#I've got MORE in the brain

[walkingstackofbooks]

A 9-year-old Julian Bashir who has had nightmares about evil doctors in an alien hospital for as long as he can remember. He doesn't tell his parents though because "he's a big boy now" and nightmares are for little kids, so he knows he should deal with them alone. And even if he'd like a hug sometimes, his mum only gives him hugs for doing well, not for doing badly, so he figures there's no point bothering her

A 15-year-old Julian Bashir who realises that the nightmares he used to have were based on the apparently very real alien hospital his parents had taken him to as a kid, and spends hours trying to figure out what were real memories and what his mind had made up over the years as he slept. The nightmares come back with an intensity, but they're nothing compared with how he's feeling when he's awake, and pretty soon they become a normal background noise of his life.

A 19-year-old Julian Bashir who's finally been moved into a solitary room after his third roommate in as many weeks complained about the almost-nightly screams. His advisor asks if he wants to speak to anyone: he claims they're just night terrors and he doesn't actually remember them. Besides, even if he could talk about what was in them, he probably wouldn't, because he's fine - he's used to them by now.

A 24-year-old Julian Bashir who gets woken from his nightmares by warm hands and gentle kisses, and learns what is like to be soothed back to sleep by the soft voice of Palis Delon

A 32-year-old Julian Bashir who has a different nightmare every night. The last year's been difficult. But then, it's been difficult for everyone, and he knows he's far from the only one to be suffering from nightmares at the moment.

A 34-year-old Julian Bashir who can't stop dreaming about the torture he went through four weeks ago, who's missing Ezri and who Miles is increasingly concerned about. When the O'Briens offer him their spare room for a while, he warns them multiple times about his nightmares, and is pathetically grateful when that doesn't change their minds. "We have nightmares too, Julian," says Keiko. "We can cope with yours."

A 34-year-old Julian Bashir who is confused when, three days later, Miles remarks, "You are having a bad run of those nightmares, aren't you?"

"They've been better than usual, actually," he replies awkwardly. "It's been really nice being able to go back to sleep afterwards, for once -- you and Keiko have been so generous in coming and checking on me."

"Course we're gonna come and check on you," says Miles gruffly. "You woke up terrified. We're not letting you do that alone."

"I'd be fine, Miles," Julian reassures. "I'm hardly going to expect one of you to come in every night."

Miles pauses. "...How long are you expecting to have them 'every night' for?" he asks, with some concern. "I mean, after a thing like this, how long does it usually take them to settle down?"

Julian stares at Miles. "I... have nightmares, Miles," he replies, frowning. "Just like you. Nightmares happen every night."

"No, they don't," says Miles, equally confused. "Don't get me wrong, they can do: after something big then sure, they're like that for a few weeks - a couple of months, even. But eventually they fall down to once, twice a week..."

Julian is looking at Miles incredulously. "That might be how it works for you," he says. "I guess my brain's different to yours. Mine don't stop, they just... mix. Change. Get confused with one another, eventually. I've had more dreams about being genetically modified by Sloan in the Dominion camp than I care to remember, you know?"

Miles' concern has turned into abject dismay. "You're saying you've had nightmares every single night since the Dominion took you?" he exclaims.

"Well, maybe not every single night!" retorts Julian, a little unsure what Miles is getting so het up about. "I do have some days when I don't... But yeah, pretty much. I've had nightmares most nights since I was fifteen, it's just how my brain processes stuff."

"Fifteen?"

...

A 34-year-old Julian who finds out that having nightmares every night for two decades is, apparently, "not normal" and something he should be seeking help for.

If Ezri comes back alive, he supposes he might take it up with her.

[egophiliac]

A-anime?

you know, sometimes I forget that Twst is actually an isekai that starts with the protagonist getting run over by an inexplicable horse-drawn carriage. and every time I'm reminded is a delight because that's AMAZING.

also. look. okay. there's a lot of very fun stuff in the trailer but I am obsessed with that Crowley surprised pikachu face. me when I spend all my keys and gems literally hours before they announce overblot SSRs and drop the anime trailer:

[wardingshout]

art request!! link teaching zelda how to play an instrument or how to dance!

can be any link and zelda you want but i imagine alttp picked up some dance skills in holodrum & subrosia

I was so excited for this there were exactly 20 different things I wanted to draw !!!! but I've already taken so long so here They

[cangrellesteponme]

wife

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[melit0n]

One of the lines that caught my eye in Emergence was "So tell me what you meant by 'living past your half life'?" In chemistry, a "half life" is the time it takes for a substance to decay to half of its original mass.

Further, half lives are also prominent in physics, specifically, nuclear physics. It has the same definition—amount of time taken for a nuclei to half itself—but is, as its name suggests, focused on how much useful energy is produced via the decomposition.

This also links in with the later lyrics of "space dust for your fuel rods." Fuel rods are used in the control of a nuclear decay reaction within a nuclear power plant. This could be interpreted as either Vessel's lack of autonomy, or Sleep losing dominion.

If it's anything to note, "space dust" can also be radioactive.

So, with this all in mind, living past a half life is, in its basics, working towards rot. Existing as a dead man walking and overtly aware that you are.

To me, this could be in reference to Sleep. It's been emphasised that, while Sleep is one of the oldest Gods, He is a forgotten one; kept alive by rituals and those who are beckoned by song to follow Him. Aka, kept alive and powerful by Vessel.

Sleep has long since lived past His so called "half life," and, in toe, He is, therefore "well versed in the afterlife."

While I don't think it works as well, mainly because I consider the majority of this song to be Vessel having a go at Sleep, instead of vice versa, this could be applied to Vessel as a mouthpiece, too, posing the question of; how long until your humanity disapears? How long does it take until you pass your half life, and begin to speak and see only that which bloodless and broken creatures do?

How long until you aren't even you anymore?

And, when that change happens, which it will, eventually, will you emerge and become "someone new," or stay as you were?

[fluffydeoxys]

My Sanford and Deimos designs, with an analysis of Sanford, Deimos, their dynamic and what they represent to me, and the thoughts behind how I designed them!! It's quite long, but even then I feel as though I'm only scratching the surface of what I think. I skimmed over Dedmos and MC12 for brevity's sake as I genuinely think it would have doubled the already very long preamble. I hope you enjoy it!

A heads up: A lot of my analysis is predicated on personal headcanons of Sanford/Deimos and Madness Combat as a whole. While I like to make my personal interpretations adhere as close to canon as reasonably possible, there are nonetheless elements I will speak about that don’t really “exist” in the series itself. I try to integrate everything that we do see in canon, however, so I hope there is still something worthwhile for you to read in here! 

So. There aren’t really friends in Nevada, are there? A broken, splintered world marred by madness and violence that bloodies the very earth. Disparate grunts are forced to calcify and adapt to the harsh landscape, and thus forging social bonds has likely become a risky practice. Who’s to say your ‘allies’ won’t turn on you? With the prospect of death always so close, why be attached to someone you could lose so easily? Living communally or working together is feasible and even wise, but beyond that? I doubt anyone gives a second thought to the personal lives of one another. There’s just not enough “brain space” and “normalness” to reconnect with these mundane ideas. 

Furthermore, the existence of S3LF and clones also complicates things further when it comes to individuality and existence. It’s remarkably easy to store and then copy an individual's memories and experiences - the things that arguably define and distinguish a grunt -  into any other body. Are you who you say you are? Or were you never someone at all, merely an idea propagated from a file? Are there social or cultural divides between grunts and clones? Could a clone ever hope to experience the fullness of life with such a minuscule, fragile S3LF that they don’t truly ‘own’? 

It’s quite evident that many facets of Nevada are almost designed to erode humanity, to prevent it from being fostered and nurtured. From anywhere between its harshness to its brutality, to the unintentional cruel designs of the S3LF. It’s a cruel, merciless world that is inhospitable to kindness, friendliness and camaraderie. 

That is merely the beginning of why I find Sanford and Deimos so fascinating as characters. Even from MC5.5 alone, they are so incredibly interesting in a setting like this, demonstrating a bond that is practically never shown anywhere else.

In their debut alone, there are multiple instances of them showing mindfulness and awareness of one another. At 0:34, you have Deimos looking back at Sanford for a moment, and again at 1:09, you have the two looking at one another after clearing the room. Then at 1:16 Sanford bandages Deimos’ head while he slices through Agents, and at 1:30 Sanford boosts Deimos up to get the jump on yet more Agents. And throughout the entire episode, Deimos and Sanford almost always fight with their backs to each other, covering their vulnerable spots. 

MC5.5 strongly demonstrates how well they work together and how they look out for one another when so far, the series has only shown Hank’s effectiveness on their own. While Hank and Sanford/Deimos are worlds apart in strength and aren’t really meant to be directly compared, it does establish that Sanford and Deimos, together, are a force to be reckoned with. 

Then, of course, Madness Combat 6.5 only further builds on these ideas, finally giving Sanford and Deimos their signature appearances. When Sanford is shot in the torso by an Engineer, he is rendered very vulnerable and slow, and this would be the right time to drop any dead weight. A train just rocketed through, and more enemies are undoubtedly around the corner, but Deimos helps Sanford up. He has to watch over Sanford and protect him as he slowly hobbles through rooms and eventually recollects himself enough to keep fighting and patch himself back up. If anything, also a testament to their hardiness and adaptability. 

Then the scene in The Rift. It’s silly and the intent of it is to be silly, especially in the context of Madness Combat and how murder-hungry everyone is, but it so wonderfully demonstrates the bantering and lighthearted demeanour between the two. Deimos seems to care about Sanford’s opinion, tossing aside things he disagrees with and happily accepting what he encourages. And Deimos is who gives Sanford his signature glasses, completing the exchange in an honestly quite charming manner. 

None of this behaviour is really shown in such a positive light anywhere else in Madness Combat. Maybe Church and Jorge at best, but even then. Sanford and Deimos banter with one another, hang out with each other, say silly things and generally show a level of care and interest in one another that extends beyond just fighting. When Sanford asks Deimos if he can hack them through in MPN, Deimos replies with “Can I hack us through… C'mon, man. How long have you known me?”, a simple yet sweet line that indicates their long-standing familiarity. Then there’s the classic big kielbasa and turkey dog conversation, a very silly exchange and one that Sanford seems rather bewildered by, given by his replies. But note, Sanford never demeans or berates Deimos for his “antics” (aside from Deimos wearing an Engineer mask in MC9, but hey, there was a genuine risk of Sanford potentially shooting him there). Furthermore, it’s probably only meant as a surface-level joke, but thinking of Sanford as a big kielbasa “often” sort of shines a light on how they genuinely think of one another in silly, small ways. When you realise that’s in the context of Nevada, you realise how incredibly remarkable that is.  

Further than that, you have an exchange where Deimos asks why the Nexus Core members won’t give up, and is unable to reply when Sanford says, “Would you?” It’s not either of them dismissing questions or blindly following orders. They trust each other's opinions, look to each other when reflecting on matters, and they don’t always have the answers for each other. 

And lastly, at the end of MPN, where it’s just the two of them talking about a problem on a scale far larger than them. Just two guys talking about what they think, and what they could do. No world-breaking power or insanity or inhumanity. Just Sanford and Deimos. 

So you have a long string of showing the bonds between Sanford and Deimos spanning across several years and a game. Then Madness Combat 9 rolls around and, well, the moment they’re forced to split because the Auditor-enhanced Engineers show up… everything is changed forever. 

Deimos is gone and forced to reckon with his death through Dedmos Adventures, and while he reemerges with the help of Doc, he is no longer the same. Conversely, Sanford has to tag along with Mag Hank as they struggle in Auditor’s Hell, and Sanford ends up on his own in 12. He is pushed to the very limits of what he can endure, visibly frustrated and barely containing increasing intensities of rage. There are no more quiet moments, no more slowing down, no longer someone at your side hyping you up, making you laugh, knowing your hobbies, your history. 

Sanford and Deimos were separated, split into life and death. If you consider the real world time, literal years spent apart in the worst places they’ve had to endure yet. But they came back together. Different, changed, but together once more. That final moment in Madness Combat 12, the simple act of Deimos grabbing onto Sanford’s hand before he slips, forms into such a powerful scene that shows that they would defy ANYTHING to find each other again. That their unbreakable bond will help pull each other back from the depths, even paralleling 6.5 with how Deimos helps and protects Sanford after a near-fatal injury. It’s a perfect and very moving representation of their relationship. Their bond is so incredibly remarkable and one-in-a-million and so human. All the mundane things we share with other people in our world are hardly ever seen in Nevada, and for good reason, yet Deimos and Sanford share that with each other. 

The fact that Deimos and Sanford exist in a world like Nevada is so truly special. It inspires hope for what can be possible despite harshness and brutality, that there is something worth living for, that you can find strength and meaning in the grand and the mundane. 

So! Onto what I currently have mangled together for my headcanoned backstory as to how Sanford and Deimos met, because it helps set the stage and give context to the meaning of some things I’ll talk about later. At some stage, Doc recruits Sanford into his cause in the early years, maybe a year or two after Doc dissents from the AAHW. He’s a very effective and useful member, as Doc often used Sanford to pry information out of grunts using whatever method was possible. Doc pushed for him to use more extreme methods at times, as Doc was still in the early stages of beginning to understand the machinations of this world. He needed any piece of information that he could get, especially if it meant getting one step closer to understanding Hank’s disappearance. Doc saw it as a necessary period in their journey, but Sanford holds a repressed but deep resentment for Doc, because it warped and traumatised him immensely.

It resulted in him becoming extremely tense, paranoid and harshly pushing grunts away. Subsequently, Sanford didn’t get along with anyone else that Doc paired him up with. Putting the trauma aside, Sanford was already a serious and withdrawn individual who disliked banter. Not the most approachable or likeable grunt. Others would quickly lose their patience with him and were more prone to desertion or disobedience. While Doc could ignore it for a while, it gradually worsened as more and more jobs required a second hand, especially when Doc needed information retrieved from computer terminals - a skill Sanford distinctly did not have. 

So, recalling someone he briefly knew in the AAHW, Doc got Sanford to round up some dissented AAHW members to assimilate into their ranks. One of these members was Deimos, whom Doc recognised and personally hand-picked to work alongside him to better foster and integrate his hacking skills. Deimos was exceptionally useful for Doc despite having a pretty rocky history in the AAHW, and if anything, Doc was pretty surprised he was still alive. Regardless, Doc paired him up with Sanford after a while, and Sanford did not enjoy it. He found Deimos rather annoying and just another dumbass in a long string of grunts Doc has picked up. Yet Deimos seemed different somehow. His unflinching and incorrigible charm slowly worked its way into Sanford’s mind, especially when he realised he actually enjoyed the guy's company. Deimos showed an interest in the hobbies that Sanford was usually mocked or looked down on for, and while he was a little careless, it felt nice to watch out for someone rather than watch another self-important idiot rush ahead. 

Deimos further garnered Sanford’s interest when he learned a bit more about his insecurities and doubts, learning that clones exist. Sanford has questioned his existence in certain ways, regarding his own blood-stained hands with conflicted contempt and satisfaction, but this? Deimos telling Sanford that he isn’t sure that he’s alive, that he’s actually a ‘person’? That he’s lost, scared, clueless, alone? Sanford’s never cared for much before, living in this half-dissociated, emotionally distant state, but something stirs when he tries and kind of fails to comfort Deimos in that moment. He… cares. For something. For someone. A cold fortress that Sanford has built for so long, slowly opening itself to the idea of wanting someone. The pain and trauma remain, and it will never go away, but there is a new reason to get up in the morning. To look forward to something. 

From that day on, an understanding began to form between the two, bringing them closer and closer together. To the point that Deimos starts glimpsing the cracks in Sanford’s facade, worming his way in closer and closer, chasing the rare smile and laugh that Deimos can elicit from him. Sanford is the first time he’s ever felt stability, kindness, patience, acknowledgement. But he realises it's not just that, it's not just chasing something to fulfill something he’s always wanted but never got, it’s because he likes Sanford. Roaming the wastelands of Nevada alongside Sanford has given him joy like he’s never known. Knowing that Sanford has got his back, and that Deimos can help, and truly mean something… It’s like something clicked one day. 

Summarising/simplifying it, Sanford is like stability. Serious, steadfast, put-together and a leader. The trauma of doing what had to be done and hating yourself for it. For the kindness you could have had. The peace you lost or perhaps never knew. Forced to adapt and harden yourself, but the stress never truly went away. The fear and worry you have for your loved ones. The paranoia of losing them, witnessing the mortality of those dearest to you. But finding love and joy again in the people around you, letting someone touch the part of you that you swore you’d never let be hurt again. And you feel kindness and love and joy in the silly things again, thanks to Deimos. 

With Deimos, it’s smiling despite how the world has hurt you, set you up to fail. The vices you adapt to cope, but there remains a desire to do better, to be better. The yearning to be something more, to be someone else, but you can only ever be the best version of yourself. Wanting to be loved and yet not loving yourself, neglecting your body and mind. But having someone so patient and steadfast in their love for you just makes you feel so thankful. I’m sorry I relapsed again. Do you still love me? And Sanford does. He always will. The passion and joy you hold close to your heart, that you will never let anyone take away from you, living carefree and silly. 

Okay! Now to the actual. Design talk, jesus christ. Let’s begin with the general shape language of the two and how they’re specifically designed to contrast and complement one another. 

Deimos is comprised of rounder shapes, is on the smaller/shorter side compared to Sanford, and is a little scruffier and messier in appearance. He’s lean but not skinny, well-defined in the legs and in generally decent shape considering his lifestyle (a lot of snacks). This is paired against Sanford’s much broader and larger stature, sporting well-muscled arms and the repetition of more rounded square shapes. He’s tidy, well-groomed and maintains his body and scars very well. While I didn’t push their poses too hard here, they also further establish and contrast their personalities. Deimos has a more open and overconfident pose while Sanford stands a little more rigid and alert, and is the only character to be looking to the right rather than the left. 

Sanford has heavy-set, thick eyebrows that help convey a stern seriousness to him, but when his expression looks gentle and warm, they accentuate a certain charming quality that I think he has. While his face can look grave and even frightening, Sanford can also look quite gentle and sweet, and I think the eyebrows really help with that.

Sanford has a lot more scars because he’s been employed and working for Doc a fair bit longer than Deimos, and he ends up fighting hand-to-hand more often than him. Deimos is longer range, handles hacking/communications and is usually doing more runner-esque jobs. He sometimes trips and scuffles, especially because his bag is so heavy, hence why he’s got all those little bandages on him. I like to think Sanford is the one who patches him up. 

I ended up not integrating every scar into their designs because a lot of them are incurred around MC9, which is sort of like the “cutting off point” for when shit goes south. Deimos becomes Rockmos, and Sanford becomes owww my eyes! So it doesn’t make a ton of sense to have them, so I only kept the ones from before MC9. Besides the stab wound on Sanford’s torso, I just liked how that one looked.

When it came to designing their clothes (or well, designing my take on them; this time I’ve not really added anything that didn’t already exist for either of them) my main philosophy was that Sanford was more practical and uniform-esque in his attire, whereas Deimos is more sloppy but radiates a lot more individuality. 

Everything that Sanford wears has a specific purpose, from the belts on his pants acting as anchor points for his hook to the bandolier on his chest and his thick, heavy combat boots. The only real “personal” details are his bandanna (which I use to accentuate his expressions), his teashades (which were more or less given to him “by” Deimos), and his hook (which is a weapon, but nonetheless one he seems attached to/is a recurring tool for him). As well as the tattoo on his back, but I’ll touch on that later. When it all comes together, it illustrates Sanford as someone who is prepared and capable, but very serious and with few personal touches. 

Conversely, Deimos is covered with various bits and pieces that are personal to him, whether modified by himself or simply worn in a particular style to reflect what he likes. Smaller examples of this are his uneven socks and his untucked shirt that has a few stains and rips.

His shoes were directly based on the live-action design, as I think this is a fantastic portrayal of Deimos’ personality. From the little artistic doodles to the likely bored number markings, to the silly labels distinguishing the right shoe from the left shoe. The cigarette at the heel with the clusters of grunts and Jeb feels oddly endearing, like Deimos was inspired by a moment in MPN and wanted to draw it. The fire drawn along the base of the shoe is adorable, and the EAT IT at the front with BYE BYE at the back is so wonderfully vindictive and mischievous it’s amazing. 

And the star of the show, at least to me, is Deimos’ radio backpack. One thing I think I could have done better is add more charms onto it, but I’m sure I can add a ton more down the line when I get some ideas, cus annoyingly I don’t have too many. I always imagine the bag as going clink clink clink whenever he walks, and I dunno, it's cute and I think Deimos would cram as much as possible onto his bag to reflect both his interests and so he doesn’t get bored. 

Regardless, the backpack is like his lifeline of usefulness to SQ, but leaving it the way it was when Doc gave it to him was so lame. Deimos wanted to give it his personal flair, attach pieces of his life to it, make it truly “his.” Many of the little buttons and stitches were done by him and reflect members of the SQ, like the smiley on Hank’s shirt and the fishing lure for Sanford. Where’s Doc, then? Well, I would like to think I can design something specific for him on Deimos’ bag, but he actually helped with the big patch on the backside of the backpack. If you look closely, it has the same stitch markings as the ones on Doc’s jacket. Deimos really struggled with getting it on, and Doc came over like, you made this? And Deimos replies with a stilted, uneasy “yeah.” When Doc hands the bag back to him, he goes, “It’s pretty funny. Not bad.” and I like to think rare praise from Doc makes him feel warm.  

Krinkels has said Sanford’s tattoo doesn’t have a specific meaning, and I would like to give it one, but I haven’t gotten any ideas yet. Despite that, Deimos’ tattoo actually does, although it's not super complex or deep. I personally enjoy the headcanon that clones are coded with a tattoo-like marking that usually appears on the neck, but sometimes can appear on arms or legs. But Deimos didn’t want Sanford to remove or draw over it entirely; instead, he retained it as a reminder of who he was and how he wouldn’t hide from that reality, but he would move forward from it. To that point, the arrow underneath. To fly forward, guided by the sturdy bowstring, carefree and unbound by the wind. And the red bolt? Well, that’s a personal detail I’m a little shy about explaining, but I at least think it adds a nice little accent of colour. 

Smaller notes: 

Deimos’ thumb gradient is darker because he specifically lights his thumb more than any other digit. I think he could light other digits, but it takes more effort and focus. He generally thinks doing a thumbs up is funnier, and it’s easier to light a cig that way.

The multiple bullet scars on Deimos’ stomach are meant to parallel his injuries in MC9, but they’re not the same for the reasons I mentioned earlier. This similarly applies to a scar that Sanford has on his right hand, referencing when he was shot in MC9.

I removed the front belt from Deimos’ backpack because I liked his shirt and coat being unobstructed, and it let me properly show the drawstrings. I also liked the idea that he can remove the heavy bag in dire situations. While Doc probably thinks the tech inside Deimos’ backpack is more valuable, perhaps it has a self-destruct function that Deimos can remotely activate. Retrieving someone from the Other Place is also probably more resource-demanding and time-consuming anyway. I might change it, but for now, I like this version. 

I quite like mist-lightning-snap’s paw and claw headcanons for grunts, so I applied the same principle to Deimos. As to Sanford? Who knows… maybe those black nails can pop out into claws?

[ckret2]

I have a public service announcement! No one's done this lately so it's not aimed at anyone specific—but that's why I'm posting now, so it doesn't single anyone out.

It's true that, in-universe, Bill's said he's apathetic about what gender humans see him as. But you and I aren't in his fictional universe; we're in the real universe.

And out here in our real universe, when someone discovers that a guy they've ONLY ever referred to with he/him pronouns actually has breasts under his shirt? If that person is a conservative, they might start calling this man "she." If that person is more progressive, sometimes they start calling him "they." Like they'll respect that he's trans but refuse to respect that he's transmasc.

And because we live out here in the real world where I'm sick and tired of watching this happen, I'm also sick and tired of watching it happen to characters I write with he/him pronouns. Because multiple times I have had readers—nominally pro-LGBT readers!—start calling a he/him character I write "they/them" the second I headcanon him as transmasc or give him physical traits associated with AFAB bodies, in spite of the pronouns they see me use for him.

You've never seen canon call Bill anything but he/him. You've never seen the guy who invented Bill call him anything but he/him. Except when I write from the perspective of a character who literally DOESN'T KNOW they're looking at Bill, you've never seen ME refer to my specific interpretation of Bill with anything but he/him pronouns.

(And not to get too serious over cartoons, but—if you can't get a character's pronouns right after seeing me use THOUSANDS of he/him pronouns for him—a character whom you were INTRODUCED TO with the correct pronouns and whom you likely ONLY called by the correct pronouns for years, right up until the moment you saw him drawn with tits & hips—if the mere knowledge of his anatomy is enough to completely overwrite every single time you've seen & heard his pronouns used—then I worry about how y'all would talk about an IRL transmasc guy if you could see immediately that he's AFAB and only hear his pronouns once.)

Knowingly using the wrong pronouns doesn't magically become woke when it's gender neutral wrong pronouns. Stop ignoring the only pronouns you've ever seen me or the show call Bill. Do not misgender the silly cartoon triangle in my inbox & comments.

Thank you.

I'll GRUDGINGLY tolerate calling Bill the wrong name, since I know sometimes y'all need to differentiate whether you're talking to me about the vague concept of canon Bill or, specifically, the copy of Bill undergoing the events in my fic, and using his in-fic "this is the name used by PEOPLE WHO DON'T KNOW WHO HE IS" nickname is convenient for that.

But I'd prefer it if you just said, like, "your Bill" or "Bill in your fic"—or, hell, just plain old "Bill" if it's already clear we're talking about my interpretation or my fic. He is Bill. Bill is his name. The name by which he goes is Bill. It grosses me out when people only call him by another name as if he's a different character altogether.

If you do call Bill a different name, please know: 1) I dislike that; 2) I never wanna see it outside of contexts where it's necessary for clarity; and 3) even if you're calling him the wrong name out of grammatical necessity, it's still the wrong name.

EDIT: I'm disabling reblogs on this post because people who don't even watch gravity falls, much less read this fic, have started trying to signal boost it. "Don't they/them transmasc he/hims" is an important message that should be spread, but it isn't the message of this post. The message of this post is "you know how people they/them transmasc he/hims? Don't do that to my fanfic cartoon character." This post is not for anybody who doesn't read my fic. Don't try to use a post about a Disney cartoon fanfic as a social activism message.

There are posts out there whose message is "don't they/them transmasc he/hims." If you want to spread that message, that's commendable, and you should find one of those posts or write your own.

[bizarrelittlemew]

calling it right now that season 3 starts like this

[collophora]

Building Bridges by @maidenvault Found this fic again In my saved ebooks so I couldn't resist. Short fic I like a lot for portraying the "boys being boys" vibe of the early batch XD (I didn't draw the funniest parts 'cause my brain focused on the end but read it.)

Small spoiler for the end under cut

[plutonious]

experimentation is forever and ever and emmet is guinea pig

[sleepinglionhearts]

The beach! The beach! There's lots of stuff to find at the beach! 🪨 🐚 🏖

[cappydoodle]

more doodles of this bc it's in my brain now

[countthelions]

"[..] but they’re not Etho. They can’t be.”

“How can you be so sure?”

“Because Etho never left my side.”

[the curse of deepfrost, ch14] by @capriciouswriter207

[sciderman]

Hope you're doing well Sci!

thank you!! i'm doing much better!! i'm still getting used to how goddamn different everything is for me, but i'm a lot healthier and sexier than i was!

[relicsongmel]

Something I've always found fascinating about Raymond Shields is that despite seemingly having altruistic reasons for being a defense attorney, his reasons for trying to convince Miles to be one are anything but.

It seems understandable enough on the surface. After Ray comes around and agrees to work with Miles in The Imprisoned Turnabout, he sees remnants of Gregory shining through him despite von Karma's influence. Whether or not he recognizes that Miles' decision to become a prosecutor wasn't just born from that alone—that it was in tandem with wanting to distance himself from anything that reminded him of his father to alleviate the burden on his heart—is up for debate, but regardless: he acknowledges Miles as Gregory's son through and through and wants to capitalize on his dedication for pursuing justice in a way that he knows would make his father proud. He wants to let Miles in on the life he was robbed of at 9 years old—the life he once dreamed of living, where he follows in the footsteps of his father by giving everything he has to save people, by fighting like hell for the vulnerable and the condemned.

That said, as much as Ray dresses up his proposition by making it out to be as if he's looking out for Miles' best interests (and the best interests of society, even)...his motives for trying to get Miles to switch sides are almost entirely selfish. Ray's efforts (and most of his actions in general, really) are ultimately a product of his desperate attempt to cling on to anything related to Gregory out of an inability to move on from his death. Wearing his hat and coat, leaving the name of his office unchanged...and now, requesting that his son literally change jobs just because he can't bear the weight of his own loneliness anymore. Because he can't bear to think that the damage done by DL-6 is irreversible and Miles has moved on while he has stagnated for the past 17 years. Because he has an idealized vision of what he thinks Gregory would want and fails to realize that his son's occupation wouldn't matter to him as long as it brings him happiness and fulfillment. In his mind, letting Miles go means accepting the circumstances that brought him where he is and allowing both of them to move on. And that terrifies him.

It's even more deceitful when you realize that Ray's pitch comes at a very opportune time for Miles given his circumstances at that point: that is, he's under threat of investigation for prosecutorial misconduct and at risk of being stripped of his badge. Ray might fake incompetence, but he's not stupid—and he takes full advantage of Justine's warnings to try to sway Miles when he's in a more vulnerable position in terms of his job. Which is...pretty fucked up, to put it lightly. Despite having a better idea of where he came from compared to most people, through this Ray shows a lack of understanding of who Miles truly is and a lack of respect for what he's come to value, even if his path toward obtaining those values had some bumps along the road. But he's so blinded by his grief that he doesn't even stop to consider how much he's really asking of him, or what Miles is really searching for.

Ray was moved by Gregory. He values saving people. Defending the weak is an undeniably noble endeavor. But to ask that of someone else without consideration for their best interests is decidedly less so.

For all his occupation requires a certain selflessness, Raymond Shields is far more selfish than he lets on. And I for one find that contradiction fascinating to unpack.