#Henry danger reference

[unblissfulawareness]

Well what do you know? Her forward approach worked

[starryqueen-18]

You know Henry Danger in the episode where a robot is after Piper to destroy her? in this parody reference an android is hunting down King Olly and Captain Barnacles for an evil Doctor Detar to use his machine to take over Fandom World and it runs on inner powers so you see the Android is after Olly and Barnacles inner powers: Strength and Creativity, that's exactly what the evil doctor requires for his machine.

First time drawing Captain Barnacles in digital so sorry if he looks a bit off, but I hope you guys enjoy and stay safe and kawaiii.

[shyjusticewarrior]

Red Hood Incorrect Quotes Pt 40

Jason: Alright, who's ready to break some teeth?

Damian: Always.

Jason: Oh, don't be so dramatic. That's my thing. And if you take it away from me I will kill myself, and then you.

[jasperandhenryslovechild]

my friend and i have watched the henry danger trailer over and over again at least 30 times, and we've watched it COUNTLESSLY at .25 speed and pausing every 5 seconds to point out random ass little tidbits and make assumptions and theories.

this is a hyperanalysis dump of everything we've noticed so far!

under the cut🗣️🔥‼️

in chronological order!!

BLACKOUT?

whys bro got CLAWS NOW WHATTT

i still want to think this is blackout but at the same time the claws kinda throw me off since i don't think those were in df? so it's kinda weird? IDKIDKIDJD QE DO HAVE MORE THIS GUY CLIPS THOUGH AND IDK WHO HE IS BUT I LOVE HIM! #! #! $ BEAT HENRYS ASS BRO GIVE US THAT HURT WE'VE BEEN WAITING ON FOR SIX YEARS/j

that's all ive got about bro, i did also make an entire theory post about him though so OUT OF THE WAY BUDDY/j

BIZWATCH TRUTHING

ignore how it's shittily put together cropped images i have lots to share and don't want to exceed tumblrs image limit, i am NOT making another post with all the same fuckin things😭😭

BIZWATCH RUMORS (literally just me reading a sign in the background) are TRUE. charlotte is absolutely not in on this because she wouldn't have let this name slide/j it is growing on me though!! the fact that bizwatch has such a large & expensive building implies that this could be far into the future of the dangerverse timeline— henry's first appearance back since hd is like 3 weeks after the beginning of df and his last appearance i want to say is like 2 or 3 years since the beginning of danger force, and i don't think anybody in the history of like ever has made enough money with their underground vigilante business to be able to have such a flashy & huge hq

also, why is it in existence??? if you're the SINGULAR HEROES in the most dangerous city in the world, you'd want your hq to be more..... hidden?? yknoww....??? and not pull a man's nest??? not complaining though it looks silly

also also, the clip glee dango released could maybe be taking place in that building??? not sure though because of how run down it is but still oooo aaaah

MISSY'S BEDROOM!!

i have SO MUCH TO SAY ABOUT MISSY'S BEDROOM BECAUSE THERE ARE SO MANY LITTLE EASTER EGGS HIDDEN IN IT AARRGRGGRHH

firstly, the way henry falls into the bedroom makes me think that like he fell out the window and the reality altering device took him into missys bedroom and like accidentally saved bros life which would be so funny 😭😭

there are SO MANY REFERENCES LITTERED IN THIS

from top to bottom, left to right

"[??]-INSPIRED GRAFFITI SWEEPS THE CITY"

added the extra image because it's clearer there, but IS THAT A WALL DOGS REFERENCE? #?? ## IS THAT A HENRY AND THE BAD GIRL PART ONE AND TWO REFERENCE? #! #?

" ..... Exiled by Swellview......"

i dunno who the hell they're talking about with that one but like also at the same time it's blurry as shit and i kind of guessed... quite a few of these are guesses......

"Kid Danger and ThunderGirl in daring traintop meelee"

THUNDERMANS CROSSOVER REFERENCE! $!! $! $ this girl is dedicated i lwk forgot that happened

"Swellview Dispatch: Kid Danger Dies in Firey Blimp Accident and Saves Entire City. The City Mourns Its Young Hero"

okay so they DOO know about the finale

does that mean missy was the ultimate fucking theorizer above us all??? is she the only one in this universe that puts the two and two together that bizwatch ceo henry hart looks a lot like dead superhero kid danger??? guys missy is the only one in nickelodeon history to do that she might be a lot smarter than we thought, having the capabilities of basic logic..... /j I LOVE HER ALREADY

or maybe she thinks she just used her reality altering device to bring back the dead, in which case i subtract points/j

"A Superhe[ro]...... Answ[er]... The [??????].. all pay"

literally no clue, the pay part makes me want to think budget cuts ref? but im not sure i need more context to that one— i would literally pay any amount of money to buy ANY of these set pieces bro😭😭

"Swellview Dog Society calls foul (?) on irresponsible breeding practices"

not a reference to anything as far as im aware but... good to know? swellview has a dog society now funzies

"Kid Danger Calls Out Bill Evil"

DANGER THINGS REFERENCE! $! $! $! DANGER THINGS MENTIONED! #! $! $!! $

i do know that there was one ill find later that was a rock box dump reference and i thought it was so fun

SHE HAS A KID DANGER COSTUME AWWHH I'M CRYIGNFNND I LOVE HER I LOVE HERR

the reality altering device abbreviates to rad... like how swellview academy for the gifted abbreviates to swag.... im so done😭😭

how did she even get access to that shit??? she has a blueprint above her computer when she was like doing all that coding stuff and its the blueprint to the device itself, does that mean she like made it herself?? maybe like in tandem to the omega weapon she had someone make it for her?? idk idk i need to watch this fucking movie bro 😭😭😭

POSSIBLE OTHER VILLAIN??? WHO ARE YOU MY BRO WHAT SCI FI SHORT DID YOU POP OUT OF

OTHER STUFF (VILLAINS & STUFF)

PIPER TURNS INTO BATS AQWWWHWH I LOVE HER

just got back from doing day 2 of finals though & im tired as all hell so i don't have that much more for now but i may continue dumping stuff later 😭😭

if i add more ill reblog it🗣️🔥‼️

[plantcrazy]

2005 Toppat Clan Elites Reference

Leader - Terrence Suave (Age 38) -> Current leader of the Toppat Clan. He's starting to regret his choice of Right Hand.

Right Hand - Reginald Copperbottom (Age 24) -> The clan's youngest Right Hand, and son of the former one. He's not been very impressed by the actions of the clan's new leader.

Head of the Airship Division - Apple Seed (Age 32) -> It takes 185 apple seeds to kill an adult. In the Toppat Clan's Airship division, it only takes one.

Head of the American Division - Danny Danger (Age 29) -> Farther like son, a born leader and jerk. He doesn't like the new Head of Transportation.

Head of the EU Division - Wilhelm Krighaus (Age 54) -> He's the oldest elite and division head in clan history at 19 years. He's looking forward to retirement.

EU Division - Ahnoldt Schwarz (Age 27) -> The future head of the EU division. He's currently learning the ropes from Wilhelm Krighaus.

Head of the Asian Division - Mr Red (Age 41) -> No one knows his real name, but he always wears red, whether that's his own, or that of his division's enemies.

Head of the Oceniana Division - Hōkū (Age 37) -> A vocal member of the Toppat Clans Manipulator community. He got his name for being there to guide his kind in the dark.

Head of Transportation - Mr Macbeth -> Trained by Tim Smith, he joined as the clan's new Head of Transportation. Despite this, the other elites don't like people who jump the ladder of power.

He doesn't like the Head of the American Division.

Head of Communications - April Mayday -> She's in charge of the major comm line, relaying messages between divisions & clan leader.

Head of Finances - Albert Poshley -> He's a descended of one of the original clan founders, funding the Toppat Clan for generations. Needless to say, he's the unofficial head of finances.

Hello folks, I wanted to get you guys some content since it's been a while since I've had any art or writing. So here's some concept art I needed to make for Ch.10 (I bet you can't guess what that chapter is going to be about).

These turned out really nice, and I love how cute young Ahnoldt looks. I'm also very happy with the colour pallets. I did a bit of experimenting, pushing beyond my normal colour choices, and some of these are REALLY good.

This is 13 years before the events of Lost Children, and I also threw the ages of everyone in there since I figured you guys would find that fun :)

Alrighty, I'm off to write chapter 10. Enjoy.

[biperhart]

Charlotte: I’ll be famous one day, but for now I’m stuck in this glorified basement with a bunch of morons.

[still-a-morosexual-help]

Fucking hell Nightbringer really gave me everything huh god

Henry 1.0 origin story

Cerberus origin story

Satan's cat thing origin story

"Goldie in Freezer" origin story

Levi's Ruri-chan obsession origin story

Mammon being scared of ghosts/horror origin story

More in depth version of Solomon & Asmo's first meeting/pact origin story

A painful reason for why Asmo's room looks like that

What the tsl characters would have been like irl (the absolute worst wtf simeon)

Mammon's issues finally discussed in depth

Mammon being extremely ride or die for Lucifer

Almost instant Mammon & MC friendship

Mammon being just so amazed by MC and also insanely supportive of them

Mammon being willing to do anything for his brothers, being more sure of himself, almost instantly following Lucifer's orders and making the others do so as well

Levi's issues discussed in depth.

Levi straight up saying he was depressed and still is

Levi's friendship with MC!

Levi & Lucifer's relationship!!!!!

Levi being shy and scared and just so 😖

Things being bad in the Celestial Realm even before they left

Asmo's issues being discussed in depth

Asmo very explicitly having body dysmorphia

The brothers being much more supportive and loving of each other

Lucifer being visibly scared of losing another family member and being insanely overprotective because of it

The brothers being slowly overtaken by their sins (something that was always a part of them but also something they could control as angels) and losing control of themselves

The brothers gaining new magic

Satan being a fucking mess

Satan not really fitting in and all of them being really awkward around him

Satan's issues being discussed in depth

Belphie's issues being discussed in depth

Belphie expressing passive suicidal ideation

Belphie talking about how he needs someone to blame for what happened to Lilith so he can process it/make sense of it even if that someone is himself

Lucifer's issues being touched on from from different perspectives/angles

Diavolo's issues being hinted at

Simeon's issues being vaguely discussed

More about Lilith! (remember my post about how lilith definitely wasn't a sweet little angel because there's no way the universe would let lucifer catch a break? I was right!!! She was as much a little shit as the rest of her family!)

More about the demon king! (He wanted to stop the war too🥺 also a whole line of previous demon kings!)

More about god/how angels work (all angels are brothers & sisters but not technically family the way lucifer & his siblings are!)

ADAM!?!?!?!?!?

Solomon & MC's Sorcerer & Apprentice relationship seen in full detail!

MC being absolutely amazing

MC being competent and powerful and dangerous and resourceful and confident and the brothers realising all that but them also being funny and snarky and chaotic and outgoing and homesick and caring

References to present (s1-s4) brothers (& how they'll tear solomon apart if he doesn't bring MC back)

NIGHTBRINGER!? BARBATOS!!!??? but past barbatos doesn't seem to know anything about MC and present barbatos is helping solomon bring MC back....so who...?

References to Noble demons and conservative demons and devildom politics

Angel - Demon prejudice /racism from both sides explicitly shown

The brothers being war criminals and how the devildom sheltering them nearly re-started the war between the two realms

None of them being able to identify MC as a human (it takes Diavolo a long time + Lucifer straight up denies it when MC tells him), Adam & Nightbringer saying MC has the "power of angels", MC's favourite manga being one where the youngest child out of 7 is described as being angelic (*cough*lilith*cough*), Diavolo, even after knowing MC is a human, going "what are you"..... me softly chanting: nephilim!mc nephilim!mc nephilim!mc

The lessons flow better? It doesn't feel like one arc is squished into two lessons and then you must immediately jump into another different arc. It feels like it's all just happening in a connected sequence?

Better pacing in my opinion. It doesn't feel rushed.... like the part where satan discovers cats and then later is seen still sitting next to the cat and watching it? It feels appropriately spaced out

MC's relationships with everyone doesn't feel isolated. Like earlier there'd be a lesson or two dedicated to one character and we won't see much of the other characters during it. Now it feels like everyone is there interacting with everything in a normal, natural way. Yes there are lessons dedicated to getting to know one brother but the others are there, interacting with each other and MC during that time as well

The emotions & relationships are discussed/written in a way that feels very real and believable that it becomes actually really moving (s1-s4 also did this well but in nightbringer because of arcs/scenes/relationships not being isolated, of things flowing better and having a better pacing, of them outright discussing their issues it has a greater impact - yes I cried more than once shut up)

In the end, Nighbringer is darker than og OM! but not in the "grrr gonna kill you" way. It's "darker" because they address more serious topics in depth

[diceisbored]

henry danger kiss headcannons!

navigation!

including : henry , ray , charlotte , jasper x reader (seperate)

(written with fem presenting/ fem reader in mind, but no specification)

wanings : tiny lil make out (jasper) , cursing (me) , no use of y/n , 2nd person (you , yours , etc.)

notes from dice! : hope someone likes this bcz i have no other ideas and two other drafts

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henry • peck

he's always on the move, whether it's as he's leaving for a "quick" mission with ray he'll give you one both as henry and kid danger

has to give you at least one per conversation, so if you talk alot just be prepared for a bunch of kisses

also kisses you as he's talking like he'll kiss you and then start talking and then kiss you and start talking again and repeat

"Oh, today me and Ray went to stop jeff-" he gave you a quick kiss, "From robbing the nice Nacho Ball-" He gave you another, which left you giggling.

you honor, he's a loverboy

honestly i feel like no matter what, he'll always say his favorite thing is kissing you. even if someone asks him as kid danger, he can't help but be honest!

ugh he so fine

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ray • head

bro if SO fucking domestic for no reason??

like no matter what, he'll refer to you as his wife. to everyone. and GOD FORBID someone corrects him

idk i just kinda think he likes seeing you as a staple in his always-changing life, like YOU are the only thing that stays the same

whenever yall are just like chilling or something i feel like he'll put an arm around you and just press a little kiss to your head

As you listened to Charlotte ramble about truly anything, you felt a pair of arms snake around your middle. "Hey, babe," He pressed a kiss to your temple.

yeah, he's domestic as fuck

he can't help it, whenever he sees you standing or sitting without him he feels the need to just make sure you know he loves you

even if you're like doing something really important, no matter who's there, it really shows everyone how much he cares.

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charlotte • face

you already know

charlotte would most probably love to just pepper your face with kisses all the time though she doesn't like pda too much

if you like/ want pda though, maybe she will from time to time (esp if it's an important event/ your friends are there)

"Hi, my love," You greet as she walks theough your bedroom door. She sets her stuff down and crawls beside you, cupping your face, ready to give you as many kisses and she can, "Hey."

she honestly doesn't care what her firemds think, she'd (probably) fight for you

so even if everyone is in the man cave, she will still be kissing your entire face the whole time

until- she's never gonna fucking stop. nice joke, though.

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jasper • hand

my boy just wants to feel chivalrous(?)

he loves just walking while holding your hand, and randomly bringing it to his mouth to kiss your knuckles.

he's just happy your with him, happy that he gets to call you his.

he tries to be polite and stuff 24/7 but with how much time you're around each other, it's hard not to get comfortable.

Slow kisses had eventually developed into hungry, fast kisses. While you were kissing on his neck and jaw, his attention was somewhere else. "So pretty darling," He spoke as he brought your hand to his mouth.

it doesn't matter when or where, as soon as his thoughts drift to you he can't help but put a kiss on your hand

if you touch his face at all, expect one on your palm- if you touch him literally anywhere other than his own, he will grab you hand just to kiss the back of it.

why is my boy so fucking underrated.?

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[vermilionsun]

This post translates directly to @musas-sideblog's about how Touchstarved ties with Victorian horror and implicit/metaphorical sex, and I couldn’t stop thinking about it, so here is a lengthy theory. Enjoy :)

Note 1: Victorian era authors used an unholy amount of ways to imply sexual feelings/acts etc, so I here I will include only the ones that are of interest. Note 2: I've highlighted the "most important" parts. Note 3: I'm not an expert at this, so please bear with me and feel free to correct me. Note 4: Do I need to add a TW? I think it's obvious-

Overview: What is Victorian Horror?

Victorian horror refers to the genre of horror literature, art, and culture that flourished during the Victorian era, roughly from the mid-19th century to the early 20th century, coinciding with Queen Victoria's reign from 1837 to 1901. This period was marked by a fascination with the macabre, the supernatural, and the dark aspects of human nature, reflecting the anxieties and societal changes of the time. 

Key Themes and Characteristics

Supernatural Elements:

Ghosts and Spirits: Tales of haunted houses and spectral apparitions were central to Victorian horror. Charles Dickens's "A Christmas Carol" (1843) and Henry James's "The Turn of the Screw" (1898) are notable examples.

Monsters and the Gothic: The era's literature is filled with monstrous creations and gothic settings, such as in Mary Shelley's "Frankenstein" (1818), Bram Stoker's "Dracula" (1897), and Robert Louis Stevenson's "Strange Case of Dr Jekyll and Mr Hyde" (1886).

Science and the Unknown:

The Victorian period was a time of great scientific advancement, but also of fear about the implications of these discoveries. This is evident in works that explore the dangers of unchecked scientific experimentation, like "Frankenstein" and H.G. Wells's "The Island of Doctor Moreau" (1896).

Exploration of the Human Psyche:

Victorian horror often delved into the darker aspects of the human mind, including themes of duality, madness, and the hidden, sinister side of human nature. This is seen in "Dr Jekyll and Mr Hyde" and Edgar Allan Poe’s works, such as "The Tell-Tale Heart" (1843).

Social and Moral Anxieties:

The literature frequently reflected Victorian society's fears and anxieties, including issues related to sexuality, class, and the role of women. Gothic novels often contained subtexts about societal norms and the consequences of transgressing them.

Urban Fear and Isolation:

The rapid urbanisation of the Victorian era contributed to themes of isolation, alienation, and fear of the crowded yet lonely cityscape. This is evident in the settings of many horror stories, such as Arthur Machen's "The Great God Pan" (1894).

Sexual Content: Victorian literature is renowned for its strict moral codes and conservative views on sexuality. Explicit depictions of sexual activity were considered taboo and were subject to censorship. Consequently, authors developed subtle and nuanced methods to imply sexual scenes or themes.

Literary Techniques for Implying Sexual Scenes

✧ Symbolism and Imagery:

Sexuality was often conveyed through symbolic imagery. Objects, actions, or natural phenomena could serve as metaphors for sexual activity or desire. For example, in "Dracula" by Bram Stoker, blood and biting symbolise sexual penetration and the exchange of bodily fluids, infusing the act with a sense of forbidden desire and eroticism.

Clothing and Undress:

Gloves: In Victorian culture, gloves were highly symbolic. The act of a woman removing her gloves in the presence of a man, or a man assisting her in this act, could signify a moment of intimacy or vulnerability. Similarly, a man giving a woman his gloves could be a sign of affection or a deeper connection.

Hats and Bonnets:

Corsets

Objects and Personal Items:

Locks of Hair

Jewellery

Books and Letters

Touch and Physical Contact:

Kissing Hands

Hand-Holding

Food and Drink:

Wine: Sharing wine or a meal in an intimate setting often suggested a prelude to deeper connection. Descriptions of characters drinking wine together in private could imply a romantic or sexual undertone.

Fruit: Certain fruits, like apples, grapes, or peaches, were laden with sexual symbolism. Eating or sharing fruit could represent temptation or indulgence. For instance, in Christina Rossetti’s poem "Goblin Market", the act of eating the goblin fruit is rich with sexual symbolism.

Flora and Fauna

Flowers and Gardens:

Roses: Roses were often used to symbolise love and passion. A red rose might suggest romantic or sexual attraction, while a wilted rose could imply lost innocence or sexual ruin.

Lilies: Lilies, especially white ones, represented purity but could also suggest a contrasting theme when associated with a fallen or tarnished character.

Garden Settings: Scenes set in secluded gardens or amongst lush, overgrown vegetation often hinted at secret or forbidden encounters. Descriptions of characters wandering through or tending to gardens could imply sexual exploration or awakening.

Flowers Blooming or Opening:  The blooming of flowers often represented sexual awakening or the act of losing one's virginity.

Nature Imagery:

Rivers and Water: Flowing water and rivers often symbolised sexual desire and the act of lovemaking. For instance, in "Tess of the d'Urbervilles" by Thomas Hardy, Tess's encounter with Alec d'Urberville is often described with metaphors of nature and fluidity.

Storms and Weather: Storms, with their intense energy and sudden outbursts, were frequently used to symbolise sexual passion or climactic moments.

Birds and Beasts:

Animals, especially those that are wild or predatory, often symbolised primal sexual instincts and desires. The taming or interaction with these animals could imply a character’s grappling with their own sexuality.

Fire and Heat

✧ Phrases and Sayings

Euphemistic Language

Descriptive Phrasing

Dialogue and Confessions

Private Spaces:

Secluded or Dimly Lit Rooms: Scenes set in private, darkened rooms often suggested clandestine sexual encounters. The privacy of the setting allows authors to imply what could not be explicitly stated. In Wilkie Collins’s "The Woman in White", many key interactions happen in secluded spaces, hinting at secrets and hidden desires.

Dreams and Fantasies:

Dream Sequences:

Dreams and fantasies were used to explore a character’s subconscious desires and fears, often revealing their suppressed sexual longings. These sequences provided a socially acceptable way to delve into erotic themes.

Hallucinations and Madness:

Moments of madness or hallucination could serve as a metaphor for overwhelming passion or uncontrollable sexual desire. These states allowed characters to express forbidden feelings in a way that was metaphorically safe.

Physical Interactions and Horror

Touch and Proximity as Menace:

Unwanted or Forced Touch: In horror, touch that is typically a sign of affection or intimacy becomes a source of fear.

Physical Closeness in Horror Settings: Close proximity in dark, secluded places amplifies the sense of claustrophobia and vulnerability, turning what could be an intimate setting into one fraught with terror.

Undress and Exposure in Horror:

Loosening Corsets and Vulnerability: The act of undressing or loosening clothing, which can be a prelude to intimacy, in horror often leaves characters vulnerable to attack or exposure of their deepest fears.

Food and Consumption in Horror

Cannibalism and Vampirism:

Blood as Sexual and Vital Fluid: The act of consuming blood, as in vampirism, blends the themes of sustenance and sexual exchange. The vampire's bite becomes a metaphor for both sexual penetration and the transfer of life force.

Example: "Dracula" is a prime example where blood consumption is deeply eroticized, with Dracula’s victims often portrayed in a state of ecstatic submission as he drains their blood.

Food as a Lure: Food and feasting, typically symbols of pleasure and indulgence, in horror contexts can be used to lure victims into dangerous situations.

Example: In "Goblin Market" by Christina Rossetti, the goblins’ fruit is both irresistibly tempting and dangerous, representing a forbidden and potentially fatal indulgence.

Plot and Character Dynamics in Horror

Power and Domination:

Common Dynamics with a Dark Twist

Predators and Victims: Characters who prey on others are often literal monsters in horror, representing the loss of control or innocence.

Secrecy and Concealment:

Hidden Desires and Monstrous Revelations: Characters who conceal their true identities or desires often find these hidden aspects manifesting as monstrous or terrifying in horror narratives, suggesting that repression can lead to dire consequences.

Clandestine Meetings and Forbidden Encounters: Secret meetings and forbidden relationships, often tinged with sexual implications, add an element of danger and fear, suggesting that transgressing social norms leads to horror.

Common Themes in Victorian Horror

Duality and the Doppelgänger:

Theme: The concept of duality, where a character has a hidden, darker side, or encounters a double (doppelgänger), often symbolises the internal conflict between good and evil within individuals.

Connection: This theme reflects Victorian anxieties about identity, morality, and the consequences of repressing one’s darker impulses.

Gothic and Supernatural Elements:

Theme: Victorian horror is rich with Gothic elements such as haunted houses, dark landscapes, and supernatural beings. These elements create a sense of dread and evoke the mysteries of the unknown.

Connection: The Gothic setting often serves as a backdrop for exploring human fears, isolation, and the impact of the supernatural on everyday life.

Decay and Degeneration:

Theme: The fear of decay and degeneration, both physical and moral, is a recurring motif. This theme often examines the decline of individuals, families, or societies and the consequences of corruption and vice.

Connection: This theme mirrors Victorian concerns about the erosion of social and moral values amidst rapid industrial and social changes.

Madness and Psychological Horror:

Theme: The exploration of madness and psychological horror delves into the fragility of the human mind and the terror of losing one's sanity. This often includes hallucinations, obsessions, and the thin line between reality and delusion.

Connection: This theme resonates with Victorian fears of mental illness, the limitations of medical knowledge, and the impact of societal pressures on mental health.

Forbidden Knowledge and the Faustian Bargain:

Theme: The pursuit of forbidden knowledge and the resulting consequences is a central theme. Characters who seek power, immortality, or forbidden truths often pay a heavy price, reminiscent of the Faustian bargain.

Connection: This theme highlights Victorian anxieties about scientific progress, moral boundaries, and the potential hubris of human ambition.

The Uncanny and the Unknown:

Theme: The uncanny involves the strange and unfamiliar becoming eerily familiar, often unsettling the reader and characters. It blurs the lines between reality and the supernatural, invoking fear and discomfort.

Connection: This theme taps into Victorian fears of the unknown, the foreign, and the otherworldly, reflecting broader anxieties about social and cultural boundaries.

Death and the Afterlife:

Theme: Victorian horror frequently grapples with themes of death and the afterlife, exploring the fear of mortality, the possibility of an afterlife, and encounters with the dead or undead.

Connection: These themes reflect Victorian preoccupations with death, the spiritual realm, and the possibility of life beyond death, often intensified by the era's high mortality rates and interest in spiritualism.

Isolation and Alienation:

Theme: Isolation and alienation are prevalent themes, often highlighting characters who are physically or emotionally detached from society, leading to their vulnerability and descent into despair or madness.

Connection: This theme resonates with the Victorian experience of industrialization and urbanization, which often led to feelings of disconnection and loneliness.

Class and Social Anxiety:

Theme: Victorian horror often explores themes of class and social anxiety, including the fear of losing social status, the consequences of poverty, and the tension between different social classes.

Connection: This theme reflects the rigid class structures of Victorian society and the fears and tensions that arose from social mobility and economic disparity.

Moral Corruption and Hypocrisy:

Theme: Victorian horror frequently critiques the era’s moral standards and exposes the hypocrisy of societal norms. Characters who appear virtuous often harbor dark secrets or engage in morally dubious activities.

Connection: This theme mirrors the Victorian concern with appearances and the underlying tension between public propriety and private desires.

The Five Pillars of Victorian Horror & The Five Love Interests

The Supernatural and the Gothic (Ais)

Essence: Victorian horror often revolves around the supernatural, blending Gothic elements to evoke a sense of dread and otherworldly terror. This includes ghosts, vampires, haunted houses, and curses, which create an atmosphere where the boundaries between the natural and the supernatural blur.

Impact: The use of Gothic settings and supernatural phenomena provides a backdrop for exploring deeper themes of fear, mortality, and the unknown.

Psychological Depth and Madness (Vere)

Essence: Victorian horror delves into the complexities of the human mind, exploring themes of madness, obsession, and the psychological effects of fear and trauma. Characters often grapple with their sanity, facing inner demons as terrifying as any external threat.

Impact: This focus on psychological horror allows for a deeper exploration of character motivations and the impact of societal pressures.

Moral Corruption and the Double Life (Leander)

Essence: Themes of moral corruption and the duality of human nature are central to Victorian horror. Characters often lead double lives, presenting a veneer of respectability while concealing dark, sinful secrets. This tension between outward appearances and hidden truths reflects the era’s social hypocrisy and fear of scandal.

Impact: These themes critique Victorian society’s emphasis on propriety and the dangerous consequences of repressing one’s true nature. The idea of a double life or hidden self adds to the horror by suggesting that evil can reside within anyone, masked by a facade of normalcy.

Decay, Degeneration, and Disease (Kuras)

Essence: The themes of physical and moral decay, societal degeneration, and disease permeate Victorian horror. These motifs symbolise the fragility of human life and the inevitability of decline, reflecting the anxieties of a society grappling with rapid change and uncertain futures.

Impact: By focusing on decay and degeneration, Victorian horror underscores the transient nature of life and the ever-present threat of corruption and decline, whether through ageing, moral compromise, or societal breakdown.

Isolation and Alienation (Mhin)

Essence: Isolation and alienation are pervasive themes in Victorian horror, often depicted through characters who are physically or emotionally cut off from society. This separation heightens their vulnerability to external threats and internal fears.

Impact: Isolation serves to intensify the psychological tension and sense of dread, as characters confront their fears alone. It also reflects the era’s social and existential anxieties, including the fear of being disconnected or outcast from society.

Generally, I believe each LI connects with a pillair (as seen above). Perhaps by looking at the archetypes we could deduce propable endings and route elements.

Forgive me, for the following part is MESSY;

Ais

Vere

Leander

Kuras

Mhin

[incognit0slut]

Right Kind of Wrong (16)

She never thought she’d be involved in a murder investigation and encounter her one-night-stand again, the awkward guy who isn’t exactly that good in bed—Or is he? Offended by the sentiment, Spencer is determined to prove her wrong… But as he gets tangled with the beautiful stranger, he realizes there is more to her than what meets the eye.

Part Summary: Spencer is faced with a dangerous confrontation. wc: 3.4k

Series Warnings: 18+ explicit content, graphic details of murders, mentions of suicide, mentions of SA

A/n: this part went through so much editing until I was satisfied with it, also, can't believe this is ending soon!!

Other parts: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15

EVERYTHING FINALLY FELL INTO PLACE. Although it took longer than it normally did to solve a case, Spencer finally gathered every piece of information, every obscure clue, and every small detail he unfortunately missed before to make a clear profile.

Eric Adler—or Henry Wyatt as Garcia discovered through her meticulous sleuthing—was a master of disguise. He had concealed his identity under a different persona, changing his name the moment he packed his bags and left the town he grew up in. Oliver confirmed this discovery when Spencer visited the hospital the following day, once he had regained consciousness.

"Eric... he's a stranger to me," Oliver had said, his voice carrying a tinge of disbelief, a foreign look gleaming in his eyes. "Henry, on the other hand, was one of my closest friends."

"I'm assuming something happened for you to drift apart."

Oliver's gaze shifted. "We grew up in a very tight community. Religion was all we were taught," he began, his voice tinged with defiance and nostalgia. "I guess we became close from our rejection of those traditional values and practices."

Spencer acknowledged his words with a nod. "Your files showed there were a lot of crimes you committed in the past."

"I-I was very rebellious."

"I would say forcing yourself on a young, innocent girl was more than rebellious."

Oliver winced. "Listen, I'm not proud of my past," he confessed, his voice carrying a hint of regret. "But yes, my friends and I grew up doing things that were out of morals."

Spencer studied him. "What happened then?"

"A lot of pointing fingers," he admitted. "Our community leaders eventually found out and threatened us with severe punishment. From the outside, it was simply community service, but from the inside, it involved a lot of restraints and, well, whips."

Silence stretched between them. "It was how they punished the bad," Oliver explained further, his eyes searching Spencer's for comprehension. "They always say it whenever they were going to abuse us; 'The wicked will not go unpunished, but those who are righteous will go free.'"

"Proverbs 11:21," Spencer mumbled under his breath, recognizing the scriptural reference.

A hint of surprise flickered across Oliver's face. "Are you a religious person?"

He shook his head, implying a depth of knowledge that surpassed the boundaries of religious beliefs. "Was that what made you drift apart?"

"Partly, yes," Oliver answered with a sigh. "We didn't admit to it at first, but then under the pressure and the constant threat of punishment, I guess I became weak."

"Did you betray him?"

Oliver acknowledged the truth with a slow nod. "We were both punished, along with the others who were involved, but our leaders always wanted one name whom they could sacrifice, a name who held all responsibility. The initiator of all sins."

"So you put the blame on him," Spencer summarized, understanding the dynamics that had led to the fracture in their friendship.

"It was the only thing I thought of doing to save myself," he confessed. "He became a sacrifice. All the punishment turned onto him until he was cast out of the community. When his family didn't even try to interfere, he eventually left town. Never heard from him ever since."

"And then years later you saw him again."

His shoulders lifted in a nonchalant shrug.

"I didn't even recognize him at first. He had a different name, different hair, different style—he was practically a different person. When I realized who he actually was, I tried to confront him  but he never acknowledged me." He then looked away, the emotion in his gaze concealed. "I just thought he didn't want to be associated with the past anymore."

It explained everything. The revelation about Eric's past and the harsh punishments he had to endure shed light on the motivations behind his actions. It explained why he felt compelled to punish people, as it was the only method deeply ingrained in his brain.

Their shared upbringing, the weight of betrayal, and the scars of their past had shaped his sense of justice, leading him down a dark path of vengeance. And with that new knowledge in mind, Spencer passed on the information he had discovered when he came to work the next day.

Everyone was gathered by the round table, an unusual thing to happen given that they were typically scattered in their assigned tasks, but all of them were present for once. Morgan leaned back in his chair, eyes narrowing in contemplation after Spencer finished his thoughts. "So let me get this straight, Eric's vendetta against Oliver is personal. Goes beyond just catching a killer then."

"It's a cycle of betrayal." JJ, standing by the door with crossed arms, agreed aloud. "He attempted to shift the blame onto Oliver, something he also went through in the past."

Spencer nodded as he started to pace around the room. "Psychologically speaking, his actions seem to be rooted in a need for retribution, a manifestation of the punitive measures ingrained in his upbringing."

"So we're dealing with a man who sees himself as a guardian angel dispensing justice, even if it means resorting to extreme measures."

"A guardian angel while simultaneously executing his revenge," Emily mused from the other side, her words laced with a blend of contemplation and concern. "Very personal indeed."

Hotch crossed his arms as he stood by the table, and scrutinized his team with his usual detached and professional expression, devoid of any visible emotions. "We need to understand his patterns," he began. "If we can predict his next move, we might be able to intercept him."

"He clearly has a deep affection towards Y/n." Morgan offered, prompting Spencer to halt his pacing and turn his attention toward him at the mention of her name. "He probably has a list of people who he thinks have hurt her in the past."

Rossi studied everyone in the room, attentively listening to their thoughts. He tapped his finger against the wooden table, directing his focus on Morgan. "We should find out who might be on that list. It could give us insight into his next move."

Hotch agreed with a curt nod. "Morgan, Rossi, work on compiling a list of individuals connected to Y/n. Garcia, cross-reference it with Eric's history. Let's see if we can predict his next move based on the people he might target."

Garcia instinctively rose from her chair and nodded. "Yes, sir," and waltzed out of the room with determined steps, making her way to her office.

The others shifted from their spots, while Morgan, unlike the rest, kept his gaze on Spencer. He observed the frown stretching across his face and pondered whether to voice what he had in mind. He hesitated, acknowledging that Spencer's involvement with their witness wasn't strictly his business. Yet, considering the recent events, he felt compelled to express his thoughts.

"I don't want to be that kind of person to bear bad news, but I think—I think—there's a high chance that pretty boy here could be a target," Morgan declared. Spencer quickly met his gaze.

Everyone else, momentarily suspended in a collective pause, turned their attention toward him. He could feel their penetrating gaze, which started to make him uncomfortable as the seconds ticked by. He didn't want to entertain that possibility, but it made sense. Considering Eric had been with her right after he had hurt her, he could very well be the next target.

JJ, breaking the silence, voiced what lingered in everyone's thoughts as she took a step closer to him. "We should keep you safe then. If you're a potential target, we can't afford to overlook any possibility."

Spencer glanced over at her, noting the concern in her eyes. He sensed a silent plea in the way she looked at him as if she were urging him to agree, to step back and act on what seemed to be the logical thing to do. However, despite that, the gears in his mind were turning. If he was a potential target, it could offer an easy opportunity to get closer to their Unsub.

"No," he said, a conviction in his voice. "You can use me as bait."

The room held its breath as his unexpected proposal hung in the air. The team, still processing the revelation of his potentially being a target, turned their focus to his daring suggestion.

JJ simply stared at him, dumbfounded by the audacity of the idea. "You're crazy."

"No, think about it." He turned towards Hotch, knowing the older man would at least consider his idea. "We can get to him by luring him in."

Hotch held his gaze. The weight of leadership rested on his shoulders as he considered the risky proposition. "Reid, it's too dangerous. We can't—"

"If Eric believes he has a score to settle with me, then let's use that to our advantage. We set up a controlled scenario, anticipate his moves, and ensure we have the upper hand."

Emily looked at him with worry, taking a step forward from the other side of the room. "Reid, it's too risky. We don't know how he'll react, we can't even guarantee your safety."

"Yes, you can. You'll keep an eye on me." His eyes traveled around the room, meeting each one of their concerned gaze. "It's not something we haven't done before; we've used this method to lure an Unsub, and right now, we have no clue where he is. The only way we can draw his attention is by using me."

Hotch's gaze shifted between Spencer and the rest of the team, weighing the potential outcomes of such a high-stakes plan. It was undeniably risky, but Spencer was right. This wouldn't be their first time baiting an Unsub, and given their past success, a part of him believed the outcome would work out according to plan.

After a moment, he slowly nodded. "Alright, but if we proceed with this, we have to ensure everyone's safety." He gave Spencer a pointed look. "Especially yours, Reid."

He quickly nodded as a moment of understanding passed between them. The room suddenly filled with noise, and amidst the bustling movements, he felt a desperate grip on his arm, pulling him away from the group.

"Spence." JJ's grip tightened as she voiced her concern. "You could be putting yourself in danger. What if this goes wrong?"

That was the thing. It was the nature of their job—there would always be different outcomes. There was no certainty about what could transpire. But with nothing else to do, Spencer was growing desperate for more answers, so he held her gaze, determination etched in his eyes.

"If it means stopping him and knowing her whereabouts, I'm willing to take any risk."

It was raining when it happened. It had been pouring for the past few days as they started to plan the operation. The team decided to elevate the stakes by choosing his apartment as the bait location, aiming to create a scenario that would be emotionally charged for Eric, potentially triggering a faster and more decisive response.

They studied Eric's patterns and behaviors, gathering insights into his actions and motivations. Garcia, constantly stationed at her desk, continued to monitor social media, public records, and any other available data to gauge Eric's movements. She had identified potential triggers that might prompt Eric to act, such as media coverage or public discussions related to Y/n.

In addition to electronic surveillance, Morgan and JJ conducted physical surveillance on locations connected to Y/n's past, anticipating that Eric might revisit places with emotional significance. They strategically placed themselves in key positions, ready to observe and intercept any suspicious activity.

And then the clock ticked away, the minutes stretched into an agonizing waiting game, every second pregnant with anticipation. 

Until it finally came to that night.

Everything felt strange. His apartment. The weather. Himself. The rain outside continued its steady rhythm, and Spencer watched the raindrops hit his windowpanes from his couch.

Weeks ago, he sat in the same place where he was now. The only difference was that he was alone. There was no faint smell of chocolate or the sweet melody of laughter. She wasn't here, gracing him with her smile as she nestled on his lap. Her whispers of his name were absent, and the cruel thing was, he didn't even know where she was now. 

He had never felt so much pain before, the ache of not knowing where someone was, all the while having to keep his head up high. It was a facade he learned to put on. Pretending that the hidden cameras strategically placed in his apartment didn't unsettle him, or the discreetly wired microphone, or the inconspicuous headpiece nestled in his ear. He had to act as though the looming potential danger didn't faze him.

But then it finally happened, a sudden shift in the atmosphere permeated the air—like the calm before the storm. And in an instant, Garcia's voice crackled over the communication devices, urgency lacing her words. "I've got movement. Eric's online activity just spiked."

Morgan and Prentiss, stationed discreetly around the apartment complex, receiving the signal, tightened their surveillance. The external cameras around his building captured a figure approaching, shrouded in the shadows of the rainy night. 

Within the confines of his home, his senses heightened. The rain outside intensified. A streak of lighting flashed through the window. A loud sound of thunder echoed in the background. Spencer waited with bated breath, his gaze fixated on the front door. Then, with a creak, it slowly swung open, revealing a silhouette of a figure in the doorway.

Water dripped from his clothes, leaving a trail of wetness as he crossed the threshold. Their eyes briefly locked, and a smile played on Eric's lips as he observed the way Spencer scrutinized him, closing the door behind him.

"Dr. Reid," his sinister tone sliced through the silence, his words dripping with a twisted sense of satisfaction. "I see you've been waiting for me."

Spencer watched him, maintaining a composed exterior despite the tension in the air, and met his gaze with a steely resolve. "And I see you've been busy."

Eric cocked an eyebrow.

"Carving your path of justice one victim at a time."

His expression remained unyielding. Stepping further into the room, Eric left a trail of dirty shoe marks on the floor as his eyes observed the dimly lit apartment. "I'm just doing what needs to be done."

Spencer slowly rose from his seat. "And what is that?"

"Punishing those who have wronged her."

"You're not her savior. You're a vigilante with a distorted sense of righteousness."

"And that's where you're wrong. You don't know the pain she's been through. I'm the only one who can protect her."

Spencer silently watched as he continued to survey his apartment. Eric's eyes swept through all the framed certificates on his wall, his finger delicately tracing the edge of each frame. When he was met with silence, Eric turned back to him, narrowing the distance between them.

"You were always the one she trusted, weren't you?" He shook his head with disdain. "Yet you're the one who hurt her the most."

Aware that each word could either defuse or escalate the situation, Spencer continued to engage him. "I haven't hurt her," he responded carefully. "I've been trying to protect her from someone like you, someone who's lost sight of justice."

Eric let out a scoff. "You think I've lost sight? No, Dr. Reid, I've found clarity. I've seen the darkness that lurks in the hearts of those who pretend to be righteous."

"Your version of justice is a perversion. You've become the monster you claim to fight against."

The room crackled with tension as they held each other's gaze. "Do you even listen to yourself?" Eric retorted, his eyes narrowing with accusation. "You claim to protect her, yet she's left alone in the darkness you couldn't save her from."

The air in the room seemed to thicken as the weight of his words hung between them. His heart quickened its pace while he tried to maintain a calm facade. "Where is she?"

Eric's laughter cut through the air. "You think I'll tell you voluntarily?"

Spencer's gaze remained steady on him. "What do you want?"

The sinister grin on Eric's face revealed a gambit. "You." He took another step closer. "Come with me and I'll take you to her..."

There was definitely a but. It was never that easy, and the way he trailed off his words prompted Spencer to ask, "On what condition?"

He smiled, eyes narrowing as he conveyed a sense of menace while he delivered his proposition.

"Cut off all communication with your team."

Tension lingered around the room like an invisible web, each word contributing to the growing stakes. Eric's laughter, a haunting sound, followed the slightly alarmed look on Spencer's face. 

"You think I didn't know?" he taunted. "Two of your agents are outside this building, and come on, you could've hidden that earpiece better than that." He pointed towards the device. "Your hair might be long, but it's not that long."

Eric then picked up a framed picture sitting on his shelf. It was a photo of him and his team casually smiling to the camera. He remembered that day, it was one of the many times they visited Rossi's house for dinner, and Garcia decided it was the perfect time to capture the moment. To preserve the happy times, she had said, and true to her words, he was happy that day.

His mind suddenly raced, considering the options and potential consequences of complying with his demand. He finally responded. "What if I refuse?"

"Then you'll never find her," Eric retorted, looking back at him. "It's a simple choice. Sacrifice your precious communication or lose her forever."

He wanted him to step into his trap willingly. It was a cruel choice, and it seemed he wasn't the only one who agreed. As Eric's demand hung in the air, the team's voices crackled urgently through his earpiece. Panic and concern infused their words as they frantically implored him to reconsider.

"Spence, step back!"

"Reid, don't do it."

"Stand down, Reid. We're coming through."

The chorus of concerned voices reverberated in his earpiece, each team member contributing to their worry. Despite the chaos of emotions echoing through the line, Spencer remained outwardly composed, his mind working swiftly to navigate the dangerous situation.

"Don't—" he urged, his gaze piercing on Eric while his voice pointed towards his team. "Stay where you are."

Eric watched him with a predatory gleam in his eyes.

"Seems like your team is in quite a frenzy there. Are you really willing to risk her safety for their voices in your ear?" He continued with a sinister grin, reveling the chaos he had stirred. "Strip away your lifeline, Spencer. The battle is between you and me."

Spencer stood there, calculating his next move. He weighed the possible outcomes of his choices and realized that nothing good would come from either of them. Eric, observing his contemplation, smirked with a twisted satisfaction.

"Come on, Dr. Reid, time is ticking." He tapped the watch around his wrist. "Make up your mind."

Spencer inhaled a sharp breath. Eric was right, there was no time to waste. The more he contemplated his answer, the more danger she was in. He needed her safe. He needed to see her. He needed to know where she was. And there was only one way to find out.

At the other end of the line, Garcia, stationed at her desk, watched Spencer through the screen with a growing sense of urgency. His gaze slowly swept over the room, and she could sense the critical decision looming. Her heart raced as his eyes fell on one of the hidden cameras.

"He's onto us," she muttered to herself, her fingers flying over the keyboard. She tried to maintain the connection as he walked over to the device and unplugged it.

Garcia cursed under her breath. "No—" She pressed on her intercom, her voice tinged with frustration. "I'm losing him."

One by one, the video feeds from the hidden cameras in his apartment turned black. The loss of visual contact with each camera felt like a punch to the gut. Her frustration mounted as the screens blinked out, leaving her staring at a grid of darkness.

"No, no, no," she muttered, fingers dancing over the keyboard in a desperate attempt to reestablish connection. But there was nothing else she could do.

The earpieces crackled with an ominous quiet before a sudden crash echoed through, the sharp sound of impact reverberating. A groan. A thud. A grunt. The team exchanged alarmed glances in their respective locations as the audio crackled with static, and their heart raced at the uncertainty hanging in the air.

Then, abruptly, there was nothing else but silence.

>> NEXT PART

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taglist #1

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Don’t forget to interact with the story!

[ltwilliammowett]

Cathead

The end of the stout timber projecting out from her bow is decorated with a carved and gilded crown. The cathead was often carved with a cat or lion’s head, which presumably frightened away wharf rats. As the massive iron anchor is brought up from the bottom and gets closer to the hull, there is the danger that the flukes could damage the hull, especially in rough waters. The cathead allows this operation to be carried out a short distance away from the hull.

Cathead of HMS Surprise (x)

A special tackle is fastened to the ring of the anchor and it is fished and catted (brought up and secured) in its riding position on the bow.

The black loop of rope that holds the anchor to the cathead is the “stopper”. This could simply be cut through to drop the anchor. The main anchor cable is bent onto the ring. The ring itself has been wrapped in cord as an anti- chafing measure called “puddening”.

A second ‘cat head’ was connected to a ship's anchor cable and windlass. This was a square pin that was inserted into one of the hand spike holes of a ship's windlass. When the ship was at anchor, the anchor rope (also known as a cable or catfall) was attached to it with a smaller rope, known as a seizing. The English name for this bolt was ‘Norman’. In German, however, it was called a ‘Kattenkopf’, and in this case this is a reference to the traditional way in which the tip was notched and bevelled so that it resembled the ears of a cat in cross-section.

According to ‘The Sea-mans Dictionary : or, an exposition and demonstration of all the parts and things belonging to a shippe’ compiled by Sir Henry Mainwaring, 1623 , the term was already in use at the time the book was published.

Sailing Ships, by Edward K. Chatterton, 2013

Sailing Ships of War, 1400-1860, by Frank Howard 1979

Ashore and Afloat: The British Navy and the Halifax Naval Yard Before 1820, by Julian Gwyn, 2004

Marine Encyclopaedic Dictionary, by Eric Sullivan, 2020

Young Sailor's Assistant in Practical Seamanship, by Emory H. Taunt, 1883

[whateversawesome]

Spy x Family Chapter 98: An Explosion

Let's start with the most important thing and we'll go from there. Ready? This panel:

Blink and you'll miss that insignificant comment from someone we don't even know their name. Nevertheless, given the implications of Project Apple, this panel is huge! Because, even if back then it was just a rumor, there's a chance it could also be true. Project Apple could have started during the first conflict. This leads me to the following theory:

Anya's biological parents were prisoners of war.

The story about Twilight as a soldier, Martha and Henry, as well as Millie, Franky, and even the Lady Patriots Society tell us about the dehumanization of the enemy. So yeah, it's very possible that it was acceptable for either side to do anything they wanted with captured enemies, that includes experimentation.

And by prisoners of war, I'm not only referring to soldiers and medical personnel, but also spies. Wouldn't it be funny if Anya's birth parents were also spies? It's too soon to tell, but it's so much fun to speculate 😆

At the beginning, it's stated that Anya was created by accident:

Maybe she was "an accident" between two prisoners of war or between a prisoner of war being experimented on and a scientist 🤔

So here's another crazy idea: Everyone thinks that Anya learned Classical Language because it was used in the lab by scientists, but what if it was her biological parents the ones who taught her that language in order to be able to communicate with each other?

At some point, I thought that even if we learned about Anya's past there was a possibility we would never know about her parents, now I think we will.

About the Chapter

Clearly, SXF is an anti-war story that wants to show us how terrible war is for EVERYONE. That's why big and small characters, side or main, have been affected greatly by war.

I'm sure plenty of people will talk about Martha and Henry's love story. After this chapter, I think it's clear that they probably were separated by war and that Henry had to marry to save himself, leaving Martha up in the air. (I know I am a fool, but I keep hoping she's the one he married, but I don't think so 😭)

Anyways, leaving the cautionary semi-tragic love story aside (Ahem, watch out Twilight and Yor)...I see what the author is trying to do: The story shows us very clearly what happens to every person when pushed to their limits, when they and their families are in danger. It's a story about loss, loss, and more loss.

The story is trying to make the readers root for peace and be very adamant against war. This is a masterclass on "Show, don't tell." So even if a lot of these stories seem insignificant because it's about side characters, they are meant to influence the readers' point of view about war, so when it reaches the main characters, we all know what could happen to them. These stories are meant to raise the stakes for the main characters.

Now, I've said it before: It's very possible that close to the climax of the story, Ostania and Westalis will be at the verge of a third conflict. By then, we'll know much more about the main characters' background as well as many other stories of side characters affected by war (don't be surprised if The Garden was created as a consequence of it). So when we're close to the end, when war is about to happen, we'll know exactly what could happen to the Forgers, because it has already happened to so many people: loss.

Something to Keep in Mind

The more the story moves forward, the more curious I am about the Desmonds. Since all of the characters were affected by war, I'm wondering how were the Desmond affected? Melinda certainly has issues (did this happen during and because of the war?) and Donovan Desmond is still a BIG question mark. It easy to relate to what normal characters feel. If any of us were going through something similar, we would be terrified too. However, how is it for someone in charge? How did Desmond see and suffer war? I really want to know.

One Last Thing

If in two chapters focusing on two side characters Endo has managed to create such a beautiful love story, can you image what he plans to do with Twiyor, which is the main couple of the story??

I know I say this a lot, but after seeing this my expectations are high and I am convinced it'll be worth the wait.

Food for thought.

[cowgurrrl]

Sweet Jane

Pairing: Joel Miller x fem!reader (plus platonic Ellie Williams x fem!reader)

Author’s note: this actually ripped my heart out and made me realize why I don’t write angst

Summary: “If I have children, I hope they live quiet lives. No fires for them. No sickness. No breaking news stories. I hope they die of old age, far from the pages of history books.” - oh, to live unremarkably by Trista Mateer [2.3k]

Warnings: 18+ MINORS DNI, talks of child loss (reader has lost a child) teen pregnancy, tumultuous parent/child relationships, references to a sexual relationship but nothing explicit, reader is a badass because I said so, ANGST

The second you saw her, you knew this was a possibility. You knew it would happen at one point but watched your tongue. You thought it would happen in the middle of a firefight or trying to survive a horde of Infected or some other dangerous situation where you couldn't stop the words from tumbling out of your mouth. It doesn't. It happens on a sunny autumn day while walking away from the ravaged Kansas City. She was trying to show off or prove something to Joel when she tried to run forward without warning. It came out as a gasp as you grabbed her backpack and yanked her back before her foot could slip off the ledge of a cliff. Your heart pounded as you gripped her like you were waiting for her to start falling again. She mumbled a quick sorry before you let her go. She didn't try to run forward again after that.

She waits longer than you expected to ask about it. After you set up camp for the night and cook whatever Joel decided, Ellie looks at you and asks, "who's Jane?" Joel's brows furrow at the question, and your chest tightens. “You called me Jane earlier."

"Jane's my daughter." You catch yourself using the present tense, and grief trickles down your spine like an unpleasant cold shower. Saying that she was your daughter sounds wrong. It's been years now, but you can't make yourself switch. She's still your daughter, even if she's gone. You're still her mom. You'll always be her mom.

"Oh," she gapes, and you nod. You can feel Joel's eyes on you, but you don't look at him. If you do, the words will tumble out of your mouth before you can stop them. "I'm sorry."

"Don't be. You didn't know." You say, shrugging as if she gave you the wrong directions instead of asking about your kid. She doesn't push the subject anymore, and you eat silently until Ellie crawls into her sleeping bag and falls asleep. 

Cicadas' chirps and the fire's crackling fill the space between Joel and you. The stars twinkle as the clouds move in the night sky. It's peaceful. Or it would be, at least, if Joel hadn't been fiddling with his gun for the past twenty minutes. The metal clicking is almost enough to drive you crazy, and you shoot him a look. He freezes and meets your eyes before letting his hands drop.

"Sorry," he says, and you chuckle. He props the gun up next to him and glances around to make sure nothing's decided to sneak close to you. 

"I think we're safe," You say.

"For now."

"Joel Miller, ever the optimist."

"It ain't about being optimistic. It's about being smart."

"Right," you shake your head and look at Ellie sleeping in the corner. Her chest rises and falls steadily as she dreams secret dreams. You smile when she snuggles deeper into her sleeping bag and scrunches her nose. "You think she'll be okay?" You ask, meeting his eyes. 

"Kids seem to handle these things better." 

"Sam was her friend."

"I know." He says. Images of shaky guns, Ellie's screams, and the silence that followed Henry's body hitting the floor replay in your mind in slow motion. You're trying to figure out where it went wrong, when the universe pulled yet another rug out from under you. When you put the two kids to bed, everything was fine, and not even eight hours later, Sam and Henry were dead. How many people will you bury before you get to the Fireflies? 

"I'm tired," you admit softly. You can tell by the faraway look in his eyes that he's in his own head, turning things over to look for new details. He's looking for something he missed. "What're you thinking about?" You ask, snapping him out of it, and he shifts uncomfortably.

"You never told me you had a daughter." He finally says, and you nod. You look down at your bootlaces and untie them, so you don't have to look at him.

"It never came up." 

"Her name was Jane?" He phrases it like he wasn't listening the first time, but you know he's trying to get you to open up about her.

"Jane Eloise," saying her full name scratches at an unhealed wound deep in your stomach. You think about all the times you shouted those names across the apartment to her. You were always late for school, late for a birthday party, and late for appointments. You're almost positive she would've been late to her own birth if you hadn't been induced. Rushing was the way you lived your life for that decade. You would give anything to be running late with her again. "If I talk about her, I'm gonna cry." You warn.

"That's okay." His voice is so soft, and he's looking at you with those big eyes, and something shifts. You haven't talked about her in years, but something in Joel's demeanor makes you feel safe enough to unlock the door in your brain, holding all her memories.

"I had her when I was sixteen. I was pregnant throughout my sophomore year of high school and had a toddler by the time I went to college. I still don't know how, but I graduated. I was gonna go to med school and start a brand new life, just the two of us. I spent so fucking long studying, but it didn't matter."

"How come I didn't know all this?"

"We agreed to keep our pasts to ourselves when we started," you hesitate—started seeing each other as stress relief and nothing else? Started lying to Tess so you could fuck in alleys in between deals? Started pretending like it meant nothing? "I never thought you'd want to know more than you had to."

"I want to know now," He says like it's the easiest thing in the world. "Did her dad stay around to help you?"

"No, he left the second he got the chance. It was probably for the better, anyway. He was an asshole. I still don't know if he's alive or if he even knows what happened. I don't know if I care enough to find out."

"How old was she when she…" he trails off, the last word dying on his tongue. You swallow around the lump in your throat and take a shaky breath.

"Ten."

"I'm sorry." He says, and you nod. You never knew how to respond to people when they told you they were sorry your kid was dead. You still don't. Nobody tells you about this part in parenting classes.

"We got out on Outbreak Day. Somehow, I kept her alive until I could get her to the QZ nearby. I smuggled there for a few years and made enough money to feed and clothe her. That's better than most people were able to do. I would pick her up from school and walk her home most days but I had a deal with one of my neighbors, Mrs. Carmichael, that if I couldn't pick her up from school, she would. She picked her up a few times, and nothing went wrong. So, when I got caught up in a deal outside the walls one day, I thought it was safe to finish it and be home by dinner," you say, regret washing over you all at once. "Then, Fireflies started dropping bombs. I heard the explosions all the way out there, and I ran back, but it didn't matter. They were both gone."

"When I told my mom I was pregnant, she was furious. She told me that a mother's love is nothing compared to a mother's fury. At least, that was her excuse when she threw me out, but I didn't know if I believed her until that day. After Jane died, I ripped the entire city apart, looking for every single Firefly that had orders to drop bombs that day, and I killed all of them without batting an eye, and it still didn't bring her back. I still woke up every morning and listened for her breathing or the sound of her making cereal in the kitchen. I waited for her to come home every day for years," tears fall from your eyes, and you quickly wipe them away. Joel is clinging to your every word. "I couldn't stay there. My daughter and everyone who could've been responsible for her death was dead, so I came to Boston. Met you and Tess, and that was it."

"That's why you wanted to kill Marlene when we got Ellie." He says, connecting the dots, and you nod.

"I wanted to drop a fucking bomb on her head for what she did. I don't care if that makes me cruel. She killed my kid and called her collateral. Made it seem like she was a part of the cause and not a fucking child just trying to get home from school."

"I get it," he says. You open your mouth to say something about how he could never understand, how nobody ever could, but he beats you to it. "My… Sarah was fourteen," He stumbles over his words. "I wanted to kill the guy who shot her. I didn't care that he was following orders on that day, I wanted him to suffer, but he was already dead." 

Joel had a daughter, not much older than yours, and you never talked about either of them. He's one of the only people in the world who can see your pain, the black hole Jane left in you, and show you his matching one. Joel must've been young when he had his daughter, too. Twenty-two, at the very least. How could you have never talked about this?

"What was Sarah like?"

"She was a spitfire and just about the funniest person I've ever known. Smart as hell, too. She was always readin' and telling me everything she learned in school. I never understood half of it, but she loved it," He says, and it's your turn to cling to his every word. His eyes light up as he talks about her. You see now what a good dad he must've been. "Still don't know where she got it from."

"Well, I'd say she got it from her dad. You're smarter than you give yourself credit for." You say, but he shakes his head, refusing the compliment.

"What about Jane? What was she like?" He asks, and you think for a moment. You remember her big brown eyes; how they widened when she was excited about something or glazed over with tears when she was afraid. You remember how her laugh could fill a room. You remember cradling her in your arms when she came into the world and when you found her.

"She was the most beautiful person I've ever met. When she was born, all the nurses would take turns coming into my room to look at her. They couldn't stop telling me how cute she was, and I agreed with them. She was perfect," you smile, remembering how many pictures you took of her tiny face. You had been terrified your entire pregnancy, but the second you saw her, you knew you were meant to be her mom. You felt completely at peace with her, even as young and unprepared as you were. 

"She was quiet and curious, but she also had moments where she was loud and careless like kids usually are. I never understood what people meant when they said having kids gave them a whole new idea of what love could be until I had her. She was the best thing that ever happened to me." You say. Joel watches you wipe more tears away before putting his hand on your knee and squeezing. He doesn't say anything, but the look in his eyes tells you everything.

"I wonder if they would've been friends. Our daughters." He thinks aloud.

"I like to think so."

"Me too," he says. He clears his throat, probably trying to bury any emotions this conversation brought up. "She would've loved you."

"You think?" You ask, and he nods. 

"You two would've been thick as thieves. Probably conspire against me or somethin'."

"And that's different from now, how?" He laughs at that, and you smile. You put your hand over his and let your thumb trace the contours of his knuckles. Those bruised, scarred, terrifying mountains that have killed and beaten soften under your touch. 

You don't say much else for the rest of the night. You just hold his hand and stay awake to protect the girl not much older than your daughters were. The fear, cautious optimism, and sadness that came along with Ellie, that you thought you were alone in feeling doesn't feel as heavy anymore. The black hole Jane left will never be filled, and you will miss her for the rest of your life, but Joel opening up and showing you his similar wound makes you feel less alone. 

It makes you wonder if your girls are together somewhere far from all the pain and bloodshed. You wonder if they've secretly conspired to make you two find each other. You wonder what they would think of each other, of the people their parents turned into, of Ellie. It's nice to think they're together, playing silly games while waiting for you. 

Not yet, sweet Jane, you think as you look at the stars, and maybe it's a mind trick or exhaustion, but you swear a star winks back at you. Not yet, Mommy, she seems to agree. 

💫

💫

[personnage-neutre]

Free to Borrow Books about Tintin and Hergé

The only requirement is to make an Internet Archive account. (If you already have an account, check if it was compromised in the recent hack and change your password.) Note that this is in no way a comprehensive list of works or an ideal Tintinology primer, just the books that have been made available on the archive, which also means that it contains everything from picture books to highly academic texts. However, I've marked with a * the books I think are best to start with.

Includes works in both English and French (plus a few in Spanish). Please don't hesitate to ask if you have questions!

General reference

Tintin and the world of Hergé Benoît Peeters, 1989*

Tintin, Hergé and his creation Harry Thompson, 1991

Tintin: The Complete Companion Michael Farr, 2001*

The Pocket Essential Tintin (1st ed.) / (2nd ed.) Jean-Marc & Randy Lofficier, 2002 / 2007

Les mystères du Lotus Bleu Pierre Fresnault-Desruelle, 2006

Captain Haddock Thompson and Thomson Professor Calculus Rastapopoulos (FR) Tchang (FR) Michael Farr, 2007

Figurines Tintin: La Collection Officielle Daniel Couvreur, Frédéric Soumois, & Dominique Maricq, 2012-2015

Hergé Dada magazine, 2016

Catalogues

Hergé, 1922-1932 : les debuts d'un illustrateur ed. Benoît Peeters, 1987

Hergé dessinateur ed. Pierre Sterckx & Benoît Peeters, 1988

The adventures of Tintin at sea Yves Horeau, 2004

Musée Hergé / Tintin : the art of Hergé Michel Daubert, 2013*

L'univers du createur de Tintin Artcurial, 2023

Biography

Hergé : portrait biographique Thierry Smolderen & Pierre Sterckx, 1988

Entretiens avec Hergé / Conversations with Hergé (excerpts) Numa Sadoul, 1989*

Hergé / Hergé: The Man Who Created Tintin (abridged translation) Pierre Assouline, 1996

Les Aventures d'Hergé / The Adventures of Hergé Jean-Luc Fromental, José-Louis Bocquet, & Stanislas, 1999

Hergé, fils de Tintin / Hergé, son of Tintin Benoît Peeters, 2002

The adventures of Hergé, creator of Tintin Michael Farr, 2007

Hergé: lignes de vie Philippe Goddin, 2007

Analysis

Le Monde de Tintin Pol Vandromme, 1959

Tintin chez le psychanalyste Serge Tisseron, 1985

Hergé écrivain Jan Baetens, 1989

L’archipel Tintin A. Algoud, J.-M. Apostolidès, D. Cerbelaud, B. Peeters, P. Sterckx, 2003

Tintin and the secret of literature Tom McCarthy, 2008

Les Secrets d'Hergé dessinateur Bruno Cassiers, 2022

Fiction & Novelizations

Ma vie de chien Ariane Valadié, 1994

Tintin in the new world / Tintin en el nuevo mundo François Tuten, 1996

La vie cachée de Tintin Henri Roanne-Rosenblatt, 2005

Petit dictionnaire énervé de Tintin Albert Algoud, 2010

The Adventures of Tintin: a novel / Les Aventures de Tintin: le roman du film / Las aventuras de Tintín Alex Irvine, 2011

The adventures of Tintin : the chapter book (print disability borrow only) / Les aventures de Tintin: l'album du film Stephanie Peters, 2011

Tintin's daring escape / Les évadés du Karaboudjan / Fuga temeraria Danger at sea / Peligro en el mar The mystery of the missing wallets Kirsten Mayer, 2011

Trivia

Êtes-vous tintinologue? François Hébert, 1983

Tintin and Snowy Big Activity Book Guy Harvey & Simon Beecroft, 2006

[cottoncandysprite]

Guys holy shit ok i just had a fun moment of overanalyzing a background prop. So this is on one of Laszlo's plan posters in Local News:

Transcript: "During my absence I should leave my friends unconscious of the existence of their enemy and unprotected from his attacks, exasperated as he might be by my departure. But he had promised to follow me wherever I might go, and would he not accompany me to England? This imagination was dreadful in itself, but soothing inasmuch as it supposed the safety of my friends. I was agonized with the idea of the possibility that the reverse of this might happen."

It's a quote from Frankenstein (which to be clear I have not read past the first chapter yet, but I have seen summaries and listened to plenty of infodumping about it from @goddamnlethamlet, who also helped me with this theory despite not watching wwdits), from when Victor leaves behind his family and fiancee to go build a monster bride for his creature, specifically him choosing to bring his best friend/boyfriend Clerval (yknow, instead of his fiancee. Just guys being dudes). It's also right before the creature kills both Henry and eventually Victor's fiancee on their wedding night, so that's..... worrying.

With it being associated with Laszlo by being on his plans, as well as him fitting into a scientist role this season, i think its safe to say any foreshadowing would put him in Victor's shoes. And with laszlo as the scientist, Guillermo would be his experiment, the Creature. Obviously Nadja is the fiancee and I believe Sean would fit into the best friend slot. As for Nandor, remember how I said victor planned to make the creature a bride? Well, the reason the creature lashes out and kills everyone is bc victor has a moral crisis over the bride and scraps her.

So I think in the finale, Guillermo lashes out, maybe even goes full monster mode, and somehow hurts (or god forbid kills) Nadja and/or Sean before running off, all bc Laszlo told Guillermo he would smooth things over with Nandor after his turning gets revealed but for some reason Laszlo fails or just straight up lies and doesn't do it.

Another alternate take is that this quote in particular refers to the fact that Laszlo is willingly hiding the dangerous creature (vampire guillermo) from the others as to not concern them, but in doing so is also putting them in danger because they have no warning and no defense prepared against him. Hmm.

Anyway I for one love classic lit parallels and would kill for any of this to be actual foreshadowing bc i spent way too long typing that for me to be wrong

TL;DR If they made that Frankenstein reference on purpose we are FUCKED

[yandere-toons]

Yandere Henry Bowers (Platonic & Romantic Headcanons)

Warnings: Child abuse and neglect (physical and emotional), intense violence, death, bullying, implied alcoholism, reference to divorce, emotional manipulation, toxic mindset.

Platonic:

As soon as his father drinks himself into unconsciousness or throws him out the door, Henry stalks down the street to where he thinks his friend might be. Explaining nothing of his sullen demeanour, he places himself in the middle of whatever they are doing, dragging them into a more private area if their current activity is too public or not to his liking. From there, the hope is that his friend will act in a way that comforts him without him having to ask for it and risk further humiliation.

There are two possible outcomes here, depending on how his friend treats him and who else gets involved. If they accept his presence without prying, Henry will shut down and remain silent for a while, riding out the emotional storm around someone he now has a reasonable chance of trusting. If they stonewall him or others interrupt, Henry will revert to his hostile bully persona and never mention the event again, as it has become a new source of shame for him.

Henry reveals a watered-down version of the truth when pressed for answers, but even then, he refuses to tell the whole story out of a desire not to relive it, not to be seen as a whiner, and not to show how profoundly it has affected him. After all, a history of cruel reactions from his father and the small-town mentality of Derry have taught him that emotional vulnerability is a dangerous mistake of the stupid and weak.

Despite this, it becomes increasingly clear that Henry is stalling for time when the subject of going home creeps up on him. He would much rather stay out all day and night with his friend and the gang, cruising town with Belch at the wheel, forgetting what awaits him when he sets foot on the family farm. But Henry knows only too well that Butch's wrath will double if he has to go looking for him.

Henry will threaten and, if sufficiently provoked, maim anyone who shows an interest in his friend. His worldview is more than a little misanthropic, as his good memories are few and far between, and his father and the community at large have taught him to hate anyone who challenges his idea of the norm. As such, he sees this as a favour to his friend, ridding them of all the scumbags who would inevitably trap them in an unwanted relationship.

But deeper down, in the places that have never quite healed, the places he never talks about, Henry is afraid of powerlessness. He despises the thought that his friend would abandon him because of someone else, as his mother did, so he does not give them that option. Anyone who tries to plant the idea in their head that they should cut ties with him, or worse, leave town, he beats as if it might save his life.

As far as Henry is concerned, no one offers a better source of companionship than he. He is fond of yelling this supposed fact and more at his friend when they refuse to drop everything and join him at a moment's notice. Seeing this as an affront to his authority as well as a personal insult, Henry cannot take it, especially when it happens in front of people, and tries to hector them into submission.

If any of Henry's accomplices disagree with his methods, none will be too honest about it. Henry displays an unabashed willingness to hurt anyone and everyone who comes between him and his friend. Other bullies have required stitches courtesy of Henry and learned to turn tail at the sight of him or them, and the last concerned citizen to intervene was left with a concussion.

Although Henry is a little more lenient with his gang, he still has rules about what kind of interactions are acceptable. Some of these rules go unspoken until one of the other boys crosses a line he did not know had been drawn. On the first day, Patrick Hockstetter lost his right to be alone with Henry's friend and incurred a death threat from Henry after Patrick made advances towards them and asked if they would like to share Henry with him.

Spending time with other people sounds like a waste of energy to Henry, but spending time with the Losers is so inexcusable that he expresses it in the only language he knows: violence. His need to anticipate his father's unstable emotions has made him sensitive to any sign of displeasure in others, which Henry receives in abundance from one of the Losers, Richie Tozier. Tozier calls him an obsessive freak when he cuts one of the kids for staring at his friend.

Romantic:

His only frame of reference is his parents' disastrous marriage, now separated, and the couples at school he enjoys breaking up with shoves and jibes. Henry can be demanding in everything he asks of his partner, putting them in the untenable position of bearing the brunt of his emotional hunger. It is an overwhelming and confused mess of mixed signals and frustration that has built up over years.

Much of Henry's attention-seeking behaviour and unpredictable aggression stems from the fact that he is both ashamed of his struggles and less and less successful at repressing them. When he still tries, it manifests itself in violent outbursts and, in the context of this relationship, defensive anger when his partner does not immediately and completely fulfil his needs.

There are few things Henry would hate more than being compared to his father, so he refrains from using this level of violence with his partner. However, he retains a distinct bullheadedness in the many arguments that do break out, usually over Henry's desire for them to give up any part of their life that distracts from him.

Under no circumstances is Butch to know that Henry has a partner, let alone meet them. He would rather die than have them see what a so-called coward he becomes around his father, and the thought of them being caught in the crossfire of one of his father's explosions makes him want to stick the knife in Butch's throat a little sooner.

At the first sign of Butch's approach, Henry pulls away from his partner and tells them that if things get heated, they should go with Victor and wait for him at a distance. Victor is disturbed by Henry's extreme view of the relationship but is wise enough not to say so to his face.

Watching his partner suffer abuse at the hands of a family member ignites a rage in Henry that stems from his unfulfilled desire to take revenge on his father. He flashes back to when Butch similarly hurt him, reopening the last wound he tried to numb by avoiding his home and seeking out his partner. Every punch Henry lands, every slash with the knife, is almost like getting back at his father for all the scars he gave him.

Henry refuses to feel remorse for those he attacks, as Butch would never apologise for the damage he inflicts and once even rewarded Henry for his violent actions. After making his partner drop a science project in the hallway, the child he forced to eat dirt had it coming. The classmate who sat next to his partner at lunch — a seat reserved for Henry, regardless of whether anyone else knows it or whether he feels like taking it that day — deserved to be thrown to the floor and humiliated in a way that will haunt them forever.

Competition, real or imagined, is unforgivable and will be met with swift, if not disproportionate, retaliation. The first line of defence is a barrage of verbal abuse, escalating to physical assault unless the pest flees the scene and swears an oath never to speak to his partner again. From there, Henry will order his cohorts to hold the person still while he carves, stones, drowns and breaks whatever he finds most offensive.

Part of a community that frowns upon physical closeness between friends, Henry seeks in this relationship the emotional intimacy and affection that his father never provided. He denies having such needs when anyone suggests otherwise, insisting that he only stays with his partner for superficial reasons and would not miss them if they were to disappear one day.

Despite his claims of indifference, Henry displays a violent resentment towards those who befriend his partner, perceiving these individuals as a threat to his importance in their life. This fear speaks to his underlying insecurity of not being in control, the same insecurity that drives him to suspect the worst in people and defend or assert himself accordingly.