#I'm just really fascinated by The Box okay?

[illmoraineakoi]

This was a really clever way for them to confirm Victim's identity, and it's always fascinated me ever since I noticed it.

Victim counts as a symbol in the Box, but not once is Chosen's name ever shown in the list even though he is also in The Box.

This is the most of the list we get to see, and it foreshadows everything that will eventually be used in the fight and the subsequent interrogation: Victim's clone's weapons, the chair, lightbulb, and photo.

Well, ALMOST everything. Because what in the world is "OBJ_Item"?

The Chosen One is noticeably absent.

(Though, for the benefit of the doubt, there IS a scroll bar on the right, implying that there is more to the list we just aren't being shown. They also aren't in alphabetical order. But in the OP's screenshot, which shows a narrowed down list, Chosen STILL doesn't show even though he is still an 'object' in 'use' in that scene.)

So it's strange, isn't it? For the AB Team to go to the effort of including Victim on the list/screen whenever necessary, but not Chosen. That has to mean it was an intentional decision to exclude him. So that begs the question: Why?

Why does the Box register Victim as a symbol but not Chosen?

Is it simply because he could've added himself as a symbol to the Box's registry? The Box IS his tech, after all, so it's not out of the question that he or his employees did something with him that they hadn't done with Chosen. By that logic, Orange probably wouldn't show either if he was taken into the Box.

But it still feels so weird. Because the Box, and it's controls, are clearly meant to mimic an Animation program. That list of symbols is as much of a callback to AvA1 as Victim himself and the repetition of the fight themes is. We've only seen the symbol library panel twice in AvA: AvA1, and AvA2.

And symbols are important to early AvA stuff, because:

That's how Alan brought Victim, Chosen, and Dark to life. By converting them into symbols.

By default, they should automatically register AS symbols in an animation program or animation program adjacent. Y'know, like what The Box is.

But Chosen doesn't. So that can't be how the Box works.

EDIT: I originally started this reblog to speculate on why Chosen isn't considered a Symbol, but in my rewatch of the episode, I think I might've figured something out. Or, I at least noticed something else that I think might tie in.

During the entire fight with Victim, not once does Agent manipulate Chosen's actual body. Only his powers and the sliders that correspond with them.

Victim, on the other hand?

Agent is actively manipulating Victim himself. Increasing his strength and his speed beyond it's natural level/limitations.

I think that's why Victim is a symbol and Chosen is not.

Victim was registered as a symbol into the Box's system specifically to allow for this advanced physical manipulation. That is what the functionality of being a symbol is. Total control over everything about the symbol.

They did not do this for Chosen likely because Victim was cocky enough to think that controlling/manipulating his powers would be enough to allow Victim to overpower/dominate him.

And he was right.

As an aside, the Box is capable of detecting Chosen's powers automatically; hence why Agent could manipulate them without needing to register them first. So the Box can detect things like powers and abilities within it on the fly, but not stick figures who weren't potentially added to it's registry beforehand. Kinda neat!

Now to wait until they inevitably shove the Cursor in there and see how it gets manipulated.

[These is also the possibility that Chosen IS OBJ_Item; it just defaulted to a template label that Agent just didn't care enough to rename. That could also explain why Victim doesn't have a prefix before his name; he HAD been renamed in the Box's database.]

So I was watching this with my AVA Obsessed friend for the first time and they were talking about how it hasn't been confirmed that the guy in charge is Victim and I instantly pointed out that it had. They got really confused and I scrolled back to this frame so um. Yeah.

[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[fairyhaos]

❖ no such thing as too perfect // jeon wonwoo

wonwoo x gn!reader, 2k+ words

tags: office au, established relationship, fluff, kinda crack, junhui is the best work bestieTM ever, yn is Dramatic and In Love

warnings: none

notes: this was only meant to be like, 1.2k.... idk what happened but im not apologising. also there are a couple of pov switches which i hope make sense!!

“I think I need to break up with him,” you say, and Junhui blinks around a mouthful of salad. 

“Who?” he asks, spraying pieces of feta cheese all over the table, and you wrinkle your nose and brush away a few bits that get too close to you and your bento box. He frowns, and then his eyes widen. “Oh my god, you need to break up with Jeon Wonwoo? Why do you need to break up with Jeon Wonwoo?”

You wince as Junhui's loud exclamation rings throughout the office canteen, making several heads turn to look at the two of you. 

“Don't yell it so loud—and why are you saying his name in italics?”

“Because this is Jeon Wonwoo,” Junhui emphasises again, shoving salad passionately into his mouth before carrying on talking. “He's the only one of your boyfriends that I've actually ever approved of. Which is crazy, because Soonyoung introduced him to you, and I've never pinned Soonyoung as a guy that knows boyfriend-material guys.”

You reach over and lower Junhui’s fork, preventing him from eating and talking at the same time. “I don't know,” you sigh. “I just… I don't think this is going to work.”

“What did he do?” Junhui asks. His face morphs into a more serious look. “Do I need to murder him for you?”

“No, I— no! Don't murder him!” you say quickly, shaking your head. “He hasn't done anything wrong. It's just. I think I need to break up with him.”

The grave look melts from Junhui's face, and then he frowns. “You need to break up with him… even though he hasn't done anything wrong?”

“Yes.”

Junhui stares at you, mystified, then snatches back his fork to keep eating his salad. “Okay, so you've gone insane. Nice to know.”

You sigh at Junhui's response, rubbing your temples. 

Whilst it does sound insane for you to break up with Wonwoo even though he's done nothing wrong, in your eyes, it's actually quite understandable. 

Nothing has gone wrong, per se: you've been dating Wonwoo for about ten months now, and everything has been perfect. He's been perfect. 

Maybe… a little too perfect. 

He's always being so gentle and courteous, silently reading your emotions and knowing exactly how you're feeling at any given moment. He knows what you need before you even know that you need it—giving you little cheek kisses to remind you that you're loved, pushing a chocolate bar into your hand when you're all dizzy and tired, hugging you to sleep when you've had a bad day. 

The bento box that you're opening and having for lunch? That was prepared by him too. 

Jeon Wonwoo is just so goddamn perfect, and it worries you. 

“I don't think I'm good enough for him,” you admit whilst Junhui is busily sipping his water. 

It's fascinating how he manages to eat so frantically whilst eating so slowly at the same time, you think idly, as Junhui chokes on the tiny sip he was taking. He sets down the glass, wiping his mouth and blinking at you. 

“Sorry, what?”

“Come on, Junhui, do I really have to say it again?” you complain, beginning to open your bento box. “You heard me.”

“Yeah, and I couldn't believe my ears,” he says, tilting his head sideways. “You? Not good enough for him? Please. That's crazy.”

You make a questioning noise. “You just said that he's the only boyfriend of mine that you approved of.”

“Exactly.” Junhui stabbed his fork in your direction, before going back to shovelling leaves into his mouth. “You're perfect for him, and he's perfect for you. I predicted it from the moment you met.”

“I don't know about me being perfect for him, but he really is just too perfect for me,” you whine. “Him and his stupidly warm eyes and that smile… oh, Junhui, he makes me feel like the most beautiful person in this entire universe.” You look down at your bento box, pouting. “Wonwoo's just so perfect.”

Junhui makes a face. “Gross, but okay. I still don't see your point, though. Wonwoo's perfect, and you're both good enough for each other. I don't see why you think you need to break up with him.”

Still looking down at the bento box, you let out a sigh. All of the food is neatly packed away into the separate compartments, and he's even arranged the sesame seeds on your rice into a little heart. It's an awfully goofy but also an awfully Wonwoo thing to do, and you can feel your heart squeezing painfully in your chest, the longer you stare at it. 

This is not good. You are far too in love with Wonwoo. 

That's what you tell Junhui, and he stares at you with utter disbelief as if you've finally admitted that you really have lost your mind. 

“And what makes you think that he's not far too in love with you?” Junhui asks. “You know, one of the reasons that I approve of Wonwoo is because he's just so so in love with you. Like, almost disgustingly in love with you.”

“What?” You blink at him, before shaking your head. “Junhui, no, this is serious. Wonwoo's just so perfect and I'm so in love with him and—and it's actually getting dangerous now. I've literally fallen in love with him.”

Junhui stares at you for a long moment, wondering whether you're actually being serious about all of this. 

“That's not a bad thing,” he insists, and then chomps on his salad in frustration. “Y/N, that's not a bad thing at all.”

“Yes it is,” you say, despairingly, looking forlorn as you prop your chin on your hand. “I love him too much. It's gonna—it's gonna get too overwhelming, soon, and then he'll start thinking I'm weird, and he'll distance himself from me, and then we'll break up and I should end this before that happens.”

Junhui shakes his head. “I don't think that's true.”

“Yes it is.”

“No it isn't. He won't break up with you.”

“Not yet.”

Junhui looks away exasperatedly, because you're adamant in wallowing in your despair over having to break up with Wonwoo because “he's too perfect” even while quite happily eating the lunch that Junhui knows Wonwoo probably prepared for you. 

It's insane, he thinks, because it's obvious to him that Wonwoo loves you a lot. But he knows you and your negative thinking, and short of Wonwoo walking in here and professing his love to you all by himself, Junhui can't think of anything that could possibly convince you otherwise. 

As he looks past your shoulder to the glass doors of the office canteen, however, he blinks. 

There's a tall man entering the canteen, his dark hair all fluffy and his glasses-rimmed eyes scanning the area, lips pursed into a look that could almost be described as bored. He has his hands in his coat pockets, wearing the most simple casual fit ever, but he exudes such cold model energy that even Junhui blinks again. 

And then he watches as the man catches sight of you and Junhui, and his entire demeanour just softens. 

Junhui bites back a grin. 

Wow. Maybe he’s, like, actually psychic. 

“Wonwoo's here,” he says abruptly, and your head snaps up so fast that he can hear the audible click that sounds in your neck. 

“Where?” 

Junhui doesn't get to say anything, however, because he sees the moment that your eyes clock the tall man that's striding into the canteen, the light catching the frames of his glasses, and watches as you positively melt, in much the same way that the man had done when he saw you. 

He can almost hear every infatuated thought that runs through your mind. 

“Wonwoo,” you breathe, once Wonwoo steps close enough to the table that you and Junhui are eating at. His hair is all fluffy and windswept, and you resist the urge to smooth it down with your fingers. 

“Hello.” Wonwoo bends down, presses a soft kiss to your forehead. “You weren't answering your phone.”

“Hm? I didn't get any text notifs from you.” You check your phone, trying to turn it on, only for the screen to remain black. “Oh. Is it dead?”

“I suspected as much,” Wonwoo says dryly, but there's a fondness in his voice as he pulls out a power bank from his pocket. “Here.”

Your eyes light up. “Oh, you're a life saver!” You look up at Wonwoo, smiling at the way his eyes look so warm as he gazes down at you. “Thank you.”

Junhui slurps his water loudly. 

“Sorry,” he says, sounding not sorry at all when the two of you look over at him. “Don't mind me.”

He's grinning mischievously, for reasons that you cannot fathom, and when he leans forward to peer up at Wonwoo with curious eyes, the mischief in his grin only increases. 

“So, Wonwoo, why are you here?”

Wonwoo tilts his head, pushing his glasses up at the same time. “You're Junhui.”

“The one and only,” Junhui says brightly. “I'm Y/N's work bestie. I've heard loads about you.”

You hiss in annoyance, kicking Junhui under the table even as Wonwoo laughs amusedly, placing a hand on your shoulder affectionately. 

“Wen Junhui! Why would you say that?”

“Do you talk about me that often?” Wonwoo asks, and his tone is somewhere between genuinely curious and adoring and you kind of just wanna sit there and listen to his voice forever. 

“Oh, all the time,” Junhui says, eyes gleaming, and you snap your gaze back to him, exasperated. “Y/N loves you so much. I hear about the extent of it every day.”

Wonwoo looks down at you, raising an eyebrow. “Really?”

You kind of want to deny it, but then that would mean lying to Wonwoo, so you don't. 

“Maybe?” you say weakly, cheeks burning as you smile sheepishly up at him. “You're just, uh. Really really lovely. And, um, I kind of love you. A lot.”

Wonwoo laughs, a full and endeared laugh, twinkling with the light of a thousand suns. “I'm glad. Because you're really lovely, and I love you a lot too.”

Your eyes widen, and suddenly it's like it's just you and Wonwoo in the canteen now, him with his hand on your shoulder and those eyes, holding your very soul in place as he just smiles so lovingly and oh God you really do love him. 

“Oh,” you say, soft. “Wonwoo…”

Wonwoo just smiles again. “Anyways, I came by to let you know that I'll be finishing work a bit earlier today, so call me when you're done and I'll drive by to pick you up, okay?”

You nod, mute, stunned by the gentlest words of “I love you” that had left Wonwoo's mouth just seconds before. 

“It was nice meeting you,” Junhui chirps, but Wonwoo doesn't seem to hear, because he's looking down at you again, before swooping in and placing the lightest kiss on your nose and you feel like you could combust on the spot right there. 

“I'll see you later?” he says. 

You nod. “I'll see you later.”

Wonwoo smiles, and then the hand slides off your shoulder and he walks away. 

You watch him go, watch him walk through the tables and then get to the glass doors, where he turns around one last time to wave goodbye before disappearing outside, and really, it's insane how much you love him. 

And how much he loves you, it seems. 

“So. He took time out of his own lunch break and came all the way here to give you a charger because he knew that you'd forgotten one and to tell you that he's picking you up later?” Junhui says, making you reluctantly turn back to him. “Y/N. If this doesn’t make you see just how in love with you Wonwoo is, then I’m gonna kick you.”

“Hey, no need for violence,” you say, raising an eyebrow, and Junhui pulls a face. 

“So do you see it or do you not?”

You look over your shoulder again, out at the doors. Wonwoo’s no longer there, but you can still imagine the imprint of his warmth, lingering like the softest lavender scent over the entire area. 

“Maybe I do,” you say, all wistful and dazed, a smile on your face. “Isn’t he just so perfect?”

Junhui grins, and makes use of your distracted state to steal a carrot stick from your lunch, crunching on it loudly.

“Perfect and in love with you,” he points out. “So do you still feel like you need to break up with him?”

“Hm?”

You blink, eyes still all starry from your few minutes of interacting with your boyfriend, his soft smile etched into your mind. It takes a moment for Junhui's words to register, but then they do, and you can't help but laugh. 

“Oh. Oh, no. He and I are perfect.”

Junhui grins. He really is a psychic. 

fics tags: @jeonginssa @weird-bookworm @minhui896 @bunnyiix @slytherinshua @haowrld @belladaises @moonlitskiiies @mirxzii @zozojella @kawennote09 @thedensworld @a-wandering-stay @abibliolife @doublasting @wonranghaeee @icyminghao @sweet-like-caramel @your-yxnnie @odxrilove @kyeomyun @crackedpumpkin @jeonride @kellesvt @sakufilms @eightlightstar @onlyyjeonghan @aaniag @amxlia-stars @raevyng @isabellah29 @hrts4hanniehae @mcu-incorrect

[snek-eyes]

Things I'm noticing on rewatch

Aziraphale knows how reproduction works (and realizes you need a pair) because (unlike Crowley, rip unicorns) he saw the human design plans, if maybe didn't directly work on them. Presumably there are other angels who know, it's a good thing that none of them were tagging along for the whole Job bit. Or maybe they just didn't want to contradict Gabriel.

The "this way up" sign on the box is so cheeky. Aziraphale and Crowley could've solved the whole mystery if they'd just ignored the rules and upended the system box, but there's still part of them (esp. Aziraphale) still instinctively following the rules.

Literally the first thing they say to each other in the present sets up their entire season conflict of not communicating properly, while being hidden in a joke. *groans loudly*

okay wait did we figure out what the deal was with this getting so specifically highlighted?? I've tried looking up the passage and I am.. still pretty baffled. Other than the obvious connection to Crowley being about to explode in a few minutes.

Edit: There's a theory I like quite a lot here, though still open to other interpretations if you've got em!

Crowley opening the door for Aziraphale and Nina staring in fascination is SO funny. She's just dying to know what tf is going on there.

Originally overlooked this bc it's not his usual coy heart eyes, but this is an Ask from Aziraphale. Aziraphale glances to Jim and back like, Well I'm not doing that.... and Crowley gets the message that this is (at least partially) why he's here, to be the demon and not the nice one.

Really can't get over the walls matching Crowley's eyes. You can't leave this bookshop indeed.

Despite the fact that Crowley is storming out of here so angry that he will literally explode in about 60 seconds, he does not slam the door. It's not the bookshop's fault / he really is trying to control his temper / he doesn't want to leave things on that final of a note / choose your interpretation.

[im-sleepdeprived]

Your page says requests are open, so I'm sorry if I missed something 🙏🏻 Could you possibly do Peter Parker (preferably TASM) and friend reader who has a pet jumping spider that she named after him (bc she's crushing bad)? I think it would be funny if she didn't know he was Spider-man. ❤️

this is actually the cutest thing ever i loved writing this😭 hope you enjoy the little blurb !! no warnings just tooth rotting fluff and some deep, deep pining !!

“Look!” You exclaimed, holding up a see-through container filled with dirt, grass, and twigs, housing your newly acquired pet.

Peter leaned down to peer into it. “He’s adorable.”

You beamed. “I know right!” You’d always had a fascination for critters, but especially arachnids. Hence the tiny jumping spider in your hands right now. Peter found it precious when you rambled on about your love for spiders, not knowing that your very best friend (and long time admirer) was, in part, one. He always felt a little special. 

He knew it was stupid, you were never talking about him. Hell, you had no clue he was Spider-Man. But still. Usually everyone was freaked out about spiders, people hated them, even him (before the bite) and yet you managed to see the beauty in them. What other people found gross and freaky you found intriguing. 

You’d been over the moon this past week since you found out there were jumping spiders finally available  (he never would’ve guessed it, but apparently they were popular pets) at your local reptile store, (you were also adamant about not getting one from a big chain store). 

“I named him after you,” you admitted a little bashfully.

“Oh?” Peter could feel his heart speed up. Maybe his secret wasn’t as well protected as he thought it was. 

“His eyes, see?” You moved the container closer to him and placed your index finger on it, tapping gently. “He’s got those two big ones in the front and these ones on the side.” More tapping from your finger. “He reminded me of you when you wear glasses,” you giggled sweetly.

Peter felt his heart soar. “Yeah?” He smiled wide. “Well I’ve gotta say I’m honored, I know how long you’ve wanted one.”

“Yeah,” you beamed. You always appreciated that Peter let you ramble on about your favorite things, no matter how weird they were. You knew it was an unconventional interest, and yet he never made you feel different or odd they were. It only made you fall that much more in love with him. 

“Did you know that the males perform special dances for the females to get them to mate with them?”

You side-eyed Peter, impressed with his knowledge. Usually you were the one hitting him with random facts. “No, actually, I didn’t know that. Could you imagine if humans did that?” You laughed.

“Well isn’t that whats going online these days? With all those dance trends and ‘thirst traps’.” He made quotation marks with his fingers on that last part, making you laugh again.

“I wonder if Spider-Man does that,” you pondered. 

“What do you mean?” Peter’s brows furrowed. 

“I mean, isn’t he part spider or something? That’s how he can climb walls and stuff, right? And isn’t it why his name is literally Spider-Man. I just wonder how many spider traits he actually possesses.”

“Not the webs, the webs are artificial.” He answered you simply, eyes going wide when he noted the curious look you gave him. “Oh! I mean—I think I heard it—READ IT! Yeah,” he cleared his throat, “I read it somewhere.” Everyday it was getting harder and harder to keep this secret from you. 

“Okay weirdo,” you chuckled. “It was between you and him.” You said suddenly.

“Me and who?” Peter asked. 

“You and Spider-Man,” you said as if it made all the sense in the world. You tapped the small box in your hands again. “I almost named little Petey here Spider-Man cause I thought it was cute.”

Peter crossed his arms and smirked at you. “Really?” He thought it was the sweetest thing he’d ever heard. If you weren’t careful, he was going to pull out his suit right now and tell you everything. Well, either that or kiss the living daylights out of you. He reallyyy wanted that last one to happen. “And why didn’t you?”

“Well Spider-Man great and all, don’t get me wrong, saving the city and all,” you made a gesture with your hands, “but you’re my best friend Pete. Of course I’d pick you.”

Peter stood shocked. Honestly, he didn’t deserve you and all your kindness. Everyone loved Spider-Man, no one really cared about Peter. No one but you apparently.

“Now,” you grinned wickedly, “wanna take Peter 2.0 out the box and see how far he can jump?”

He scoffed, “Can’t believe you even have to ask sweetheart.”

“Great,” you handed him the container,” you go first. I wanna get a picture of you and your name twin!”

Peter laughed sweetly and looked down at his ‘name twin’ lounging leisurely on his little twig. Slowly, Peter lifted the lid and placed his finger beside Peter 2.0, allowing the spider, about the size of his fingernail, to crawl onto the tip of his finger. 

He slowly lifted his wrist out the box and looked over to where you stood, camera in hand, grinning wide. “I took your camera, hope that’s okay.” You said sweetly. 

“Yeah, it fine.” he wanted to tell you you could anything of his you wanted.

“Cool,” you held the camera up and positioned the viewfinder so it was in front of your eye. “Okay…Smile in 1…2…” you squealed. 

Peter hadn’t noticed, too busy ogling at you and how beautiful you looked using his camera like that, but your jumping spider had, well….jumped. 

“Peter!” You yelled. 

“Me or him?”

You burst into giggles, Peter (human) following suit. 

[roosterforme]

Geriatric Millennial | Rooster x Reader

Bradley loves all things '90s. You don't completely understand it, but you appreciate his spirit.

1000 words

Bradley Bradshaw x Reader

Check out my masterlist for more!

There were certain scenarios that became normal over time when you were in a relationship with a man more then ten years your elder. Sometimes you didn't understand certain movie references. Slang words and jokes occasionally went over your head. He and his friends would often reminisce about trends you'd never witnessed. But Bradley never made you feel bad about it, and you never called him an old-timer unless you were joking.

You were used to these things, but nothing quite prepared you for what you saw when you got home from work. Bradley was relaxing on the couch in something that looked like a bright blue, full body straitjacket with some random vintage headphones on his head.

"What the fuck?" you muttered, inching closer when you realized he was listening to music and hasn't spotted you yet. You glanced around the room, trying to locate the source of disturbing chattering sound that just started, and you tripped over a hard, black ball.

Bradley looked up at you with a smile. "Hey, you're home early." He quickly stood in his weird, fleece outfit and leaned in to give you a kiss, but you leaned away.

"What on earth is happening here?" you asked, standing frozen as he pulled his headphones off.

"What are you talking about?" He looked puzzled by your words but not by all of the weird things in the living room. 

"I'm talking about what you're wearing. And the robotic voice!"

"Oh," he laughed. "This is just my Snuggie."

"Your what?"

He glanced down at himself. "My Snuggie? I found it in a box of my stuff from highschool."

You were still so confused. "What's a Snuggie? And what is that weird sound?"

When his gaze fell to something fuzzy and brown on the couch, you jerked back in shock. "You mean my Furby?"

You glared at the critter and it's enormous, evil eyes. "Is that one of those things from that '80s Gremlins movie you're obsessed with?"

He barked out a laugh like you'd just said the funniest thing he'd ever heard in his life. "Baby, no. It's not a Gremlin. It's just a Furby. But imagine if Furby manufactured replica Gremlins... Would have been fascinating." It was starting to sound like he was speaking a foreign language. "I was just listening to Chumbawamba on my Discman and playing with my pogs and my Tomagachi. I literally forgot the Furby was even here."

You were sure you were gaping at him like he had two heads as you reached up to run your palm across his forehead. "Do you have a fever?"

"Huh? No, but I did eat a Kudos bar I found in the box, so I might potentially have an upset stomach later. But it was worth it."

After you pinched the bridge of your nose, you asked, "I'm sorry, but what did you say you were listening to?"

"Tubthumping. By Chumbawamba. You know it, don't you? Pissing the night away, pissing the night away. I get knocked down...." He looked at you in wide eyed shock. "You don't know that song? How is that possible?"

You didn't want to tell him that Chumba whatever wasn't a word. And neither was Snuggie. Not when he looked so adorably baffled. You stroked your fingers across his forehead and down his cheek as you shook your head.

"No, I don't know that song, because I'm not forty like you are. And you look kind of alarming in this thing." You pinched the fleece fabric and pulled it away from his body.

"It's my Snuggie," he muttered. "It was from an Infomercial."

"I don't know what that means." He gasped and you started laughing. "But I would love to sit down with you while you explain it to me. As long as you don't make me eat something from the late 1900s."

He took your hand in his bigger one and and led you toward the couch and the demonic looking Furby. "Okay, but first, you need to listen to this CD. Because Jake told me Chumbawamba is a guilty pleasure, but it's actually really good."

About twenty minutes later, you were wrapped up in the Snuggie, enveloped in softness and Bradley's lingering body warmth. "I love this thing," you told him, burying your face in the fleece. "And yes, Chumbawamba is good, but I like Hoobastank better. And I'm really sorry I accidentally kicked your Magic 8 ball across the floor."

He wrapped his arms around your shoulders and kissed your cheek as you skipped a track on his Discman. "That's okay. Hey, do you want to learn how to play pogs? The best part is, I'm not sure there are actually any rules at all."

"Sure," you said with a shrug. "Why the hell not? As long as you lock that Furby away and never let it out ever again."

"Heard."

[foodfightnovelization]

More Foodfight! Material DISCOVERED

That's right, I'm back. Just like I prophesized in my last post, yet another treasure trove of Foodfight! goodness has been uncovered, and this might be one of the strangest to date...that's right, official Foodfight! Cinnamon Sleuth Cereal was sold at Albertsons back in 2007, over five years before the movie finally came out!

Okay, not really, but I had you going for a second, right? So, this IS a proposed packaging design for actual Cinnamon Sleuth cereal, but it never went into production, it never made it to stores and there was certainly never any actual cereal to be eaten. This, among several other designs and a collection of behind the scenes material, was sent in recently by a Foodfight! crewmember, who explained they were mockups created to show off possible tie-in products. I'm not sure why they chose Albertsons for these mockups but it's likely they were in talks with them at the time and wanted to show off designs including their branding. In any case, I just had the Cinnamon Sleuth box printed because I thought it'd look cool next to my collection of Foodfight! merchandise, and I wanted to see if anyone would be convinced this really existed.

I've included all the designs above in case you want to print your own- there are several more including another cereal, brownie packaging and milk cartons. Curiously, the milk cartons have Farmland Dairy logos on them, with Farmland Milk actually appearing in the finished film at several points. I'd say this confirms my theory these mockups were created to show to companies they were already actively working on deals with, but I can't say for certain that was the case.

Equally curious are these character sheets from 2002, seemingly showing off almost every model created during early production. There are so many fascinating layers to this- Sunshine is still a human instead of a catgirl, showcasing a very different model to the one seen in the initial trailer, and Maximilius Moose is still a dog named Panzer Pup, both aspects that were changed once the decision was made to change Dex to a dog. However, it may be that Dex's human design was edited out and replaced after the fact, given Dex's model here appears to be the one from the finished film (you can tell by the weird hands). In any case, it's fascinating to get a closer look at all these characters- while the majority of the models for the main cast were found recently (see my last post for more on this), there are a bunch of side characters here we've only seen brief glimpses of before, including the Pringles man and the scantily-clad Cherry Waifer. The most fascinating to me however are the Red and Yellow M&Ms- I've read through their scene in the movie's script, I've seen multiple versions of the storyboard, even rough layout animation in the workprint, and it's only now I'm FINALLY getting to see their actual character models and how they would've looked in the Foodfight! artstyle. Sure, they more or less look exactly as they did in M&M commercials that aired around the same time, but it's still amazing to actually see these characters modelled and rendered after analyzing so many different iterations of the scene as it went through development.

The crewmember in question also sent a folder containing over a hundred stills which while at first glance appear to be from the finished movie, are actually subtly different in multiple ways- usually lighting, facial expressions, or background textures like the sky or color of a hill. A lot of these are labelled "fix" which makes me speculate if after the movie was completed, the crew went back and tried to touch up the animation to make it look more appealing before release. Is there a slightly better looking version of Foodfight! somewhere out there in the world? Who knows, but really it would've been like trying to polish a turd. The movie was already ruined by then, and I don't think any number small changes would've done much to salvage it. However, that does bring me to my next interesting point...

There are also storyboards dated May 2011, depicting an alternate opening to the movie giving a much more cinematic introduction to the main characters. It's crazy to think they were still working on storyboards so late in production, but there IS actually a reason for this. I unfortunately can't upload the entire sequence due to this site's image limit, but what you might notice are a lot of characters being described as "flying over the audience", "flying into the camera" or knocking things "into the audience", with some of the boards having "(3D)" written in parenthesis next to them. It's my belief that very late into production, Kasanoff wanted the movie to be 3D, made popular by the then-recent Avatar, and this new opening sequence full of flashy 3D effects was drawn up to show off what they could do with the technology. It's not clear if any of this was ever actually animated, but imagine going to see a movie that advertises itself as 3D but only the first minute contains any 3D elements. Of course, Kasanoff requesting this is only speculation on my part, but given how the movie was ruined by the crew having to cater to his whim of directing the whole thing with motion capture (made popular by the then-recent Polar Express) it's no stretch to assume the 3D opening sequence was a similar situation.

There's a ton more that was sent to us as well, so much so that I could never hope to talk about all of it. However, it should be on archive.org at the time of writing this if it isn't already, and you can now access everything Foodfight! related through the official Foodfight! collection on there!

That's right, so much Foodfight! material has been uploaded over the past year that the Internet Archive gave it its own archive, allowing you to find everything in one convenient place (including my scans of the novelization and Deluxe Sound Storybook). It'll also be updated periodically whenever something new is found, so it'll always be the home to all things Foodfight!. Whether you're wanting to take a look at some concept art shown in ROTTEN: Behind The Foodfight, read through an early draft of the script, or check out something I've talked about on my blog, it's all here at your fingertips.

I don't think there's ever really going to be an end to the depth of the Foodfight! rabbithole. I thought I was done a year ago when I finished analyzing the novelization, and look at everything that's been found since then. Every time I think I'm out, this movie pulls me back in. So...in my next post I'll FINALLY show off my collection of Foodfight! merchandise and talk about what this movie means to me, but that doesn't mean it's the end for this blog. Whenever I say I'm done with Foodfight! I end up jinxing it, so if I try to conclude things now in a few months some CD will show up with a bunch of lost footage on it, I'll get mailed concept art of a bunch of characters we've never seen before, or it'll turn out Larry Kasanoff was actually D.B. Cooper the whole time. So as long as there's something new to discuss, as long as there's a Foodfight to be fought, I'll keep updating this blog from now until forever. You better duck when they launch the cream pies!

[celaenaeiln]

Is Dick's tendency for self-destructive habits really as bad as some fics make it out to be?

oh interesting!! In some way, yes actually.

Batman (2016) Issue #689

Dick and Alfred!! The duo make me so happy <33

But anyway, it's weird that someone who's so effusive with his affection so often and readily "deflects a moment of genuine emotion." Which is also one of the reasons why Dick Grayson as a character is so fascinating because he's never what people expect him to be. He's like a puzzle box where every time you think you solved, you just opened yourself up to a hard, even more complex one wherein the process repeats on an endless cycle.

He's incredibly self-destructive in the way he drive a burning car off a bridge and he'll know it's on fire, he knows where he's going, but he'll do it anyway because the car has a bomb and it's safer with him than the civilians behind him.

You know what? I just realized he deflects intimate conversations because he wants to keep the focus on the other person. Since he was Robin, Dick has been purposefully neglecting his feelings in order to take care of Bruce's. Right after his parents died, he bottled up his sadness and sorrow because he was worried that Bruce would blame himself and he didn't want Bruce to do that.

It's always been "Tell me what's wrong, Bruce." He's been so busy raising his guardian, his friends, his siblings, his teammates, that Dick has sunk into the role of a performer - the spotlight's on him but the audience is the focus.

I didn't realize until writing this ask but self-destruction is just such a normal thing with him that it's become a part of his personality. In fics it's very obvious when he's being self-destructive or neglecting himself or etc because he's very aware of it but Dick in canon has just made it his thing. It's actually the Titans that realize this and yank him out of it because Dick has no idea what he does to himself.

The New Teen Titans (1980) Issue #28

The New Teen Titans (1980) Issue #28

He's not self-destructive in a way that he's conscious of it but his habits and his lifestyle don't really give him a choice. He literally works himself sick.

The Titans (1999) Issue #9

"Maybe it's too much. Dick --have you considered that? You're working Bludhaven, even joining their force, you still clearly intend to come here to Gotham every time he calls you -- working so hard you're making yourself sick,"

"No. It's not the newness that's the problem."

People are literally telling him to calm down and he's like 'No! I'm perfectly okay. This is fine, let's continue.'

And this isn't even going into when Blockbuster blew up his life and Dick kinda lost himself to hunt him down and make him pay. People understand that Desmond burnt down the circus but Dick was still connected to the people in that circus, like he used his contacts there to sometimes inquire about things going on Bludhaven. The people at the circus raised him along with his parents so killing them was like killing Dick's aunts and uncles and friends and childhood. What happened then and after the SA was catastrophic. To Dick self-destruction has just become a part of him because he aims for perfection in every aspect of his life.

Like Donna said, "He works with the Titans, on his own, goes to school, and then he works alongside Batman..." and so on. Usually people struggle to maintain even one area of their life like just school or family but Dick's juggling, his work, his family, his friends, his relationship, his teams, and is still on call for Justice League incidents.

Titans (2003) Issue #6

He literally dropped everything to come over and break up the Titans (OF WHICH HE IS NOT EVEN A PART OF RIGHT NOW BECAUSE HE'S IN THE MIDDLE OF DEALING WITH THE OUTSIDERS) and the Justice League full on fighting.

He's not self-destructive in the way he doesn't want to get out of bed or that he isn't clean, it's just that Dick Grayson is a machine. He's got ice in his veins and he just powers through everything. Everything he does has to be top notch, so sleep and social life and happiness can say goodbye because he's too busy for that. This is why the Titans are so important to him and for him because they realize this toxic trait of his and do their absolute best to yank him out of this bad habit because Dick certainly can't stop.

So self-destruction has become part of his personality but unlike in fics, it's conducive self-destruction. It comes from his refusal to feel any emotion that isn't for others because Big Brother Dick Grayson and Best Friend Dick Grayson are always there for everyone but the second he's asked to help himself or someone tries to help him, he flakes. He's the best at helping others and being there for them but he's allergic to getting help or talking about himself.

[mosaickiwi]

Hi, hope you had a great new years ^^

If it's okay can I request a fic of Redacted teaching Angel how to ride their bike or just Angel just riding their bike in general?

Hiiii my new year was good! I hope yours (and valentine's,easter,etc) was good as well!!

the date callin me out for how long it's been since jan i'm sobbing /silly

I feel like emo boy would be extremely thorough about teaching them so... Maybe I'll do a part two where Angel actually drives... 👉👈

14 Days With You is an 18+ Yandere Visual Novel. MINORS DNI

~A Riding Lesson~

[REDACTED] was in their personal garage doing some maintenance on his bike when you arrived a little early for your date. All he could offer in greeting were a few sweet words and a quick kiss, due to their grease stained fingers. You chose to silently observe them for a while, sitting at the bench they left their toolkit on. You found yourself leaning forward, watching with pure fascination.

There was precision to each movement as they went about their work with expert hands. Were it not for the occasional smiles he threw your way when he picked up a different tool every so often—smiles that somehow still sent your heart aflutter after so long—you would’ve been completely absorbed.

You'd always been curious about how it worked. But there was never really a good time to mention said curiosity. Especially since you were more focused on holding on for dear life whenever they drove somewhere, even at a snail’s pace. You supposed now could be a good time.

“Can you teach me how to ride it?” you suddenly asked once he came over to pack his tools away in the box at your side.

Their scarred hand that was idly twirling a wrench stilled as he looked down at you, light blue eyes glittering with the beginnings of something. “...Yeah, love? Y’mind saying that again f’me?”

Much too late to take it back, you noticed your mistake. You were so absorbed in your thoughts that it felt like you were picking up a conversation. In reality, it hadn't even started. “The bike, Ren,” you hurriedly corrected yourself. “Teach me how to ride the bike.”

“‘Course. My bike,” [REDACTED] nodded along and continued putting away the tools. The smirk on their face was unmistakable, but they surprisingly held back from teasing you any longer. “Maybe a quick lesson, then.”

“Really?” You perked up.

He nodded towards the bike with an amused smile as he closed the toolbox and wiped off his hands. “We’ve got time.”

Excited as could be, you hopped over and quickly sat in the cushioned seat, immediately fidgeting with the handlebars. It already seemed weird being in the front, let alone by yourself. But your heart got a little louder when your dark haired lover sat behind you on the bike.

You were certain he could feel how you shivered as his hands wrapped securely around your waist and his head rested on top of yours. Stumbling for words, you almost shouted, “So! …Where am I taking us?”

“Nowhere. Y’need to know where everything is first, Angel.”

“Boooo.”

💜🖤💜🖤💜🖤

After fifteen grueling minutes of quizzing, he finally agreed to let you ride around the parking lot. They hopped off the back of the bike, swinging the key around their finger.  

Without his weight to balance you, you suddenly felt a little unsure of yourself. You thought he was going to ride with you, so you asked, “Did you only sit on the bike to hug me?”

“Yeah, y’looked so cute I couldn’t help m’self,” he admitted shamelessly. They didn't give you the key just yet, merely circled the bike a few times with a careful gaze. “Clutch?”

You frowned. The quiz was supposed to be over. “Left lever.”

“Throttle?”

You remembered that one easily. He always revved the engine with it before leaving. “Right handle," you said confidently as you grabbed it.

“Front brake?”

“Uhh…” you started, quickly panicking at the resigned look in their eye. “Right pedal.”

“That's the rear brake. Maybe next time.” They gave a swift denial of your short-lived dream.

You stubbornly stayed put on the bike, though your hands were no longer holding the handles, instead resting in front of you on the seat. “I could drive it down to the street, at least."

“Y’really think so? It’s a lot t’handle,” he cautioned. He reached in front of you with the key in hand, quickly putting it in the ignition. The engine purred in that quiet way you were used to.

You watched as [REDACTED] held firmly on the clutch at one handle, and slowly guided your hand to the throttle on the other. With the lightest turn of your wrist, the engine roared loud, vibrating the seat more and more. But he turned it even further and you could hardly hear yourself think.

It made you nervous. If you weren’t sure where the break was—or which one to use—it’d really spell disaster. “Okay, I get the point,” you sighed. They let go of your hand and the engine died back down to its usual purr. “I’ll try harder to remember where everything is. No crashing your bike into a stop sign for now.”

“Good. Just wan’ you t'keep that pretty little head right where it is, love,” he hummed and kissed said forehead. “Now, scoot. Or we can head upstairs so ‘can teach ya how to really—”

“I meant the bike!!”

[queerfables]

The Rules of the Twist

Given the themes of deception and sleight of hand in Good Omens season 2, I think most of us agree it's at least possible there's some kind of twist waiting to be revealed in season 3. We're bouncing around a lot of theories, but I wanted to take a step back and look at the general shape of what we might expect.

The big twist we've seen before in Good Omens is Crowley and Aziraphale's body swap. (Okay, technically it was an appearance swap. But that just doesn't sound as pithy.) Rather than anticipate an exact repeat of this trick, I'm considering the swap as a sort of model. What does it tell us about the rules Neil plays by when he pulls a twist in this story? What clues can we expect, and what can we not count on? Sure, there's no guarantee that a season 2 twist is going to map exactly onto what we've seen in the past, but I think it's a reasonable place to start. Take these as guidelines and take them with a grain of salt, but if you're sorting through all our fascinating Good Omens theories and trying to decide what you think, you might find them helpful.

So then, what are the rules?

Broadly speaking, Neil plays fair with twists. He foreshadows and includes enough hints for the audience to make a reasonable guess at what's going on, or at least to look back after the reveal and go, "oh, of course". But he still keeps some cards close to the chest.

During the body swap, there are two big gaps in the information we're given:

Key events happen off screen The swap happened between scenes, during a time that it was only suggested, not confirmed, that Crowley and Aziraphale would be together. The transition between these scenes also used film and tv conventions to make that passage of time "invisible" - we see Crowley and Aziraphale get on the bus, and then we see them in the morning going about their days separately, and we're conditioned to think nothing important could have happened in between.

Key tools (eg abilities, items, information) haven't been shown before The swap was not something we'd ever seen Crowley and Aziraphale do, and it wasn't something they'd ever talked about either. It fit comfortably into the established world building but it hadn't been specifically signposted as a possibility.

The other big twist that Good Omens pulled was the romance between Gabriel and Beelzebub as the explanation for Gabriel's disappearance from heaven. Both of these information gaps are involved here too. The offscreen event is obviously the meetings between Gabriel and Beelzebub that lead to them falling in love - up until Gabriel's flashback sequence, the only indication they'd ever met each other was a brief conversation at the airbase during Armageddon. The tool that we haven't seen before is Beelzebub's ability to create a fly vessel for Gabriel's memories (protecting him in much the same way that Crowley and Aziraphale protected each other with their body swap, in fact).

These are pretty big gaps, really. And given that Neil knew there'd be years between seasons 2 and 3, I expect he would have leaned pretty heavily into them if he wanted to hide something. So how do we predict a twist if we can't know where it is and haven't seen what it might involve?

Unanswered questions

This is the big one. Looking at where the furniture isn't, you might say.

What's interesting is that the questions that point to a twist aren't usually subtle or ambiguous. For the body swap, the two converging questions were: what did Agnes' last prophecy mean, and how could Crowley and Aziraphale survive their executions? In season two, some of the unanswered questions signposting Gabriel/Beelzebub were: how did Gabriel lose his memory, why was he carrying a box, what was the significance of the song he kept singing, who was he at the Resurrectionist with...

I think guesses about upcoming twists are most convincing when they seek to tie up loose threads from the show. For this reason, I'm a little skeptical of theories proposing the kiss between Crowley and Aziraphale involved some kind of twist. It isn't impossible, I just don't see any unanswered questions there. (Savvy readers may note that I too have speculated about a twist hidden in the kiss. I do find the possibility fun, but it's not a theory I'm seriously committed to). If I was going to really buy into one of these theories, I'd want it to explain one of my big unanswered questions other than "but how could they get into a fight that hurts me so deep in my soul?" That's definitely a question I have, but not technically a mystery.

It's worth noting that in the case of the body swap, we were initially given a false answer to the question "how did they survive their executions?" The angels and demons watching attribute it to Crowley and Aziraphale having "gone native", believing that their natures had fundamentally changed, making them immune to holy water and hellfire. It might be the case, then, that some of the apparently resolved questions this season warrant further investigation. Is there more to the story of Gabriel's disappearance than we know, for example?

2. Unexplained details

If examining an unanswered question is looking at where the furniture isn't, then this is where we take all the pieces of furniture piled up in storage and see if we've got anything that fits. Everything is fair game here: script, acting, music, props, sets, costumes, editing, camera angles, audio effects, visual effects, everything. If it's on the screen or coming through the speakers, it was put there on purpose by multiple teams of highly skilled and attentive creators all working together to create the final product.

I think you could probably do an entire meta on all the little details pointing towards the season 1 body swap, but here are some of the big ones:

"Crowley" sees the restored Bentley, but takes a taxi instead of driving it

"Aziraphale" circles "Crowley" when they order their ice creams, the way Crowley more typically moves around Aziraphale

"Crowley" says "tickety boo", an extraordinarily Aziraphalean phrase

The collar on "Crowley's" jacket is a beige tartan rather than its usual red

There are general differences in the ways David Tennant and Michael Sheen embody the characters throughout the swap

Similarly, Gabriel and Beelzebub's romance has lots of small details pointing to it. The big one that keeps showing up is the connection between Gabriel and flies. He mentions them and interacts with them repeatedly, and although it isn't obvious at first glance, there's a fly in the box that he carries to the bookshop. This all culminates in the reveal that it's the same fly, Beelzebub's gift to him.

Here's the problem, of course: if everything in the show is intentional and crafted with meticulous attention to detail, how do we know what actually matters? This is why I think it's so important to look at the unanswered questions first. There's a joy in seeking out Easter eggs and connecting all the dots, and sometimes you might strike gold this way, but there's also a lot of noise in the signal. It's helpful to know the general shape of what you're looking for, so you'll know when you've found it.

You can reverse engineer this. Start with details that jump out at you and then look for a puzzle they might explain. This works, but it's a little easier to get lost in the weeds, struggling to sort out what's significant and what's a fun reference to another piece of media or a hint to a question that's already been resolved. Going back to the twists we've already seen on this show, the unanswered questions around them were really big and obvious, so I think it's a good idea to ask: if I hadn't noticed this detail, would I have thought this was a mystery that needed solving?

Okay, but what do we do with this?

Well, maybe nothing. These criteria can't confirm or rule out any theories, after all. I'm laying it out like a rubric but it isn't really, I'm just describing a few storytelling patterns we've seen before and making some rough guesses about how they might show up again. If I were really serious about this I'd probably take a look at other examples of Neil's work and see how well my model holds up there, but the truth is I'm not really familiar with enough of his other works to do this. (Confession time: I was always more of a Pratchett fan).

The main reason that I've laid everything out like this is it informs my thinking when I stress test my own theories, and I figured other people might be interested in it. I'm also hoping it will help me to be able to refer back to this when I write meta in the future. For my own purposes, I find a breakdown like this helpful because it gives me a sense of how a writer approaches their story, where they'll tip their hand and where they'll hold things close. It's no guarantee and it wouldn't be any fun if it was, but in a lot of cases we're not aware of our own patterns, so it can be surprisingly illuminating.

[invisible-pink-toast]

Is Misty a serial killer?

"I’m grateful, okay? I really am very grateful that your hobby seems to be figuring out how to be the perfect serial killer." "Why does everyone keep saying that?"

Misty is such a fascinating character. We know that since they were rescued, she's become a nurse/carer at a nursing home, that she's a prominent member of the Citizen Detective group, that she loves her bird Caligula and is training him, that she's gone on a lot of unsuccessful dates, and that she's kept tabs on all the surviving Yellowjackets.

But none of this explains the murder dungeon set up in her basement...

For context, Misty's had a fascination with medicine and healing since before the crash, taking the Red Cross babysitter's first aid course twice, but it's after the crash that she realises how useful this skill is in making her needed and letting her be in control.

It gives her power over people.

Her feeling appreciated for the first time in her life and feeling like she has a position of power in the group leads to her destroying the black box when she finds it. I'm not sure if she just meant to delay the rescue to give herself more time to shine, or whether she meant to trap everyone in the middle of nowhere permanently.

Even if her plan was just to delay, Ben is in a critical state, and everyone is injured and vulnerable to infection and exposure, not to mention their lack of supplies (Misty has no knowledge of the lake or cabin at this point). Either way it shows a complete disregard for others lives right from the get go.

Misty doesn't know much about herbs and plants when they're first in the wilderness, Akilah is the most knowledgeable from her time in the girl scouts. But Misty obviously pays attention, and she gathers plants into a binder that she secretly hides in the woods.

In her binder there is also a book on medicinal plants. As pointed out in this reddit thread, it looks faded, has no hole punches for the binder, and there's no reason Misty would have this with her in the crash. It's likely a book from the cabin. Instead of having it available for everyone, Misty has hidden the book so that only She has the knowledge - she's the one with the power, she's the most useful, and she appears to just know this information.

The plants in the binder include the ones that make you sick and hallucinate - you can see the 'vomiting' label! And this is not to know what to avoid, she gathers enough to use - which she does! It's completely premeditated.

Misty's eager to control Ben and poisons him when he appears to reject her advances. When she thinks she has a chance with him at Doomcoming she excitedly goes to drug him into a state of compliance. Her plan is ruined before she can attempt it (though I doubt Ben would've ever accepted another tea from Misty lmao) when Mari adds the shrooms to their stew. Misty knows that Everyone is going to be drugged and there will be consequences - but she says nothing and even has the stew herself in order to try and appear innocent. So she knows it's not something someone's supposed to be doing but does it anyway for her own gain.

"You poisoned me! Why?" "That's a very strong word. I wouldn't-"

Chronologically, the first death that Misty directly causes is Kristin's.

Misty threatens to kill her if the other girl reveals her secret (destroying the black box) and backs Kristin up against the cliff. When Kristin steps back, she falls to her death.

I truly don't think Misty meant to kill Kristin here. I think she was 100% capable of it, but her actual death was an accident. Misty panicked and was trying to gain control of the situation. Misty is in shock after Kristin falls off the cliff, she's devastated and climbs down and does CPR to try and save Kristin. Absolutely not a death she meant to occur, but despite her grief, Kristin's death does solve a problem for Misty.

Something that she'll remember going forwards.

The next death Misty is (at least partly) responsible for is Javi's. Misty is the one who relays Lottie's wish to be used as food if she dies, this causes the group to decide to sacrifice someone in Lottie's place. Natalie draws the card, Travis and Javi help her escape, but when Javi falls into the icy lake, Misty is the one to pull Natalie back from helping him and make it clear that it is Natalie or Javi's life and he is already drowning.

Misty also has complicated reactions to death. She immediately covers up Kristin's death with the blizzard, knowing that she'll be blamed if anyone discovers she fell from the cliff. But she's also panicked and upset and berating herself. She makes justifications for Javi's death and looks way too intrigued when Travis bites into the heart. But in contrast - Misty's devastated when the baby dies, and she actually convinces Ben not to commit suicide because "I can't have another death on my hands"

Yet Misty is also enamoured with violence - looking positively gleeful as Shauna nearly beats Lottie to death and grinning after they feast on Pit Girl.

At this point this is as much as we've seen of Misty in the '96 timeline but it's... troubling. Especially considering what she's like in 2021.

Misty's become a nurse, working in an aged care facility, where she can play God and have control over people's lives again without any real oversight.

But none of this makes her a potential serial killer. What does is:

1) Her basement.

Misty kidnaps Jessica (we'll get into that) but she already has a basement set up for this exact need. A bed, TV and kitchen facility in a basement isn't usually suspicious - but we know that Misty has ZERO guests staying (willingly) with her, the basement only locks from the outside, it's already set up with restraints on the bed (potentially just kinky but given the context more murdery), a wheelchair that someone can be easily handcuffed to, duct tape, etc.

There's also other details that show that... this is not the first time Misty has done this. She gives Jessica plastic cutlery like what a child would use (unlike the metal cutlery Natalie uses to stab Lisa and escape when she's kidnapped and chained to a bed). Misty wears gloves and a full jumpsuit to conceal her DNA and a pair of work boots that are clearly for this purpose only.

Even knowing that Misty is a researcher, is fascinated by true crime and is a citizen detective, there's just too many details in the set up for this to be a one off thing and first time success.

2) Misty's knowledge, supply of, and willingness to use drugs.

Misty kidnaps Jessica in about ten seconds. She's convinced Jessica to willingly get into her car to discuss what they talked about on the phone, and without a word Misty stabs her in the thigh with a syringe and knocks her out. Then Misty drives away with a smile. hm.

After discovering that Jessica will be harder to crack then Misty thought, she's perfectly willing to... murder Jessica's father. By lacing chocolates with a deadly drug and sending them to the guy from his daughter. Misty even gets his nurse to agree to deliver them personally sjdlk;fhaskl;dfh holy shit??

Drugs are Misty's weapon of choice. It's another thing that gives her power over people. She laces Jessica's cigarettes, murdering her, when Lisa shows up with a shotgun to try and get all the masked armed people away from Lottie, Misty's first instinct is to kill the girl. The only reason she doesn't succeed is that Natalie covers Lisa and sacrifices herself.

So in the adult timeline - that's one straight up murder (Jessica), two attempted murders (Lisa and Jessica's father), and one accidental-ish killing (Natalie). All with drugs.

3) Misty's manipulation and lack of boundaries

Not as big of a reason as some of the others, but important to consider overall. Misty has no boundaries with other people, and uses her skills against everyone around her, whether she thinks of them as a friend, foe, or a complete stranger.

She keeps tabs on the other survivors, including Travis, who changed his name and disappeared. She's disappointed in herself for not knowing Lottie was back from Switzerland.

She tampers with her own car to guilt her date into driving her home, then guilts him into coming inside by crying that he doesn't think she's pretty.

She tampers with Natalie's car in order to force Natalie into going with her to find Travis.

She texts Kevyn Tan pretending to be Natalie and starts up a relationship with him (i mean acab but still bad from natalie's perspective)

She puts a hidden camera in Natalie's room in order to spy on her, listening in on her conversations and watching her have sex (girl come on.)

To threaten Jessica, Misty finds out the aged care facility her father is in, who his nurse is, and using a fake name has a lengthy conversation with the nurse to find out as much information as she can.

Misty does a whole background check on the random motel employee in order to threaten / blackmail him into helping her.

Not to mention all the ways Misty abuses the residents in her care at her job.

4) She knows exactly how to get rid of a body

She's so flattered I just-

Once again, because she's a Citizen Detective and loves true crime I can see her knowing a fair bit about this. Like the 'fun fact' that 12% of killers are caught buying cleaning supplies. Why she knows exactly what brand of bleach is best to clean up a murder because "regular bleach leaves behind hemoglobin for the luminol tests" is not something anyone who has not cleaned up a murder scene would know. Also she knows exactly what to steal from her work to clean up a murder scene and dump a body on short notice...

A lot of things that Misty still uses are things that she learnt in the wilderness - the drugs, the manipulation, etc. Cleaning was not a part of the wilderness. This and her murder basement are things she has learnt over time since they've been back.

She's also so upbeat?? All of the survivors have dealt with bodies, but for most of them it's been a while and they're all pretty shaken when getting rid of the evidence of Adam's murder. Misty is practically glowing - but given that her 'friends' need her and that she's in charge, that tracks for her character.

So after all this, there's still the question:

Is Misty a serial killer?

Honestly? Yeah, probably. She has far too many resources and techniques and is just far too comfortable with murder and cleaning up afterwards to have not killed at least a few people that we don't know about. A serial killer is someone who has murdered at least three people over a period of time. I'm thinking Misty qualifies.

Then there's the question of why?

Misty thinks of herself as a hero. The underdog who's protecting her friends, especially Natalie. She's doing what needs to be done when the others aren't able to.

And it's the phrasing of the quote above that really gets me. The 2021 timeline in both season 1 and 2 takes place over only a couple of weeks. The bulk of it - from Jessica's kidnapping and the blackmail to ending up in Lottie's compound - happens over about two weeks.

In that two weeks, Misty has (according to herself) taken care of things such as: helping Natalie find answers on Travis' death, stopped Natalie from relapsing, killed Jessica and neutralised a potential threat, helped the others cover up Adam's murder & tracked Natalie down after her kidnapping.

Only they really didn't find answers on Travis' death, Adam's murder was not covered up and Shauna is being investigated, and Natalie stayed willingly with Lottie. The other two are highly debatable.

So Misty did not take care of things. Also, "always" is a strong way to phrase a two week period. Considering she hasn't seen the other survivors in years.

So is Misty... not talking about that two week period? Is she talking about before?

The Yellowjackets and their survival have been public speculation since their rescue. Jessica pretending to be a reporter and poking around for a story is not shocking to any of them. But no official story has ever come out. Maybe Misty has been "taking care" of any potential leaks.

Has anyone checked in with the author of 'Skin in the Game' i'm just saying

She already has the basement set up for interrogation. She already has the drugs on hand to make a murder look like an overdose. She would rather kill someone then deal with the consequences of them living. Take Jessica, or the fact that Misty used a lethal drug (probably the fentanyl) when attacking Lisa, when she could have easily used some sort of tranquilliser.

There's also the fact that she just enjoys having power over other people. She enjoys violence.

Some theories:

There's Stan, the guy she went on a date with in 1x02. It's obvious the date is going terribly. Misty is trying way too hard and he's not into her but she keeps pushing. That is in character, and maybe they're just trying to set Misty up as being desperate. But also... the guy is kind of a loser. He's just been fired, he tries to ditch the date at 6PM, he's even more awkward then Misty. But she still messes with her car so he has to give her a ride home. She still manipulates him into coming inside.

Why? Why does she want this guy in her house? To try to convince him to have sex with her? She doesn't really seem that into him either. And once Natalie turns up Misty could care less about the guy.

Maybe Misty was looking to use her murder basement. This guy just lost his job, if he disappeared would anyone notice right away? If he turned up a week later, dead of an apparent overdose, would anyone suspect anything? Misty sees herself as being noble, when she kidnaps Jessica she taunts her saying "good night, sleep tight, don't let the fact that you're a terrible person keep you up tonight". Stan was a jerk, so would Misty justify her actions to herself because of that?

Then there's Walter. He knows more about Misty then he's letting on. He may have found her on the citizen detective boards, but even with his odd behaviour, this doesn't explain his borderline obsession with her. When covering up Adam's murder, he's also covering Jessica's. How does he know about Jessica or that her murder relates to Misty? He's very into true crime - has he tracked Misty down because he's linked her to several suspicious deaths? It clearly doesn't bother him, it actually seems to be something that endears her to him, but it supports the serial killer theory. Also hilarious that he thinks her being a surviving Yellowjacket is the least interesting thing about her and... he's right actually jsldkfhsaldhfas;hf

At the end of the day, Misty Quigley is a fantastic and fascinating character and I can't wait to see where her story goes. I would love for this theory to be true, but either way I'm sure Misty will be as entertaining as ever.

"I know when you look at me, you don't see someone you should be afraid of, but, uh... you're wrong."

[deadbydangit]

Hello! I hope this isn't too odd-

Could you do headcanon's for Michael, Danny and Joey, where his survivor S/O just randomly tells him about their very thought out and meticulous murder plan. They've clearly put a lot of thought into how to get away with it while framing someone else. It takes them like five minutes to go through the plan step by step

And then they end it off with a "not that I ever would, obviously, but yk just something to think about. Btw if you murder me and dispose of my body like that, don't fuck it up... Not that you would <3"

Whether they mean he'd never kill them, or that he wouldn't fuck it up, hell never know

I believe I can do that. I'm going to simplify it just a bit so I have more to write. I hope this is okay. Please enjoy

With a Reader Who Comes Up With a Murder Plan

Ghostface, Shape, Legion (Joey)

Ghostface

"Marry me!"

Came out, almost as soon as you finish talking.

And he says it so fast it's incomprehensible.

"What? No, I didn't say anything."

"I-I just coughed."

No, we know you didn't Danny.

Don't press it.

He's thanking the Entity and whatever God is out there he's wearing a mask.

Because this boy is blushing.

Like, his whole face is red.

Deep red.

When you're no longer an earshot he's going to squeal.

Like a lovestruck little girl.

Because, at that moment, he is lovestruck.

Murder and you.

His two favorite things in the world.

Together.

He just can't believe it.

At all!

If the plan was just you speaking hypothetically, make sure to tell him that.

Because he's too excited to know the difference.

If you're serious about this...

Well, expect all the supplies at your bedroom door in a nice little box.

Topped with a poorly tied bow!

And if you plan to go through with it, he's right there beside you, supporting you from the sidelines.

If you want him to step back, no problem. Just say something.

"But, babe, please let me watch. Please! I need to watch this!"

He's just so proud of you.

He might even propose to you after.

Shape

He's pretty fascinated.

After you're done talking, he'll pause for a long while deep in thought.

Then he'll take out a sheet of paper, urging you to write your plan down on it.

Micheal may seem to do his killings at random, but he's actually very meticulous about things.

Each murder is carefully calculated for the max results in the shortest amount of time.

To him, murder is an art.

He'll critique and pick your plan apart.

He's not doing this to be rude, he's actually being very supportive.

He wants your first murder to go perfectly.

He'll show you the ropes, guiding you through each step and practicing each one.

Best techniques for stabbing, best techniques for strangling, what to do when they run.

He's got all the bases covered.

And he's going to make sure you do as well.

He considers himself pretty good at his art, and what kind of boyfriend would he be if he didn't teach you everything he knew?

Now, if you aren't serious about this, you're going to have to mention that.

Because to him, killing is a casual thing.

You know, you eat, you sleep, you kill.

Killing is as natural as breathing to him.

If you are serious, he's going to make sure nothing goes wrong.

If you don't want him around, don't sweat it.

Oh, he'll still be there.

But you won't see him, at all.

For someone as tall and big as he is, he's excellent at stealth.

He's prepared you so well that everything seems to go perfectly.

Of course, he did patch up a few of your mistakes here and there.

He just made sure you didn't notice.

He wants you to be as proud of yourself as he is of you.

Legion (Joey)

He feels really conflicted about this.

On one hand, murder is not that fun.

He didn't come into the realm because he wanted to.

He kind of got screwed over.

Yes, he knows he participated in the killing.

But that doesn't mean he enjoys what he does.

On the other hand, you describing in all that detail what you'd do?

Kind of hot.

He'll try not to say that out loud.

But he's impulsive and he might accidentally do so.

Don't judge him.

He'll suggest other things to channel your energy into.

Anything but killing.

Hell, he'll even let you spray paint the chateau walls.

And he'll take the blame for it!

Anything but killing.

If you're dead set on it, Joey will be there the whole time to keep you safe.

He's probably not going to help though.

He kills enough on a daily basis.

And he's just rather not.

But he won't let any harm come to you.

If anything, he'll be begging you to stop.

That you don't have to go down this path.

"Babe, if you're doing this to impress me, you don't have to."

"I love you for who you are, and I don't want to see you ruined by what messed me up."

[spectral-phases]

Tim Drake as Rook (and Blackbird)

I've seen posts floating around trying to suggest new names and new costumes for him, and I've seen really great designs (u/Hunkerdown_son's Gray Ghost suit) that I like a lot more than what he's gotten. (Poor kid's gone back to Robin and was feuding with Damian about who's the better Robin? Like, boy, you could be in college, you are a whole-ass adult now, god damn, can the writers let you develop). There's Cardinal, Flamebird, Redbird, every red bird there is. And like, I get it, Red Robin was one of his more iconic runs (pre-Flashpoint), his OYL costume was primarily red, he was Red Robin wearing basically a Robin costume for a little while there too.

One of the name's I've seen is Rook. And that fascinates me. I actually had a hazy image of it pop into my mind, like a terrible "got any more pixels?" JPG picture of an artbook all zoomed-in and blown out one, of what that might look like.

(Artist's recreation of the above described image)

So I made it.

(Look, I know. I know. That is not how "Rook" would be stylized for the logo, but listen, listen. Cursive k basically has a mini-R in it and I was having fun with this. Okay? I don't draw much these days and I'm not a comic artist/graphic designer. I do math for a living.) (I spent very little time on the logo for Blackbird, but you get the idea. The "R" gets twisted nicely into a "B" for Blackbird, in my opinion.)

Design choices and everything below. Very stupidly long.

Rook first because I know the color is going to be a sell.

Rook is a bird in the corvid family, with crows, so they're exceptionally smart birds. Rooks are also the name for the chess piece that can perform the trickster maneuver called castling where they trade places with the king (It's not hard to do, necessarily, just like, a 4D move compared to the normal chess moves, and not something the average person knows about). Being that he's been relegated to the "boy genius" role and he is vicious and cunning with his mind more than almost anything else (See Robin #137's "Show your face here again and we'll frame you for the kind of crimes even other hardened kills don't condone or forgive" speech, him blowing up the LoA's computers in Red Robin #8 after somehow creating a program/virus on their systems while under constant supervision, or all of Red Robin's "The Hit List" arc). (I know he's not the only one who can do or has done, things like this, but he does it a lot, is my point).

Rooks, the birds, as a symbol of death are also fascinating to connect to Tim. He's never "died" like the other Robins have, but his mantra in his introduction is basically "Batman needs a Robin." Because Batman/Bruce has been traumatized by losing his son, Jason, and is spiraling, dialing up the violence towards criminals, dialing down his ability to care whether or not he survives, destroying his interpersonal relationships in the process. Death as a symbol can mean the literal figurative death, but it also can mean the end of a phase of life, of letting something go, and moving onto a new chapter.

And that's what Bruce needed to do. He, of course, would always miss Jason, but he needed to move past the pain, move past the agony, become what Batman was supposed to be again. Tim's the one who got him there. He's the one who convinced Bruce to open that new door. Tim's the one who put the "family" in Bat-Family because Bruce sure as shit was not going to do that. Here, this post explains that a bit more eloquently.

https://www.tumblr.com/thattimdrakeguy/190044791065/would-you-consider-tim-the-heart-of-the-batfamily

Rooks, the birds, are also blue/purple in color, which I think is great for Tim. I know, I know, everyone wants him with red. I get. I really, truly, get it. But let's just...take a step back and go outside of the box a little for his color. Now, I know, not everyone keeps the same color consistently (the number of times Nightwing has just bounced between Blue and Red, for example), but there is usually a "main" color strongly associated with each member of the Bat-Family.

Nightwing gets blue, duh (and also bluebird). Red Hood gets red (and also Nightwing when he's having a shit time and also Kate Kane's Batwoman and also Damian's Redwing). Damian's Robin often gets green (though I low-key associate green with Tim's Robin more than Damian's, Tim's no longer going to be Robin here, so Damian can have it). The Signal gets yellow (and so does Cass's Batgirl/Black Bat/Orphan). Stephanie as Spoiler/Batgirl has purple (and so does Huntress and Barbara's Batgirl). And Oracle gets lime green.

We don't need any more red symbols in the family. It's already out of hand without throwing Tim in there. And out of all the siblings, he's the only one without a distinct color.

Anyway. If we dip into tertiary colors, we can fix all of that. I made a mock-up of what I mean drawing the symbols mostly by memory in a few minutes. For Huntress/Helena Bertinelli, I just used her mask.

See how Tim as Rook gets to be wedged in between Nightwing's blue and Stephanie's purple with Violet? Tim Drake is a Dick Grayson fan first, Nightwing fan second, and person a distant third, so going more blue with his scheme is a much better fit. You could come up with a name for him to be teal, but violet is better for Rook, and like he's also close to Stephanie's Spoiler/Batgirl colors and say what you will of his relationship with her, she is important to his character as friend/girlfriend/friendly-ex. And Dick went from "Red/green/yellow" to "Blue/black" so Tim can go from "Red/green/yellow/black" to "violet/black."

Oh, and it lets him get his "R" back. The one from the 90's that's just so iconic that he was literally introduced with as Robin. If we can have a million different bat symbols then we can have two different R's floating around and no one will be confused.

And anyway, with all of that in mind, and that terrible image haunting me, I decided to draw a quick reference sheet for what Rook might look like. I think I spent like 2 hours on the final version, with an hour and a half on sketches I hated/deleted. Anyway.

I had a nice dark green in here instead of sky blue and a dark purple instead of dark blue, but then I was looking at the purple/green and "I'm in dangered" my way out of the Joker color-combo.

Instead I decided, since he's a young person and the violet I chose was sort of blacklight-esque, then why not make him look like some kinda blacklight glowing guy. The youth these days still love that kinda stuff, right? And it ties into the themes of being a light in the dark and crime-scene stuff and all that. The colors came from how lead glass reacts under black light, and while I imagine the violet parts do show up in black light, it's the light blue parts that actually glow in blacklight.

If you want to draw this design or make up your own Rook design or tweak this design go ahead, like, for example if you wanted him to have the sharp pointy cuffs that I couldn't get to look good at all (but please tag me if you do, I wanna see it, unless you're shit-talking me. Then don't tag me.)(Shit talking means "my god, this asshole who cannot draw at all" and not "It was okay, but I thought it might be better like this/with some tweaks/more coherent colors" one I can take and the former will make me cry).

(If the notes are hard to read, they will be in text at the very bottom)

Obviously, I got a little too obsessed with the mask for my own good. I didn't want him to just have a domino mask, I liked the protectiveness of his Red Robin cowl (if not the look), and I wanted more coverage while also having his hair out because he has really good hair. So it goes around the back of his head in a band, protecting his temples and the back of his head, but nothing else for his hair to show. It is supposed to blend with his hair so we get the illusion of the cowl, but drawn by someone better/more time/shading it'd be fairly obvious up front where his hair and mask are, but less so from the back. And Tim has done the mask under a mask gag before and a self-destructing mask, so I feel like him having approximately 30-billion fail-safes to prevent it from just being pulled off of him is in-character.

And then I decided, that since Tim is Nightwing fan second, he can have a red version of the outfit named "Blackbird" for when he's feeling a little moody or feisty the same as Nightwing has the red Nightwing suit for...reasons ("We wear red in new continuities" or whatever. Why have one outfit when you can have several?). This time the colors were inspired by red cadmium glass under blacklight and the red winged blackbird.

Red Winged Blackbird's symbolically are "a sign of change and transformation. They represent the power of love and compassion, as well as the need to take action in order to make positive changes in your life. The red winged blackbird is a symbol for spiritual growth, inner strength, courage, determination and self-awareness." Which. You know. Fits Tim. And there's red. So. I feel like that's an easy sell. ¯\_(ツ)_/¯

I wanted to reference his OYL, Post-Crisis Red Robin (regular and data alter), and Robin (Post-Crisis/Rebirth) outfits for the design. I didn't care for much of his post-Flashpoint Red Robin outifts, adding Nomura/Kingdom Hearts zippers levels of belts to him or just being Robin with two "R"s for a symbol and bad hair. You can see the OYL in the edges of the cape and the interior of the mask. Robin, Rebirth in particular, with his elbow pads and knee pads, shoulder armor and the shape of his boots. Red Robin in the bandolier harness/belt thing he's got, but every thing on it is one of those hammer space utility belt pouches the Bats are so well known for, so he can have a bajillion of them as the "tool using" Robin. The "V" center and arm-stripe/finger-stripe combo is, obviously, reminiscent of Nightwing, and his Red Robin data alter, which is also reflected in the larger mask (though the nose is not as beak-like).

(OYL References, the dialogue in the second to last panel of the first reference is misattributed, in case you were confused as to why Tim is dissing his outfit and Dick is talking like Tim)

(Red Robin References)

(Robin References)

And obviously, I just put his "R" symbol on a circle and called it a day. Although I was clearly going off of memory instead of a direct reference, but whatever. Whatever. It fits better in a circle the way I did it. And a circle is a better buckle/clip than the oval, which was a deliberate choice. So. Anyway.

Notes (from top left to bottom right, grouped by what they're describing):

Shoulder Shot: "We're bringing back his iconic 'R' from the 90's for 'Rook. (pointing to the R symbol)." "The cape can be rolled back to reveal some light shoulder armor that doesn't change his silhouette when the cape is down (pointing to his shoulder armor and the rolled back cape that is reminiscent of his over the shoulder "black with yellow" capes)." "Feather pattern that emulates Nightwing's arm/fingerstripes (pointing to the side of his arm)." "His elbow pads have the same shape as his kneepads for the skaterboy vibe. (pointing to the pads over his arms and knees)."

Sketch of harness: "Bandolier harness hides under the cape that clips into his insignia (pointing to the symbol in the center)." "Each space is a pouch (pointing to every area between the pointed ridges (which are hollow tubes with screw caps that can also hold things for maximum hammerspace))."

The detailed shot of the mask: "The face mask is partial emotive with white lenses that have thermal and night-vision (next to the white eyes)." "The foil layer of the mask can peel off unless actively held when the mask is lifted, and cling to his skin with a static charge that makes it almost impossible to peel from his skin (pointing to the teal circuit bit that is lifted from the pointy bit of the mask (the circuits are water/sweat proof, don't worry))." "There are dozens of magnetic locks that have to hit in the right on/off pattern to life all layers of the mask. Each finger in his gloves can have an active magnetic charge, so there are over a thousand combinations (pointing to the foil layer and the inside of the mask)."

The sketches of the mask lowered and raised: "The back of the mask is made of interlocking combs that seal together with metal locks to avoid it coming off unintended (pointing to the back of the raised mask)." "Durable, flexible rubber-like material (pointing to the sides of the mask, back, and the expanding fan like section that allows it to raise while still being one-piece and the top of the mask that would roll against his forehead)." "The mask can be lifted up when the locks are undone (pointing to the raised and lowered mask and the expanding accordion like structure)."

The sketch of a side profile of his head with his bangs and face half there: "Where does the mask end and his hair begin? Like Kujo Jotaro's cap, the world may never know (pointing to the back of his head where the black mask and black hair would blend together)." "The back of the mask combs through his hair and the top layers of his hair cover it (providing an actual answer)." "The nose of the mask has padding that protects his nose from breaks and conceals the shape of his nose and cheeks (next to his nose, which is half covered by the mask)."

[pisshandkerchief]

Okay tysm I know nothing about this stuff but I’d love to hear about it. I feel like because the movie was really unengaged with the actual politics in folk music at the time and it made it really unclear how much Bob Dylan himself was engaged in the politics so I’m wondering 1 how political he was in the first place and 2 if his political engagement changed when he moved away from folk music because they definitely acted like playing electric guitar meant not doing political stuff anymore but also acted like he just liked the music more/ wanted to be disruptive so did his politics change? Was the story of the movie really ‘Bob Dylan stops caring about civil rights because he gets into the kinks yay’ because that definitely doesn’t sound right but all the politics were so vague and surface level that the political side of people’s motivations felt really unclear

rubs my hands together in a delighted fashion. ok this is a question I can actually somewhat answer for you so let's get into it.

No, his politics didn't change because he moved away from folk music. there's two things it's important for you to know: one, Bob Dylan didn't start with folk music. He was into early rock and rhythm and blues first. this guy wasn't listening to Woody Guthrie from day one, he was listening to Elvis and Muddy Waters and Buddy Holly and Little Richard and Lead Belly. He only came to folk music later, which people at the time tended to forget about. Rock was his true passion at the start. Two, Bob Dylan never identified himself as a political song writer. He always said he didn't write about politics, he wrote about his own core values and the things he saw in the world. I'm watching a documentary about him rn called No Direction Home, and in it he says something along the lines of "you can care about a group of people without making it a political thing". I love his music and it's influenced me a lot, and I think he's a fascinating person, but I'm not a huge fan of Bob Dylan's politics myself, because I think he's always been a bit wishy-washy about what he actually believes. I understand why people were mad at the time, because he wrote all these moving songs about the civil rights movement and then when confronted about them later he always hedged and claimed he wasn't trying to be political even though at the time he clearly was. I think he's more of a liberal than a true leftist. There were real leftists in the folk revival, and they were people like Phil Ochs. In the end Bob really was in it because he wanted to be famous. I think he believed deeply in the civil rights movement because he admired a lot of black artists and truly thought that racism was nonsensical, but beyond the surface level he wasn't an activist and he never tried to present himself as one, he had that role forced upon him by people who saw him as one and wanted him to be the face of a generation and he was always very opposed to that idea, and eventually it made him cynical. I suppose his political engagement did change when he moved away from folk, because he did stop writing as many overtly political songs, but not immediately and not as drastically as people made it out to be. Bob Dylan is a complicated person who a lot of people tried to box into being one thing or the other and in the end all he really wanted was to get out of those boxes. It's difficult to know what was going on in his head because for years he was a very private person who very intentionally worked to make sure nobody knew his true thoughts on anything.

To put it simply, yes, when he went electric he stopped writing music that people could see as overtly political. But I don't think his beliefs changed. I think it's an early case of people having a parasocial relationship with their favorite celebrity and painting him as more leftist than he really was. He wasn't a political activist, he was a performer. And he never pretended to be anything else.

[mountainscouts]

I think Gary shouldn't be just a perfect overachiever gentleman that soothes Stan's depression. I don't dislike it but I also want to see Gary not have everything in his life in order, allow him to get angry, question Mormonism (racism, homophobia), pressure him with familial expectations (don't set bad example for his siblings, must marry a woman, etc), let him cut loose and party. Conversely, Stan isn't 24/7 doom+gloom. He can be stable, proactive and self-reflecting even before dating Gary.

WHEW. OKAY THIS ASK HAS BEEN SITTING IN MY ASK BOX FOR A WHILE NOW BECAUSE ITS JUST SO. SO PERFECT. where do i even begin?

okay, i have such a specific view of gary that is essentially this, seriously. when it comes to stary, people tend to gloss over gary as a character and while i can't really blame them for doing that, considering that gary is just a guy who has in total less than 3 minutes of speaking roles in his only episode, it's something i've noticed. while i wish that more people would explore him as a character with as much depth as stan, i've kinda just accepted that it won't ever be the case. BUT because of that, i've sort of hyper focused on these types of details about gary and built on his character more in that regard, going that exact direction you went in your ask.

gary, to me, is a well-polished & put together mess when he gets older. the church is such a fascinating and important facet of his life, and the fact that his character is so inherently & quintessentially mormon is a very accurate portrayal of a lot of mormons from SLC. with that, any type of interpretation of him that deviates from typical norms and values in the church is actually asking for a lot of character dissection. i understand that a lot of people would rather not, but i WOULD. and HAVE BEEN...

gary to me is gay, and i can't really see him otherwise. he finds this out– or at least has a feeling that he might be at a younger age, so already his sexuality giving him leeway in questioning the church and its beliefs. this starts leading him to be more self-aware of his societal and familial role, juggling his own beliefs, the church's, and by extension his family's. with this baggage, i guess, i'm sure it'll extend beyond that to his sense of self. what does he want to be? what does he want to make of himself? how can he feel so trapped, but by the loving arms of his family? so much to build and unpack here!!

speaking of his family, i truly believe they're ignorant folk, conservative, and traditional (inadvertently confirmed by how many children they have and how they all interact with eachother- even if that's just a joke, it proves my point that the harrisons are a decent portrayal of mormon families yet again). gary, being the middle child and if one wanted to write him as "the special one", makes for these dilemmas even more interesting honestly. from setting a good precedent for his siblings, following the path of his older ones, cramming extra-curricular activities as a means to both please his parents and even distract himself from his issues, to having to attend church meetings— it all piles up, all while his own contradictions are fed more and more at the incessant exposure of daily life.

the reason why he's considered a polished mess is because he's your typical "looks like he has everything under control, actually under insane amounts of stress" character. i firmly believe that the harrisons have no ill-will, but i think the way that they raised their children falls strongly on the line of emotional neglect. their children were never taught any life lessons that'd help actually help them like- you know, regulating emotions. i've mentioned this in a previous post (and also elaborated on gary showing anger specifically) but i personally believe that while gary is a kind, and generous person to his core, there is an incredible amount of repression deep within him— a product of being raised with many, "boys dont cry"s, "love thy neighbor"s, and "forgive and forget"s. kindness specifically is actually an incredibly important aspect to mormonism, as it's a key part of the lifelong and ever present journey to celestial afterlife. but that's the thing: objectively speaking– this is just a way of control.

so when one wants to break free from this way of thinking, to lose this control, to break away from all they've known— their very livelihood— it's not going to come in the form of an overnight epiphany. in gary's case, considering how tight he is with his family versus his budding progressive views and drive to have more free reign over his self, it's going to be one hell of a struggle.

to touch on your point of him not getting everything he wants, i think that's another fundamental reason why he would question his standing in the church as well— depending on What he doesn't get. perhaps he doesn't want to serve his mission, but does so anyways. or maybe he simply had a bad day, but he can't allow himself to get upset, convincing himself that "things could be worse" as a way to make himself feel better, barring himself from healthily expressing his feelings. repeatedly saying "its okay" is going to be his downfall lol

and, i too would love to see him cut loose and party eventually- without a second thought that he'd be disappointing anyone.

okay now for stan. oh yeah that guy— no i'm just kidding, i'm also actually very picky about stan as well. :P most of your points about him align perfectly with mine. i don't like it when people woobify him to a point where his only/a major part of his character is his pessimism and depression, and while they are a part of him, it seems to be a big theme when people talk about stary. i definitely love the whole "i can fix him" thing gary has with him (because of gary's primordial urge to "fix" things and be persistent until he can't anymore) but that's definitely not all that they are!! (also gary's initial thought of "fixing" stan would already be faulty from the get-go anyways- but he will learn)

with stan, i think people tend to make him already pretty "helpless" in general fandom, and while he has shown to be more vulnerable than his peers, hes still pretty resilient. i do think that he would need a little bit of a push when it comes to his mental health, but that's only because he's found a way to cope with these issues- none of which are truly healthy. he's moreso content with being in a stalemate with himself and while he does wish he could do more, it takes a lot out of him to get out his more personal comfort zones.

kinda gives him another reason as to why him and gary are narrative foils, i just realized :P!!

but yeah!! i really loved this ask, and i probably really should indulge more in this aspect of gary >_<. its something i truly think about, and those who are close to me DEFINITELY know this! thank you for the ask and sorry it took so dang long haha. also thank you to those who read this behemoth, genuinely didnt expect to yap this much

[that-dreaming-dragon]

Origin Theory

Asking someone's origin feels like asking someone what's their assigned gender at birth. That's like, undermining who they are as a person, correct gender and all. Maybe there's value in knowing where one came from, but that's pretty personal.

At the least, the alterhuman community at large don't really hound on people for their origin from what I'd seen. It's a lot of people offering up their origin story. Is this a need to be validated due to all the past discourse surrounding spiritual vs psychological origin?

On the same vein, voluntariness. It's another form of origin theory that gets a little, I'm not sure redundant is the right word, but it takes away a lot of personal agency when dealing with something that's your own, one's identity.

With how vastly diverse and just generally limitlessness of alterhuman identities, having something so finite and restrained is so strange. Maybe for presentation towards the newcomer and orthohuman outside the community it's important to keep things simple--box labeled and everything organized like a file cabinet. But within the community? Conversation flows easier, as I observed, when people put not as much stock with the origin theory. Although it is still fun to talk about, speculating one's own "how I came about", it really shouldn't be the "oh no, I'm psychological/spiritual" then proceeds to panic. I donno, I fortunately haven't seen this. Though, I can't remember how it was when I first found the community roughly 5 or 6 years ago, I vaguely recall the emphasis on spirituality with implicitness of how much more important it is than psychological. I guess there is still that lingering around. Although I'd heard how in some circle, it's the reverse. This whole thing is just so dumb and really not cool. I don't have the right word here, but please hear my frustration.

A lot of things with alterhumanity by itself is fascinating. I like hearing about people contemplating whether they are spiritual, psychological, I love hearing the one alien that has a philosophical relationship with their alterhumanity, I know of a couple dragons who start their draconity as artistic expression of the self. These are really cool! And knowing for some the cause of their alterhumanity is from their neurodivergence made me think about myself. Knowing about people that have other lives, whether it's living in parallel with other universes, inside time loops, or having a identity because they will become that one day? That's all really neat.

We don't need to proof who we are within the community. Isn't that one of the point of having a community? We shouldn't need to validate ourselves to the folks who are suppose to be just like us, or at least understand what we are going through in some way.

I mentioned just now how some have identity that they become due to artistic expression, there is a implictness of the voluntariness in there. They are still who they are in the end. (do the end justified the mean? That's when on making decision to do something. not dealing with identity stuff) Personal journey such as alterhuman self discovery are, the whole thing would matter differently to people, some would care for the path they'd took, some only look at where they are, some care for every single moment, some just goes with the flow, and it is all perfectly okay! Because we are all unique individual experiencing our own thing.

I mean, if we are talking about explicitly intensionally created bond towards something, aka linking, that's something explicitly voluntary. Yet quoiluntary exists as a term for people's use, and there is a need for it! There's this focus on a linktype as something you can drop, but there's the concept Anteatype--a identify-as (kin/theriotype) that has been dropped, which makes the whole "something that can be pick up voluntarily and then drop as easily" as the definition people point to kind of null. It's the one post Poppy on tumblr had said

'Paratype' only tells you about the origin of the connection/identity, not its substance.

To me, “otherlinking” only tells me that it was from without, external, applied with a will, to actively create or strengthen a connection, preexisting or not. And then later on if someone feel the need to shift their terminology to better fit their experience, it's a option. Though it can be scary, the community is there to support.

I know at one point I myself also put emphasis on how much my origin is. I mean I did mention me finding that my hearttype is far more spiritual inclined than my kintype. I ascribe to the metaphoric in origin for my kintype these days though. It's not important a conversation, though I do like to ruminate on it myself for my own curiosity.

Course I wish we can completely move away from the need to define these boxes, but I suppose we can treat them like alterhuman identity training wheel. You can use them when you first found the whole concept, it might help to keep things simple and more concrete. Later on, when you are ready to fly, you can gently let them go, or pin them up on your pin board hoard, say "okay, I'd done that, now let's see what else there are". Be a little explorer, except the vast beyond is the little universe within your very self.