and exhaustion.

He gave her something to hold onto, something to ground her, and even Rhett only halfway understood what that meant. I want you at your best, he never told her, but he pulled her into it by taffeta ribbons and witticisms. As the years rolled by, she rose to meet him. They swapped sharp words and insults, him always claiming to know her and her shouting, “You don’t know half!”

One day on the jostling ride out to her mills, Scarlett told Rhett about the fire that the Yankees set in Tara’s kitchen. “I’m not afraid of fire anymore,” she declared with something like pride, and Rhett remembered goading her past the flames the night Atlanta burned. “I beat it out with my skirts, and then Melly had to beat me out when my back caught,” she went on. “Now I’m not afraid of anything but hunger.”

I don’t want you to fear anything in all the world, Rhett didn’t say. Once they were married, he laughed at her appetite and teased her, “Don’t scrape the plate, Scarlett. I’m sure there’s more in the kitchen.”

           No matter, ‘twill never be light.  

After the war, Rhett had his millions. Ashley had his honor. Melly had the Association for the Beatification of the Graves of Our Glorious Dead. Scarlett held a ball of red clay in her fist and whispered, “I have this.”

Her father built Tara from nothing and he loved those acres like they could love him back. He had come to Georgia a poor immigrant boy and he had won that red earth. Whatever Gerald could do, his daughter could do too: of this she was certain. This land, this firm red clay on which she stood, was both her battlefield and her prize; her birthright and her hallowed ground. She gripped it tight with all the passion of a lover. She longed for its rolling fields on cold nights in Atlanta, sleeping beside Frank Kennedy.

“Yes, I have this,” and she let the dirt run between her fingers and lodge beneath her nails. Melly had Ashley and Ashley his senseless honor. Scarlett had Tara.

          I’ve still got this.

When she rode out in her buggy with her lap robe pulled up to her bosom, Scarlett heard how people whispered. She felt indignant about it the first time, and the second time she worried what Ellen would have thought. The third time, she decided not to care.

She still complained to Rhett about the whispering as he was holding the reins one afternoon. He didn’t laugh at her, just looked sideways from the road with his dark eyes and nodded like he understood. “Be different and be damned!” Rhett said, and his tone was like a soldier who’d heard the bugle. It was so strange, how Scarlett could tell him all the worst things about her and he would always answer back like they were medals instead of secret shames. 

Most of the city was in mourning, but Scarlett wore colors. She pilfered the store’s inventory in search of bright green, washed and mended her curtain dress as many times as it would stand, and when the money came she wore gowns of emerald, blush, indigo, and scarlet. Let them stare, she thought. See if I care.

At twenty-two, Scarlett rode up to Pittypat’s in the evenings, long after Frank had come home from the store, and she felt condemned. To the well-bred folks of Atlanta, she was as bad as a Scallawag. But sometimes, when she was alone, Scarlett ran her hands beneath the lap robe and hoped that Rhett was wrong about children and grandchildren, that the child she was carrying would understand one day. I hope you’re nothing like Frank, she thought. I hope you have shoulders like mine.

           I’ll never be hungry again.

“It’s no use, Scarlett. You can’t scrub out the past,” said Rhett when at last he came to Tara. “You can’t take back the last ten years, no matter how you’ve come — to appreciate my charms.”

“You think I don’t know that?” Scarlett snapped. “There’s never any going back. Not ever. But Rhett—” she reached for his hand. “I love you, and at last we understand each other. We can build something out of that.”

They argued about it until Rhett left again, fuming and bitter, his Panama hat pulled low over his face. Scarlett made an unannounced visit to Charleston the next month. “I was thinking,” she suggested, “That we might sell the Peachtree Street house.”

Scarlett knew all the words for making men love her, so long as she understood what it was that they wanted. The Tarleton twins had wanted merry excitement; Charles had wanted to feel important and Frank had wanted to feel like a strong, successful man. Ashley had wanted someone braver and better than he was, and he’d found it in Melanie without having to risk himself on Scarlett. Scarlett had never understood what it was Rhett wanted, but she did now. Why, it’s always been my love he wants! So Scarlett spoke the right words, and this time she meant them.

“You were right when you said that we’re alike. Only—you’ve always known about me, whereas I’m just starting to know you. Will you tell me about that knife fight in California again? About the sail boat you won at cards?”

“You know those stories,” clipped Rhett. “You don’t need to hear them again.” So Scarlett went downstairs and pried the stories out of his mother instead.

The house on Peachtree Street sold within the month, snatched up by some Carpetbagger who wanted it for a hotel. Rhett traveled to Mexico, and returned to find Scarlett back at Tara preparing for spring planting.

“What do the women wear in Mexico?” she asked him, leaning on the porch railing in the slanting light. “What is your favorite place you’ve ever traveled?”

Rhett indulged her in brief, but then abruptly he chuckled and shook his head. “I know what you’re doing, you little minx.”

“Yes,” said Scarlett. “Of course you do.”

           Tomorrow, oh tomorrow!

The clay soil of Georgia is red from iron oxides. It’s red the way rust is red, the way blood is red. If a blister splits open and your blood falls on the ground, that iron-red soil will just swallow it up. You can bleed and bleed, and the stuff in your blood will always be one with the stuff of the soil.

When cotton and vegetables sprout from the ground, it’s easy to believe they grew from your very own blood, and that your own sweat and tears watered them.

           Never look back.  

“We women were soldiers too,” Melanie said once. Scarlett didn’t respect her yet—at least, not consistently—but this might have been one of the moments where she first looked at Melly and thought not that her heart was soft and timid, but that it was a sword.

“We never expected to be – or at least I didn’t.” She looked around the circle of ladies, at India and Fanny, until her eyes came to rest on Scarlett at last. “We were children then. We all imagined the world far simpler than it was.”

Melly, India, Fanny, Scarlett. These women had all been girls together. They knew one another at seven, twelve, fifteen, swaddled in silks and trying to seem more grown-up than their playmates. They’d competed for beaus and Scarlett had mostly won, except where Ashley Wilkes was concerned. They had lived through the war together. Now, Scarlett sat among them on Melly’s front porch and tried to remember if she’d ever in her life felt like one of them.

For Christmas, Melanie gave Scarlett a small book of poetry. Scarlett never read it, except for the one verse which Melly had marked with a green ribbon. She bit back the urge to sigh when she undid the wrapping, but Melly pointed out the bookmark and said, “This one made me think of you, dear.”

Scarlett didn’t like to think of it now, but once she’d been sixteen in green muslin, confident that dimples and a clear complexion were the only weapons she’d ever need. She had been a child, but that child had not died when Atlanta burned. The belle of Clayton County was not in the grave with all the boys who’d never come riding home from war. Scarlett was alive. She was right here.

“What is a dead girl but a shadowy ghost/ Or a dead man's voice but a distant and vain affirmation/Like dream words most? / Therefore I will not speak of the undying glory of women. / I will say you were young and straight and your skin fair/ And you stood in the door and the sun was a shadow of leaves on your shoulders/ And a leaf on your hair—"

Scarlett came home from her mills in the gray evening and she made her way back to the Wilkes’s ramshackle front porch. She left her buggy feeling condemned and she sat with the other ladies feeling alienated, but all the same she couldn’t bring herself not to go. The war was over, and these were the survivors. They were through fighting, hung up on glory, but Scarlett still hadn’t holstered her guns. 

“We were soldiers,” said Melanie, and in her heart Scarlett added, “Some of us still are.”

           I won’t let them lick me.

Supposing that Ashley had married her. Perhaps the sight of her in green makes him brave enough to shed his veneer of honor and say, “Yes, you’re right, I can’t live without you.” It’s a minor scandal when he casts Melanie off in her favor, but not for long. The war is beginning and besides, good men have made themselves fools for Scarlett O’Hara before. By the time the soldiers march away, the scandal is all but forgotten in favor of the fine figure they cut as they embrace at the depot: Ashley so brave in his uniform, his young wife radiant as she clutches him.

Ashley sends her long, meandering letters full of philosophical musings. Scarlett reads them uncomprehending and sends back missives full of I love yous. She kisses them when she mails them, sometimes with a Hail Mary for her husband’s safety.

Rhett doesn’t notice this Scarlett at Twelve Oaks, and so he’s caught off guard when he hears the young Mrs. Wilkes say something blunt and scathing at the Bazaar. He chuckles to himself in delight and later he asks her to dance, and of course Scarlett simpers and agrees, and it’s a merry night. But Rhett doesn’t come back to Atlanta for the rest of the war.

This Scarlett leaves for Macon with the rest of the women when the Yankees come to Atlanta; after all, she has no Melly to keep her in the city during the siege. She takes Ashley’s child with her, and it’s in Macon that he finds her after the war. He waxes poetic about the Old Days, the Horrors of War and Götterdämmerungs and the like. He looks at her with sad, tired eyes and Scarlett says yes, I heard you the first time. But what are we going to do?

Twelve Oaks is razed. They go to Tara. Ashley tries his hand at farming, but it’s Scarlett who manages to pick and plant and organize while Ashley’s fumbling attempts at working with his hands yield scant success. His heart isn’t in it, which infuriates Scarlett. C’mon, get up and fight! She looks into the tired face of the man she loved so ruinously at sixteen and wonders what she ever thought was so noble about him.

When taxes come due there’s no way to pay. What’s more, Ashley doesn’t even try. It’s here that Scarlett breaks with her husband. Between Ashley and Tara, it’s Tara every time.

So Scarlett bullies her husband into calling old debts in from a few impoverished friends and when that isn’t enough, she goes to see the tax assessor dressed in green velvet and makes some very personal insinuations about Mr. Jonas Wilkerson. From there, Scarlett bullies her one-time-beloved and does as she pleases, and Ashley has to live with the fact that it’s his wife who provides for the family. In every world, it is Scarlett O’Hara who keeps Ashley Wilkes alive after the war.

His pride lays down in the dirt and dies. Scarlett Wilkes shakes her head bitterly and plants more seed in her red, red earth.   

Supposing Scarlett could have imagined all this. What do you think she would say? Perhaps in her youth she would have cherished the idea, but the hard-eyed Scarlett who emerged after the war would have only leveled her small shoulders and said, “What does it matter what would have happened? I’ll think about it later.”

           There but for a lot of gumption am I.

The day after Bonnie died, Scarlett called for the buggy and went to her store. Rhett took this as proof that Scarlett had never really loved the little girl, that she was devoid of maternal affection as he’d always suspected, but Scarlett was grieving in her own way. She threw out two uncut bolts of blue velvet: expensive fabric over which she’d have upbraided a clerk to hell and back if he’d wasted even a few inches. 

It was true that Scarlett had never wanted any of her children when she’d carried them. She had not felt joy or love or any of the feelings that other women described when first she saw them. What she did feel, in the moments after Dr. Meade placed each child in her arms, was a fierce surge of protectiveness. She was certain that she would work and sacrifice and even die for her children, if need be. They were her blood, her flesh, her kin.

Scarlett had hated pregnancy each time it happened to her. She hated feeling large and lumbering, hated the way that her tiny waist bloated and grew until even her modified dresses didn’t fit right. She hated the inconvenience of morning sickness, the limitations on what she could do, the necessity of seclusion as delivery drew near. It was nine months of hardship and frustration capped off with many long minutes of excruciating pain. 

Bonnie had died in an instant. She’d been flying towards the hurdle and then, half a breath later, she’d been gone. Standing in the back of the store with two bolts of blue velvet before her, Scarlett swallowed back tears that Rhett would never see. It wasn’t right that a child who’d taken her so much time and effort to bring into the world could be gone from it so quickly. 

When she returned to the house a few hours later, Rhett had locked himself in the bedroom with Bonnie’s tiny body. Scarlett paused for a moment outside the door, but then she squared her shoulders and kept walking. 

          Just a few more days for to tote the weary load. 

Scarlett had a habit of humming “My Old Kentucky Home” while she worked. Splitting wood, planting and picking cotton, driving between her mills, keeping the books—even sewing. The song was a thoughtless thing, an instinctual thing. She hummed it the same way a person might worry lips between teeth or tear at nails. 

She repeated the words again and again until her heart pulsed to their rhythm. Just a few more days for to tote the weary load. I’ll think about it tomorrow, when I can stand it. Tomorrow, tomorrow. No matter, ‘twill never be light. I’ll never be hungry again. No, nor any of my kin. I’ll never be hungry again. They were a mantra: something to hold onto when the whole breadth of her world had narrowed to a single point. A refrain. A liturgy of surviving.

          Just a few more steps

Rhett loved Scarlett and it was terrifying. He feared that she would treat him like one of her country beaus: a lovely toy to play with and to tear to ribbons when she was done. He was afraid, so he hid his heart behind his impressive poker face and said “I want you” instead of “I love you.” He called her “pet” instead of “sweetheart.”

Scarlett loved Rhett and it was slow. He brought her bonnets and bonbons and Scarlett thought, “Why, it’s almost like I was in love with him!” He came to help her the day Atlanta burned, and Scarlett thought that she’d like to stay in his arms forever. When he chauffeured her to the mills, she thought that he was the only person in the world to whom she could tell the truth.

"You never told me you loved me, you know," Scarlett said the next time she visited Charleston. "I never knew. That's not to say you were wrong about me - about what I would have done if you had said something. But you should have been brave enough to risk it all the same."

Rhett closed his eyes for a moment and his mask slipped away. It was doing that more and more these days.

"But I did tell you — once."

"I think I would have remembered that," said Scarlett, pursing her lips.

"Ah. ‘It is far off; and rather like a dream than an assurance that my remembrance warrants.’ I suppose my humble confession was the least of your worries that day."

Scarlett wrinkled her nose. "What?"

"The day Atlanta burned, my dear."

After a long moment, Scarlett gave a little gasp which turned into a sigh as it ended. "Oh. That's right, you did then, didn't you?" She shook her head. "Rhett, I do believe you have the worst timing of any person I know."

          As God is my witness

The day she married Charles, she wore Ellen’s cream-colored silk gown, aired out in a hurry from the chest where it had been sitting since the O’Haras married back in 1846. She couldn’t breathe for how tight her laces were —sixteen inches, like Ellen’s waist was when the dress was purchased— and perhaps that was a good thing. Scarlett was light-headed throughout the ceremony and she scarcely remembered it afterwards. 

The day she decided to have Frank, it was raining hard. Scarlett left the jail in sodden velvet and was grateful for the drops falling on her cheeks to disguise the tears. It was sunny the day of the wedding, but she scarcely noticed that. Afterwards, when she thought of marrying Frank, Scarlett would always remember the rain. 

There was a fine mist over everything the day she got Rhett back for good. Scarlett was wearing her work clothes when he came riding up to Tara; she’d been walking the cotton fields that day, overseeing the progress of the crop. They were both a little damp when he kissed her.

           I’ll never be hungry again.

O’Haras and Robillards had always known how to dig their nails in, and by God, Scarlett was both. Her namesakes had long ago fought for their own plots of Irish earth; had survived and died and been hanged fighting to hold onto it. All Scarlett’s forebears, her folk, had left crescent-moon imprints on all that was theirs when it was finally pried from her hands. Scarlett gripped her little ball of clay and felt her nails dig into the heels of her hands.

She was her father’s hot-tempered daughter, but she had her mother’s steel-hewn spine. All the years of her life, she never saw Ellen Robillard O’Hara rest her back against a chair.  When Scarlett’s own time came, she held herself every bit as straight as her mother: she didn’t rest or lean, just stood and stood.

Maybe this is what she was always made for. Her green eyes weren’t for charming young men, they were for seeing dresses in curtains. Her hands were never supposed to be soft; they were meant for digging in the red dirt. Even her lips—Rhett was wrong, they weren’t meant for kissing. Scarlett’s lips were as sharp as the words that she spoke when she wasn’t afraid what anyone thought. They were meant to draw blood.

She had been sharp all her life, even when her edges were carefully concealed in layers of satin. Scarlett was not made to be soft; her core held no gentleness. She could not pretend otherwise. All she could do was stand straight, and hold up her tired old shoulders like they were the strongest thing in the world.

           I’ll think about it tomorrow. 

One day, at the Butler home in Charleston, Rhett taught Scarlett how to play poker, and subsequently how to cheat. They were still playing hours later, counting cards and hiding them in sleeves and making all kinds of ridiculous bets on losing hands. Just as she was taking off her right earbob to call, the thought rose to Scarlett’s mind unbidden: “What on earth are we doing here?” And just as quickly, there was the answer. “We’re living.”

At the end of this most recent road home, weary and damp from running through the fog, Scarlett found her way back into Rhett’s arms. In the evenings she listened to his stories and witticisms, and late at night she listened to the sound of his breathing. I will not speak of undying glory, she thought. Rhett was still here, and so was she. They were both still here.

Scarlett took off her left earbob too, for good measure. “I’ll raise you,” she said. “I have a good feeling about this hand.” There was still an ace hidden up her sleeve, but if Rhett noticed it he didn’t say anything. 

They survived together. They built something new. There is always profit to be made in building things, and these two were nothing if not industrious.

           After all, tomorrow is another day.

[simcardiac-arrested]

Go go go cutscene cutscene cutscene!!!

been thinking about one of my favorite undertale fics lately, it’s like. the best undertale fic to me if not the best fic on ao3 period. i liek it so much. it’s the scientist series by talkingsoup and i will Never stop talking about like i Know i have mentioned it before but i am physically incapable of shutting up about it. it’s so good. i once tried to get my best friend to read it even though she doesn’t know english but i tried to convince her to read it with google translate (it didn’t last long but it was worth the effort). it’s So Good. i discovered it in like 2018 or 2019 and have reread it at least two times since it’s just like AUEHGGHHH. gaster’s downfall and then him haunting the narrative … the exploration of sans’ backstory …… the characterizations ………. it’s all very well written and also very dark and traumatic. They make Shit happen to these characters. but it gets better. i think ? i have never finished the series because iirc it only finished around a year ago and i haven’t reread it since. but i am Thinking about it. it’ll probably take me months because 1. i have to come to terms with the fact that one of my favorite stories will be Finished(tm) 2. i have to hype myself up to reread it because it’s a very long series with like 400k words or something AND the second installment is verrrry dark and heavy considering it explores the whole reset bullshit and flowey is putting sans through 29263937 meatgrinders

[todayisafridaynight]

extra thoughts but sawashiro hurts my heart so like. yeah we know his character is like sad and tragic but like. REALLY think about it and like let it set in i swear he makes me want to rip my hair out he was just a boy... wish him happiness w like. a Labrador or smthn i dont know dog breeds

i can't really. call sawashiro 100% innocent; the abuse he went through during his adolescence is definitely sad and undoubtedly contributes to his behavior now, but uhhh he still put a newborn baby in a locker LMAO?

sawashiro's agony is purely a product of his own actions. at the very least he's trying to rectify the damage he did, and that's definitely better than him not having any remorse at all

[cherry-shipping]

ALSO. sorry for being lame but i think its fun to think about watching all these stupid romantic kissy scenes with my f/os 😀👍

[xhda1449x]

ok apparently 30 tags is the limit on tumblr and I'm putting it here because I couldn't put it in the tags

for my own curiosity, because my tragedy enjoying boggles the minds of a bunch of my irl social circle.

[accirax]

Look at this: https://x.com/chuckecheesez/status/1852077124057759864

Best DC crossover in the history of the internet! (2nd half here)

Also this is the best part for me

😆😆😆

OOOOH it's a crossover between the first generation characters (is that what i should be calling them now? yeesh) and the DC4 cast! that's so fun! i really like the limited motion of this video, it really sells that old timey/kinda hokey feeling. plus Thriller is always a banger.

i agree that that part was probably my favorite part in the video. the detail of Drew holding up the paper that says "BRAINS" is so funny to me. my guy, nobody else in this video is talking. you could've gotten away with it. but the artist paid attention to the details. that's quality craftsmanship right there.

more tweet asks below the cut!

I am about to cry... BABY DREW!!! 😭💛

aww, this is so cute! and very in-keeping with the style of the show, too. i love his little star hat, it makes him look like the protagonist of a bedtime story adventure :)

also, this art inspired me to look up whether people with selective mutism would make any sound when they cry or not. apparently the answer for many of them is no! i know that the noise isn't the only reason why people give babies pacifiers-- obviously you want them to not be upset as well, and i think there might be something beneficial about the sucking action-- but it's still an interesting difference to consider, imo.

Just found this Dan appreciation/analysis/rant post when I opened up Twitter, in case you or any of the "Dan Stans" might be interested. The thread does open some interesting perspectives in terms of the show's favoritism and the creators' writing abilities/choices. So you can check it out if you want.

speaking of interesting differences to consider, thank you for sharing this! i always enjoy hearing other people's perspectives on media, even if i don't agree with them, as long as they're 1) generally informed and 2) not overly hostile, which i don't think this person was. they were definitely angry, but it came from a place of passion, and they at least didn't insult anything personal about who Jared and Robert are... for the most part.

anyways, a good analysis! i know you said you have no interest in Danganronpa, but as a fellow elimination game, i can definitely draw parallels between that franchise and this. specifically, in behaviors i've noticed in fans.

these are probably over-generalizations, but i feel like you could roughly break down DC/DR fans into three broad categories. first, there are the people who like heroic characters that last for a long time-- in DC's case, your Miriams, your Aidens, or your Connors. they seem to pick their favorite characters based on who they think would be the coolest to hang out with irl, or who they would aspire to be like.

opposite them, there are the people who like the villainous characters that last for a long time, more like Alec, Fiore, or Riya. they seem to pick their favorite characters based on who they think provided the most intrigue for the story, whether in terms of driving the central conflict or promoting the story's themes.

those groups have obvious tension between each other, with the hero enjoyers often not understanding how their compatriots could "condone" such vile actions by stanning villains and the villain enjoyers often seeing any character without a penchant for mischief as "lacking depth."

and then, in their own little corner, there's the third group, who enjoys the characters who left the game early-- i would imagine, because they find it fun to fill in the gaps that canon left with their projections and headcanons.

as someone whose favorites are typically long-lasting villains (with long-lasting heroes as a close second), it's really interesting for me to hear the thought process of someone of the third category! to me, if i like a work of fiction, it seems natural to me to have a general preference for the characters that last longer, because they make up a greater percentage of that thing that i like. but i really like this analysis of Dan's character as it shows how much importance he had even as a relatively early, non-returnee boot, and how he had layers without the tragic backstory typical of DC characters.

however, i also understand where Jared and Robert were coming from in not bringing him back. in theory, if you like Disventure Camp, it's because you like all of the over-the-top drama and plot twists the show throws your way. i (mildly) disagree with the OP's point that bringing Dan back would have been good as a way of differentiating their plot lines, because while that may have been true, it also sort of goes against the fundamentals of what DC has become. if that's not the kind of story that Jared and Robert wanted to tell, then they shouldn't be forced to write it.

not to mention, i could see why they would pass up on Dan for All Stars if they considered DC Season 1, as opposed to Adventure Camp, their second shot at Dan already. it's not a perfect solution, given that plenty of major characters from Adventure Camp continued to be major characters in DC1 and/or DCAS. however, if what this person wanted was "Dan transforms from a minor character into a more important role," that did already happen for him. he could have then become even more important in DCAS, but that loops back into "let Jared and Robert write the story they want to tell." flawed as it may be, at least they're (presumably) having fun if they're writing what they want as opposed to what the fans want.

and, on that note, i also personally perceived the "who's Dan?" comments and the idea of bringing him back to boot him first as more of a meme than anything else. but, i haven't read many of Jared's tweets nor am i in the DC discord, so i could be missing important context there. plus, i'm sure it'd sting to hear that about your favorite underrepresented character, even if it wasn't meant as a joke.

ramble over! at the very least, we can all agree that Genesis did a fantastic job voicing Dan :D i hope he gets cast in more roles in the future, whether in DC or otherwise.