#I feel like I'm missing something here

[resol-nare]

But wait if Flemeth sent Mythal's essence through the eluvian to Morrigan than what the hell did Solas absorb from her at the end of Inquisition?? The old god essence? Didn't Flemeth take something from Kieran?

[inferno-ontherocks]

Why are so many people putting words in Oliver's mouth from that interview today??

[lillypad-monopoly]

@cloudwritesblockblorbos I-is this a fandom in-joke I'm not aware of and may I have the context please?

Grian saying he remembered Etho and Joel being soulmates because they lived in "the Friendship" is insane levels of straightwashing. It was the RELATIONship. They were IN LOVE.

[1ddiscourseoftheday]

Liam was a boy, and then a man, who suffered so much trauma and pain. He was bullied as a child and then lived a nightmare that I think none of us can really imagine of having that triggering experience replicated on a literally global public scale. He became a man who inflicted trauma on others. He was an addict who was unable to find a way out of that disease, and now never will, but who was open and vulnerable about his struggles. He was an incredibly talented musician and artist and an absolutely integral part of one of the most important bands of a generation; his voice and songwriting and skill in the studio shaped every aspect of what One Direction became at their best. He loved that band and being a part of that experience with his whole being and would never have stopped celebrating what they meant to us and to the world. He had problems and did bad things; that doesn't mean he was a bad person who didn't deserve to be loved and helped to heal- everyone deserves that- and the fact that that's not something that can ever happen now is devastating. I was very distressed by many of his actions; and I cared deeply about this man I didn't know and wished for better for him than this outcome.

I'm so deeply, deeply SAD tonight. I'm sad for Liam, who will never now have the chance to look back on this hard time and reflect on how far he's come, and for Liam's family, for his parents and his sisters who loved and supported him so much, and for everyone in the 1D band family and circles. And I'm sad for us. It feels like nothing will ever be quite the same, and that's hard and sad and shocking. It's a special kind of doubled grief, to mourn the loss of the person, and also of what he meant to us in this strange world of parasocial fanning, for the real him and also for the version of him that we made up and attached so much meaning to and for the escape that brought us. For him, and also for the easy uncomplicated joy of listening to those beautiful songs from happier times, which might never feel the same again. For the other boys, who we love so much and wish we could shield from suffering and loss and pain. For our fellow fans, who we also worry about the impact of this on. Everything about this is terrible, and I am sending so much love out to all of you. We are not alone, and it's okay to feel complicated emotions and it's okay to mourn and it's okay to care about how it effects you and your life, whatever you're feeling- it's okay. We are here with you. We are 1D family.

[lewd-yakitori]

.

[o3o-lapd-o3o]

people be wondering why there's no appearance from hades in any of the sagas, especially the underworld saga (even if he wasn't in the odyssey itself) i have a theory!

spoilers for vengeance saga and future ithaca saga!

do you not understand how busy that poor guy/god is during odysseus' terrible, horrible, no good, bad journey home™

first he has 7 freshly made pancakes men (14 if you count the club smash noises in survive, but we'll go with 7 for this) sent by chef polyphemus, appearing one after the other.

not long after that, you have 550 very soaked (drowned) men pop through in the blink of an eye, no thanks to his younger brother, mr ruthlessness himself, poseidon.

then while he's still counting/organising the paperwork for them, a young man appears, who happens to be very drunk (talking about pig men?)

not long after that, somehow a warship filled with mortal men breaks into the underworld, ALL ALIVE, and the (king? leader? captain? he's not too sure at this point) starts singing outside his front door about becoming a monster????? but before he can sic cerberus on them, they leave on their own

finally he thinks he has a break when 6 men holding torches (are some missing limbs?!?) have now joined the party down under (granted they're all in no mood to party, they weren't expecting to become snacks for a sea monster)

and just as quick as they'd arrived, in a flash (just like the snap of lightning that took them out) 36 crispy/fried men (gods damn it zeus) appear, weapons drawn like they were about to attack someone (how does that one guy at the front swing such a big sword?)

at this point hades is wondering what the fuck is happening upstairs, because ain't no way these 600 men are all from the same fleet/island under one guy's command (turns out the captain's name is odysseus)

he thinks his prayers are answered because he has had peace for 7 years, just the normal flow of souls into the underworld- (wait whats that chanting)

suddenly those previous 600 souls are flying their way outta the underworld (he didn't know they could do that) while singing "six hundred men! (six hundred)" on repeat

they return though (thank the gods, he didn't need to go soul hunting) and once again he thinks everything will be calm

(he also found out from zeus, that their brother got his godly-ass handed to him by that MORTAL odysseus! WHO USED HIS OWN WEAPON AGAINST HIM (something to help make him laugh over spring & summer and while he waits for his beautiful persephone to return home))

he finally thinks his time with odysseus and the souls that come from him/being around him is over. when in minutes of each other, the souls of 108 men appear, all killed in gruesome ways. then they tell him that they were killed by beggar who then revealed himself as king odysseus, from trying to marry his wife and take over his kingdom (ok very understandable murder then)

at this point hades doesn't know whether he's excited for, or dreading the day he actually meets odysseus in the distant future (yes distant, i don't care about/ don't accept the telegony. let the poor man enjoy the rest of his life with his son and wife!!!)

but yeah, understandable why you don't hear from him throughout the sagas

[teaboot]

tranny freak :)

[compassiontale]

Congrats to @ozziethegreat in reaching 10k!!

This is my first dtiys so I have no idea what I'm doing (if I forget anything sorry about that)

Small animation below:

It's a little rusty because I haven't animated in like a few months I think..

Color belongs to Superyoumna

[peridots-pixiwolf]

[Start ID. A redraw of the official icons of the ten named slugcats from Rain World, arranged in two rows: Survivor, Monk, Hunter, Nightcat, and Gourmand in the first, Artificer, Rivulet, Spearmaster, Saint and Enot/Inv in the second. Each is drawn in roughly the same pose as in the original art and fitted with speculative interpretations of their biology, and the second image is a “dead” version of this. For example, all ten have slug-like rhinophores in place of ears, cuttlefish-like colorful eyes with strangely-shaped pupils, cephalopod-like beak "teeth", expressive barbels or oral tentacles at the corners of mouths, spiny radulas, and the frilly mantle fringes of sea slugs, though otherwise their faces are squishy, simple and mammalian-shaped.

Cream-colored Survivor and yellow Monk both share triangular, bicolored spots matching their eyes (which are tan and brown, and two shades of blue, respectively), small, bumpy fringes, and relatively neutral looks on their faces. Defensive-looking Hunter is mostly a dull orange-pink, though their blobby fringe is a more violent red and their back is purple and marred with lumps. Nightcat is navy blue and flecked with dots of yellow and teal, their rolled rhinophores are a lighter blue, and their shading fractures into stars in some places. Gourmand is almost uniformly tan, their wide, very ruffly white mantle fringe bordered by a spray of white spots, and their beak sticks out from either corner of their smile. Primarily red Artificer, snarling, has yellow markings of multiple sorts, a prominent yellow dewlap and their characteristic dark scar taking out a chunk of its face. Rivulet is a darker blue than usual, with long barbels, red gills and rings, countershading, and a cheerful expression, sticking out their radula. Spearmaster is purple with orange accents, eyes and spots, a large fringe and spines down their back. Saint’s green caryophyllidia are marked by small, yellow diamonds, and their long, thin radula extends far below them. Enot is decorated with mottled red stripes, blue patches, yellow stars, and an uneven and almost cartoonish imitation of blush, though generally the same deep blue as Nightcat, a passive or almost slightly smug look on their face and their rolled rhinophores out to either side.

In the second image, nine of the slugcats’ eyes are crossed out, indicating that these are death icons. They look fairly the same, with mostly expression differences. Survivor is caught in the beginning of a threat display, a karma flower sprouts from Monk’s side, Hunter is burdened with overgrowing, purple and blue rot, Nightcat’s rhinophores are pinned back, and Gourmand looks mildly disheartened. For the final row, Artificer bites its radula between small plumes of smoke, Rivulet drops their expression, Spearmaster looks very startled, Saint looks almost entirely the same besides half-open eyes and their markings greater in number, and Enot grins confusedly. End ID]

If you'll excuse the unusually lengthy ID: the arena meme introduced by @pansear-doodles at long last after a nearly year-long wip status (or, rather, finished a month ago today to honor my own first time playing it!)

Design notes and shout-outs under cut! :]

The following people are some of those who’ve inspired my designs most since I started this eight months ago (or just inspired me to get a little weirder with slugcat biology), among many others for sure, and I thank them for it–but this is simply to bring attention to artists I find cool, and in no way an obligation to interact or anything :]

> @saturncoyote , @carpsoup , @charseraph , @gallusgalluss , @bitsbug , @dopscratch , and @0hmanit (and a special mention to dddeerbo and hunterlonglegs, who’ve since deactivated)!

Survivor: Surprisingly the hardest to pin down the colors for, since nothing with its sibling's palette seemed to match up right (I did have to add in a little blue somewhere for Monk, the beginning of making it clear how much I’m simply going based off of vibes for the colors of scug innards). I consider them, Monk and Gourmand to be part of the same gene pool of slugcats, and even possibly the same colony even if the latter isn't really related, so took a bit of Gourmand's coloring and fit them in with their inspiration: Goniobranchus verrieri. They serve as a bit of an introduction to my ideas of scug traits (i find it really fun how many people have thought to add so many silly sluglike fixtures of biology completely independent of me, buuut here I’m mostly talking about species variation), and like in-game they’re pretty average! They, Monk and Hunter have a couple scars sourced from a piece of Joar's concept art that I'm failing to find, those across the bridge of the nose, under the eyes, and across the rhinophores, respectively, and my Survivor interpretation features many on the back of the neck, as a result of survived lizard bites.

Monk: Their coloring is primarily based off the fact that I associate them with blue fruits, honestly, a bit because I was compelled to establish a familiarity with Rivulet, and lastly inspired by the spots of Goniobranchus kuniei (and geminus, less important to me as one of my characters is a kuniei instead, but more fitting). Between the yellow + blue and the circular marking in the center of their face, they’re meant to bear a little resemblance to an iterator that shares similarities with the characterization I’ve given them, and similar coding of her sibling can be seen on Survivor’s markings around the eyes. As both a “default” slugcat and one whose campaign I haven’t played, though, I can’t say I have much more to point out about em.

Hunter: The whole rot thing made for a really fun time drawing them, and while the color change on their back is a result of this, it’s also an excuse to relate them to Babakina festiva, arguably my favorite sea slug (mostly for sentimental purposes). And to Spearmaster, a fellow messenger slugcat, and it serves as a gradient between Hunter’s pink and the “traditional” color of Rot seen in the DLLs. Aside from their affliction, they’d actually be the plainest in terms of design, as they don’t have any patterns or quirks of body type, just the red + purple and strange lumps + possible malnutrition. I can’t remember if NSH had created them in particular or just...caught + released or something, but it probably wouldn’t be strange for a lab-grown slugcat to be simple like that.

Gourmand: Like the two above, they’re rather plain in terms of coloring and adaptation, and like the two above, I find that fun. I decided it would be nice to avert the “all slugcats being of the same body type, and Gourmand’s out of place as the exception” thing by just...adding more fat to all of them, really. I did want to emphasize their sheer bulk even so, both fat and muscular (not like I couldn’t have still gone further with it, of course, but slugcat anatomy can be a little obfuscating sometimes, and they were intended to look rather plush considering personal size headcanons and therefore the lack of proper gravity), and the thick and flounced mantle looked like a good addition, as per their sea slug Glossodoris hikuerensis. Unlike Survivor and Monk, I didn’t attempt to hold their resemblance to any particular other character (which means a little less to balance out the “default gene pool” thing), so those are all the design notes I have for em.

Artificer: The second slugcat I’ve ever played, or finished the campaign of, my favorite for at least a long time, and the first thing I did was give them yellow accents, the shape of which have troubled me slightly (not quite like the spots or stripes of the others). They’re both a little more appealing and more explosive-looking to me, and considering how early on I played Arti, actually present in some of my older art. It does give them a little resemblance to Saint (completely intentional, two slugcats with strange relations to karma), as well as the fact that its radula is green for familiarity with one of its children (at some point it was going to have all-green markings, even!). I’m generous with their scars, partly because it was fun to overemphasize the one on their face and partly because it does seem like a reckless slugcat, on top of the dangers of its explosive abilities–I’ll probably just keep adding more forever. Mostly-red sea slugs aren’t too common, but Hexabranchus sanguineus works for sure. The ridged, yellow dewlap can expand for combustion purposes, or something along those lines. Arti’s where I began experimenting with a lot of the mildly-offkilter features seen in my interpretation of slugcats, as they’ve once again been a favorite from the start.

Rivulet: I've obviously given other slugcats spots, deeply enjoy the bubbly-soda markings of other peoples' slugcats, and thought seal riv would be cute. Despite not too closely resembling it, they've been government-assigned Hypselodoris bennetti, for color reasons and for a couple sentimental ones. Originally, the colors of every scug were meant to match up with the custom colors I gave them at the beginning of their campaigns, (though Arti, Gourm and Spearmy are the only three who actually apply here, since I've only played through half the slugcats: I gave arti the yellow as mentioned above, gourm brown eyes and spearmy light pink spears, furthered by the outskirts pearl accompanying me and that palette all the way to moon. Tolerance training for eternity in hell cause I already knew about the maroon pearl quest). I initially gave them the colors of the bi flag for fun... but with the limited palette of this image, I was left without pink for a while and decided to see how they'd look in red. I then realized how they now wonderfully matched Moon, and besides, red's a sort of camouflage in deep water! As a side-note, the difference between their eyes and those of others always bothered me a little for anatomical purposes, and the cephalopod eyes were probably influenced by this!

Spearmaster: Inspired as much as possible by @notyourfunnyman ’s wonderful spearmy: designed in a way that helps it fit in with scavengers, at least between the long sensory tentacles, big ruff, back spines and slightly thin/distended anatomy, a form of defensive mimicry. I always had annulate rhinophores in mind, for a little diversity sure, but mostly because the shape reminds me of radio antennae and communication towers (seems fitting for the comms array and being a messenger slugcat)! I started searching for a real-life slug to give them just by looking up their rhinophore shape...and was met immediately and coincidentally with annulate-topped nudibranchs that fit them more perfectly than I could've imagined: Flabellina and surrounding clades, I think Paraflabellina ischitana works very nicely. The orange was completely unplanned, but there wasn’t a place for light pink among the other slugcats’ palettes, and importantly it likens them to both Hunter and Seven Red Suns a little more.

Saint: I am very much a non-furred slugcat enjoyer, with respect to those who aren’t, so figuring out the only visibly furred slugcat was an interesting challenge. I’ve decided that they likely have other, milder adaptations for help in the cold, mainly just more efficient fat storage, and what looks vaguely like fur is instead a bunch of tubercles (called caryophillia, for the second reminder out of three). Their inspiration doesn’t have these, however, Miamira sinuata’s numerous yellow and blue spots (not to mention...whatever’s going on with that shape) and general effect of being the only really green nudibranch I could find were probably perfect for a strange green echo. Not pictured, but their beak-teeth are tiny and flat to make a surface for grinding soft food against with the lack of a functioning radula, which is tipped with a specialized spiny “grapple-hook” for better traction/grip (not to mention the numerous little teeth running down the whole thing).

(Best part of hiding this under a readmore means edits will be seen by all reblogs, I'm mostly sure, because I completely forgot to mention! The spots on their forehead are simple eyes. Their camera eyes appear closed in-game, I like to believe their complex eyesight is rather poor anyways or otherwise reason that they aren't seeing out of those, and while this was far from her REASON for attunement with the world, it does help compensate for mainly viewing it through a canvas of simple light and dark. This, and the fact that their swapped-out "fur" is not only to commit to a lack of hairs but contributes to sensory input!)

Nightcat/Enot: I guess you could say I found the “these two are technically the same person” compelling. (E.g. similar colors, both very strange and enigmatic, and Enot/Inv/Sofanthiel’s remark during the dating sim about getting removed from Arena Mode.) I doubt they’re the only two slugcats in their body, considering humans with DID tend to have more than a few (and I find it very funny that a slugcat bearing resemblance to Nightcat appears in Gourmand’s ending. They’re allowed in the colony and Enot isn’t </3), and I have to credit @faelingdraws ’s art for being what convinced me on it! Their design inspirations come down to trying to balance a few different ideas: making the patterns and palettes of both look oddly similar (special mention to the stars, since those are fun to draw), basing them off of Felimare sechurana and juliae respectively, using blocks of color with the same placement as in Enot’s official art, and specifically making Enot look...biologically reasonable and imperfect, whilst also clearly trying to imitate human displays of emotion (what with...the eyes and blush on that one piece of official art).

Lastly, here’s just a lineup with notes on body shape and size. Most of the nicknames (existing to give a little more space, that’s all) are obvious, and while I can’t remember why I shortened Nightcat to Nox, it is in honor of my friend by the same nickname :]

[front-facing-pokemon]

[fireladybuckley]

Me, who grew up in a very casually Christian home, watching this episode: Omg I'm glad they found them in time, man that was intense!! My ex-Catholic girlfriend, and half of the 911 fandom on tumblr: SOBBING, THE SYMBOLISM!!!!, CARRYING HIS CROSS, OMG THIS IS HELL, SCREAMING, etc.

Me, completely oblivious: .... wait what?

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)

[alteredphoenix]

Also zombies have existed long before their pop culture modernization in Haitian folklore, so does the word itself just. Not exist in TWD at all or...?

For a series that establishes itself as being set in a universe where the Night of the Living Dead movies were never made, The Walking Dead comics really like to say the word "zombie" a lot.

[daddysboydean]

dean is harping on sam to get laid (normal brother behavior) and confronts him about not wanting to hook up with girls because of jess. sam's like yeah, but that's not the whole story. and then this happens. the loaded silence. the prolonged eye contact. the not elaborating on what the 'main part' is, tho presumably it's something dean knows about judging by the knowing look and him conceding to sam's silence. but if the main part isn't that sam watched his girlfriend burn to a crisp less than a year ago and how that's a major boner killer, then what is it??

is it that you're in love with your brother, sammy??

[redgoldblue]

so assuming Avery is actually pregnant / doesn't early-trimester miscarry (which is not a given), there's two reasonable ways this can go, right. number one is she gets an abortion, the plotline is used to pull them all back together again, and they all have some collective hurt/comfort about it. number two, the one i would write - don't get me wrong, i'm all for women getting career-driven abortions, but hear me out - is the one where she does have the baby. under the cut bc it got long.

she goes to med school at first while pregnant - Max is right, it can be done, people in my cohort did it - and either gets lucky with the timing of the actual birth being during holidays, or just works her way to getting time off for a few weeks around it. And then... there's a baby. And you know what else there is? There's two dads (because we're 100% Mamma Mia-ing this bitch. they never find out who the bio dad is and they never seriously try. Baby comes out with Avery's exact skin tone so that's no clue.), and an entire cruise ship worth of backup babysitters. So Avery goes back to med school, and leaves the baby with Tristan and Max.

And, yes, raising a baby while also running an infirmary with a rotating cast of temporary substitute nurses filling Avery's role isn't the easiest thing they've ever done, but Robert loves fulfilling grandparent duties any time he's not on duty; Rosie gets one of those strap-on baby carriers and walks her (i don't know why i've decided the baby is a her but i have now) around the engine room pointing out parts and explaining concepts and hey, the baby never complains about her Michigan stories; Corey gets a cart and a bundle of clean sheets and pushes her down the corridors until the smell of laundry powder automatically makes her start laughing.

Max and Tristan make a pact to send Avery at least two photos a day - which ends up getting supplemented by everyone else who's with Baby - and FaceTime her most days, and whenever she gets a few days off she meets them in port. (The most expensive part of baby-raising ends up being her flights to wherever the Odyssey happens to be at the time, at least until Robert finds out and figures out a way to start paying her 'maternity leave', despite her insistence that the whole point of this is that she isn't maternity-leaving and he should probably be paying himself that and anyway, isn't she technically not an employee right now?)

And the thing is, during this time, Max and Tristan start... realising some things. Like how neither of them feel like they've lost their only partner, because they.. haven't. Like how the co-parenting's been working out better than either of them expected, because they fell instantly (minus a few minor bumps) into a shared rhythm. Like how sometimes they look at the other one holding Baby and feel like their heart's about to explode.

Also, they've both started sleeping in Max's bed. Because Baby's spent so much time sleeping in the corner of the infirmary that now if she wakes up at night and can't see both of them, she starts crying inconsolably. And obviously Max's suite is more suited to multiple inhabitants, and they're usually too damn exhausted to even remember the first time they were in this bed together.

(usually. most of the time. and when they're not, they don't make it the other's problem)

So at the end of the first year of this, the last two days of the year's last cruise have been packed with crisis after crisis after demanding patient after crisis, and as soon as they finally wave the last passenger off they hand Baby gratefully over to Robert and go crash out in Max's bed.

Avery was supposed to be meeting them on board tomorrow, but her last exam gets unexpectedly moved up by a day (believe me, med school loves to pull that kind of shit on you), so a couple hours after the passengers have gone, she shows up to surprise them. And finds Robert (a known ody3 shipper) first, who lets her take Baby with minimal captainly sulking about it, and while she rocks and kisses Baby, tells her (as a known ody3 shipper) that the two dads will be on the Pelican deck, but they're probably asleep.

Avery kinda frowns at him, but doesn't question it, and takes Baby up with her to Max's suite to find them. And they are both fast asleep, on either side of Max's bed with a space carefully preserved between them (because it's usually where Baby would be and they're both terrified of accidentally rolling onto her in the middle of the night). She's also exhausted after exams, so she crawls into it, lies on her back with Baby on top of her chest, and goes straight to sleep.

Tristan and Max wake up before her, and when they look across at each other, at Avery and Baby between them, they both simultaneously realise, oh. oh. oh, this - this three, two-and-half, four people, all together - this is it. this is the love, this is the children, this might even be the home - the second, third, fourth bucket list items to happen in this bed.

[coolsvilleprincess]

Everybody give it up for more cleaned up sketches!! This time it's characters that I have simply been thinking about recently that are not the main gang, yes I did get distracted while cleaning up my Shaphne sketches, yes this is the result now I must return to the caves to finish them.