#It's just the format ok

[redglassbird]

Rip dalinar you would've loved the united states

[sirrenhd]

pre-negotiated

[its-not-a-pen]

first day as a small-town sherif and you discover that some of the convicts you're transporting managed to escape in the night and since the penalty for letting prisoners escape is death, and the penalty for being late because you were looking for escaped prisoners is also death, you decide to free ALL of them and go hide out in the wilderness for a bit, except the convicts are super grateful so they make you their leader and it turns out they're decent guys who were exploited by a tyrannical government, so long story short you're crowd-sourcing for a peasant uprising and would anyone like to chip in?

3650th day and due to a series of unforeseen events you are now the emperor and founder of the han dynasty.

[verflares]

(pre-calam) filling the compendium :-)

+ closeup and the aftermath

[800db-cloud]

spare some spy hcs? 👀

OKAY. ok. so i have been putting off answering this ask because i’m admittedly very shy and very afraid of sharing my headcanons. and also because i have A LOT OF THEM.. but here we are!

here are my headcanon spies :) René works for RED and Jacques works for BLU!

where to start, where to start… i have a LOT of headcanons for them, i’ll be talking for FOREVER here. i’ll just start with story because why not! xP

René’s parents were also agents/spies, so he was always destined to be one as well. And he lives up to his parents’ legacies! He’s most notorious for destroying gangs and mobs and the like from the outside in. He was brought to America years ago to take out a dangerous mob boss, but unfortunately found himself infatuated (and involved) with the boss’ daughter. Luckily for him, the boss’ daughter wanted the guy dead, too.

René’s story is honestly a lot more fleshed out than Jacques’, but here goes anyway:

Jacques’ father was a very rich and powerful man in politics. Jacques himself was the result of an affair, and to keep it hush-hush, his father decided to raise him. Raise is a strong word, though— but he did help his father gain intelligence and blackmail on opposing political parties. Jacques proved to be a promising spy since childhood.

If anyone has any suggestions/ideas for Jacques’ story, let me know haha x) he didn’t have the greatest upbringing per se…

last thing on this section i wanna talk about is the Scouts. René is related to both of the Scouts; he’s RED Scout (Jeremy)’s biological father, and he’s BLU Scout (James)’ adoptive/step-father. Jacques has no relation to either scout, but acts as a guardian figure to BLU Scout.

anyway, this is the part where i continue talking about other miscellaneous headcanons! and these come with doodles :)

You couldn’t catch René DEAD without his mask, or his suit! He’d neeever take them off around other people (‘other people’ is mainly just Scout. For obvious reasons.) Meanwhile, Jacques is pretty lenient in letting his teammates see his face! Everyone on BLU’s seen his face at least once.

A big part of why René refuses to strip down is also due to the fact he has a LOT of tattoos. No doodle for this one because I’ve yet to decide on what tattoos to put on him (ideas are very welcome!!), but yeah! Most of the tattoos were ‘forced’ onto him/he had to get for jobs and ‘fitting in’ with bad crowds, but a good few of them were of his own accord, too.

Jacques doesn’t have tattoos, but he has a myriad of another thing: scars! Lots and lots of scars on this guy. Faded and old, sure, but they’re there. Most prominent ones are the one around his neck (from when the RED Medic beheaded him) and the ones on his forearms (those are from the LAST time he was imprisoned— looong story…)

René doesn’t cook very often for his team, but when he does, everyone’s always BLOWN AWAY by this guy’s cooking! René’s really bad at taking compliments, though— (“Cooking food that’s remotely edible isn’t a compliment, it’s basic survival.”) —but rest assured he’ll be thinking about it for the next month. Jacques, however… Do NOT let this guy into the kitchen. Ever. The BLU base has a special fire extinguisher “In Case Spy Decides To Turn On The Stove”

oooh, this one is an hc and a HALF to me. René much prefers working alone. It’s just in his nature, being isolated and whatnot. He likes to deal with things by himself– maybe he doesn’t want to burden others? On the contrary, Jacques NEVER works alone. It’s a trait he’s had even before being hired to BLU. You never know when things could go wrong, so it’s best to have someone else to fall back to… or someone else you can blame!

these hcs both have something to do with how René and Jacques show their trust in other people :) it’s a bit convoluted but it gets there:

René is, amusingly, very bad at remembering names. Almost laughably bad. There have been many-a-story of his days before RED where he’d get a target’s name wrong, even after he’d repeated it in his head dozens of times over. Names are difficult for him, so if he remembers yours, it means you mean a lot to him! He prefers using his teammates’ names rather than their titles. René is unaware of how charming this specifc trait is to his coworkers (they saw how much work and effort it took for him to memorize their names, they’re just happy with how far he’s come!)

Jacques has a… to put simply, very complicated relationship with food. But the one thing he’ll never turn down is sweets. His favorites especially being chocolate bonbons. Jacques has a hard time eating in front of others, let alone sharing his food! But if he genuinely likes and trusts you enough, he’d have half the mind to share with you. Admittedly, he hasn’t brought himself to share with most of the members of his team yet, except for a select few. Mostly BLU Medic and BLU Sniper.

—

and of course, eventually, EVENTUALLY, these two also become friends! it took a little bit but believe me, they both respect each other’s skill in their job :)

AHHg i could go sooo much longer about them— from things like their physical traits (how much teeth they have? it’s a pressing question) or different periods of their life (why did rené have to leave his family? why was jacques imprisoned for the last time?) BUT this post is so… so, so long. My fingers hurt from typing

If you’ve managed to read through this Beast, THANK YOU RAAHH!!! thanks so much for asking this, too. i hope to spare more hcs someday. hehe ^_^

[daily-odile]

sorry i was gone for a while i just got back from the mountains

[reginalusus]

Self-indulgent TwoBats/BruHarvey thing I did at 4AM, lol. IG as part of my little hypothetical series of Harvey sketches. Basically, Harvey is trying to bond with the nocturnal, all-nighting Batboys but it’s getting mixed results. He’s trying his best.

Image description: Fanart of DC’s Harvey Dent/Two-Face and Bruce Wayne. Harvey and Bruce sit together at a table, Bruce’s hand on Harvey’s arm while Harvey smokes. Harvey is visibly exhausted. A mug sits beside Bruce with ‘dad of all time’ written on it. Harvey also has one, which reads ‘dad in training.’ There is dialogue for them. Bruce questions Harvey on why he didn’t come to bed last night, and that he heard from Alfred that he was bonding with the Robins. Harvey simply replies “uh-huh” until Bruce presses for more. Harvey replies that he doesn’t think Dick and Tim like him despite joining them in a karaoke game, and that Damian kept him up by wanting to play hide-and-seek around the manor. Bruce then asks about Jason but is quickly cut off by Harvey replying: “my favourite, obviously.” End of image description.

[soupysundae]

🐍🐍🐍🐍🐍

[filurig]

OK I WENT AND SCANNED THE ZINE I MADE AND... here are most of the pages - so every middle "spread" has one left and right page on the back of it and then a bigger pic once its unfolded, but didnt include every side for every larger spread.

this basically explores a bit of folke and adrian's relationship - adrian, the Creature, ends up finding folke's brother's recently deceased corpse and imitates his appearence, the only real way for a basilisk in their world to learn to shapeshift into something.

So their relationship is a bit complicated. but also, it ends up eventually settling into something that isnt only full of bitterness...

[twinkle-art]

reunions at sea

[sleepsucks]

[thepaleunicorn]

The Kiss

And only in one universe There is a world where you and I are alone I wish I could be there I would so much like to be with you

[asgardian--angels]

Izzy Discourse Masterpost

Hey all, given the amount of awful splintering and wank happening in ofmd fandom rn regarding Izzy's death, including the flat-out immature and unacceptable harassment of David Jenkins and Co, I wanted to just make this one all-encompassing post to address the various grievances and complaints I've seen (almost entirely on Twitter). If I've missed anything, please feel free to add on. I'm putting most of this under a read-more for length.

Please be aware, I say all of this as an Izzy fan. I've loved his character since season 1, and while I was sad to see him go, I completely understand and support David & Co's reasons for concluding his arc, and I think it was done respectfully in a way fitting to his character. So let's break down some of the takes I've seen. I am not referencing specific posts or people here, I just want to address the general themes that I keep seeing about why some people are upset.

Izzy's death served no narrative purpose.

Look, this is one that I'm sure fans will debate for the rest of the hiatus. It's completely within your right to disagree with this writing choice, but Izzy's death did serve a narrative purpose in the story that David Jenkins is telling - and he has spoken to this end in several interviews already. I can only summarize here, and fans may find other perspectives in time as well. What we need to remember is that Our Flag Means Death is, at the end of the day, Ed and Stede's love story. That has been made abundantly, explicitly clear. The show has been fantastic at fleshing out the other supporting characters, but that's what they are - supporting characters. They often have their own subplots but ultimately the narrative seeks to move Ed and Stede's story forward and they are tools to spur Ed and Stede's growth or mirror their struggles. Izzy has been a wonderfully complex, multifaceted character but we must remember that all characters are vessels through which stories are told, lessons are imparted, and metaphors are established. He's not a real person who 'deserves' any particular fate. David said he's always intended for Izzy to die at the end of his arc.

Firstly, Izzy (now canonically, through his own dying words) represents part of Blackbeard. He enabled and encouraged Ed's darker side, they were mutually toxic forces to each other. Ed is attempting to cope with and move on from this phase of his life, and like Stede in season 1, set out a free man, unshackled by expectations and loose ends of those he's hurt and been hurt by (though we realize this is an ongoing process that takes time). This lovely gifset sums it up nicely, with Izzy being the Mary parallel, and making s2 mirror s1. Blackbeard is both Ed and Izzy; Ed cannot be free of Blackbeard while Izzy is in his life, and when Izzy is gone he will never truly be Blackbeard again. They are each other's rotting leg!! Yet, they love each other - and David has said that for Ed, this has developed into a mentor and father relationship, and where Ed has previously despised his father figures (his actual father, Hornigold) he does not want to lose Izzy. This time, Izzy brings out Ed, not Blackbeard - and that's where we get the callback to 'there he is', bringing their impact on each other full circle, freeing Ed, getting approval of sorts that he never had, to be soft, to be loved (and there are parallels to Zheng and Auntie here as well that others have made) from that force that drove him to stay in line all this time. David has said in multiple interviews now that he was going for the idea of the mentor/father figure dying and the hero living on and trying to do justice to them.

From Izzy's side, Izzy cannot be free while Edward remains either (Mary cannot find peace while Stede remains). The scar never truly healed, the leg will always be a reminder. At this point the argument becomes 'yes, but why did he have to die? Why not just sail off with the crew of the Revenge?' David has stated that he feels they've done everything they can with, and for, Izzy; he's come leagues from season 1, he's found community, he's found hope, he's found new parts of himself, and he's made good memories. He's found worth outside of what he can be to others. That's more than most pirates could hope for. Where would his character go from there, when the Golden Age of Piracy he belongs to has burned to the ground? Would he stay around and whittle on the Revenge? If he were a real person, yes, that would be lovely, and he'd deserve all the quiet peaceful happiness in the world. But as I explain several points below, he's not interested in being a captain. He's not up for the hard physical labor of regular crew, and he's extremely overqualified for that besides. He has served his narrative purpose, and symbolically, to enter a new age, everything must go. He's connected to the old age of piracy, to the Republic of Pirates, that is now demolished. To him, fighting for what he believes in, for the family he's found, bringing down an army of British twats in the process, is how he should go. It's a pirate's death, and as Izzy's said, he's a pirate - unlike Blackbeard who's succeeding in breaking away from piracy, Izzy never wanted to stop being a pirate, throughout his arc. To me, that's why Izzy remains trapped in the narrative, trapped in history, whereas Ed and Stede will escape history. They leave piracy, and canon, behind, while Izzy was content to remain a pirate and face a pirate's fate.

Burying him on land, right next to Ed and Stede's beach house, shows that his sacrifice was not in vain - they start this new life together, thanks to Izzy's mentorship, his role in their lives that sometimes for worse, sometimes for better, made their love what it was and made their breakaway possible. The new age is built on the foundations of the old age, and is stronger for it.

As we're well aware by now, David tweeted that there's no version of ofmd without Izzy. Whether that's literal or not, symbolically it's true. Izzy's arc of growth affected everyone on the Revenge. Jim fondly remembered fighting for a time when life meant something on that ship; the crew helped give Izzy new meaning in life, and he helped them in return. When he dies, they mourn and have a funeral; that wouldn't have happened under Blackbeard's watch in episode 2. His life meant something to them. He influenced Ed and Stede immensely, and they will take that with them. As David's said, they're all a family, and Izzy was a part of that family, and his loss unites them and brings them closer to continue to fight for that family they've built. It's a tragic, sudden death of someone they've all grown to care for, and that steels their reserve to keep the torch lit. They literally sail off into the sunset to hunt down Ricky to avenge Izzy; he will always be a part of this show. And, of course, with the brief appearance of seagull Buttons, the door is left open for anything.

If this was The Izzy Show, then sure, we'd be content to see him simply engaged in shenanigans every episode. But the plot, and therefore the characters, need to keep moving forward, and Izzy got his growth and development. He got what he needed for his character to have closure, and he served his symbolic narrative purpose in Ed's (and Stede's) story. You may have your own ideas and perspectives, and that's great - that's what fandom is for. But we cannot say his death was pointless when David Jenkins and the writers clearly had a well-defined motive for pushing the narrative in this direction. I actually think the narrative around Ed and Izzy is the most well-developed in the entire show. I for one am so happy we got such an interesting and complex character, and had the brilliant Con O'Neill to portray him.

Izzy's growth & healing arc was rendered pointless by his death.

As this post so eloquently puts it, it's pretty bleak to have the outlook that taking steps to heal and find meaning in life is worthless if it's later lost. Seeking happiness and self-actualization is worthwhile for its own sake; no one knows what's down the road, and we all die eventually. Find meaning in life now. Would you rather have had Izzy not miss with his bullet in ep2? He was given the chance to experience joy, freedom, and hope for the first time in potentially a long time, and when he died he did so with those happy memories. As mentioned, Izzy's death was decided long beforehand given the narrative, and the point of storytelling is to make you feel emotions. We were given impetus to connect and relate to Izzy's character through his process of healing, so when he did die, we felt it keenly. That's how stories work actually! We felt what Ed felt. It moved us. It's not a bad thing that Izzy's arc made him more likeable to fans before his death. It's not a bad thing to lose a beloved character - guess what, it happens constantly in stories - and it's not bad to grieve over it either, but to say that it made his journey pointless is just not true. People saying that Con must be upset that they snatched his character away from him after getting to develop him so much - again I say, would you rather him have died in ep 2 before he had the chance to grow? Or how about in s1, when the crew tried to mutiny? How'd you feel when Stede killed him in his dream, in the very first scene of the season? I think Con's probably glad for the opportunity to have explored this character so much in season 2. Ask him if he thinks it was pointless.

Killing off Izzy was bad for queer rep/burying your gays/"Izzy was the queer heart of the show"

I'm putting 'bury your gays' on the top shelf so people can't use it when it doesn't actually apply. Most of the main cast of characters in this show are queer, and it's a show about pirates with a good amount of violence. Ergo, chances are a queer character will die in the course of Things Happening In Stories. Izzy didn't die because he was queer, and he wasn't the token queer rep. Please turn your attention to the boatloads (literally) of queer characters that are happy and thriving (how about the LuPete wedding immediately afterwards??). As for Izzy being the "queer heart of the show," this is literally the Ed and Stede show. You know, the two queer leads whose queer love the show revolves around, per David Jenkins himself. I'm glad folks connected with and derived joy from Izzy's growth and especially his performance in Calypso's birthday, but he is not the main character of the show. The queer heart of the show is in fact, the entire show, all of their characters and the community & found family they create aboard the Revenge. Not to mention the fan community as well. Izzy was never carrying the show's representation on his back, and frankly that's an absurdly wild take to have (esp when he spent most of s1 actively working against the main queer relationships in the show, attempting to maintain the oppressive status quo of pirate society).

It was bad and irresponsible to have a suicidal character die

Are we forgetting the entire first half of the season where Ed, who was suicidal, kept trying to passively kill himself because he felt he was an unlovable monster, only to be shown that he is in fact loved unconditionally and it gives him the strength to fight for life and triumph against his own self-doubt? The show has spent quite a lot of effort telling viewers that despite feeling damaged or broken you are worthy of love and that you are loved even if it may be hard to see it when you're in a bad place. That you don't need to be fully healed to deserve love and care, and that love and support will help you along your journey. It's incredibly wild to disregard this major plot point and fundamental message of s2 to try and spin this the opposite way for Izzy's character.

Secondly, where are people getting 'Izzy is suicidal' from? Are we going back all the way to episode 2, when he's at his lowest point and fails at his suicide attempt, only to be figuratively reborn after removing the metaphorical rotten leg? By the time of the finale he's shown to be in a good place, thanks to the arc of healing and growth he's gotten, through the support of the Revenge crew and his 'breakup' with Blackbeard allowing him to find his own way in life, realizing he doesn't need a purpose to have value and enjoying his time on the Revenge and the bonds he's made with Stede and the crew. He is, in the words of Ivan, "the most open and available I've ever seen him" by the finale. To take episode 2 as evidence he's suicidal is to erase his whole season of growth, which is an ironic thing to do in the context of these arguments. There's no canon evidence Izzy Hands was suicidal post-'Fun and Games'.

As for 'irresponsible,' once again I say, David Jenkins is not your therapist, he's not 'Dad,' and has no responsibility to tell his story any other way than he intended to tell it. Please find media that gives you what you want or need, and if the death of a fictional character causes you this much distress please seek help. I mean this kindly but seriously.

Killing off Izzy was ableist/bad for disability rep.

I point once again to the rest of the characters, several of which are disabled in varied ways. There are literally multiple other amputee characters specifically. It's not good storytelling to wholly avoid killing off any character that is disabled/queer/poc/female or [insert marginalized group here], especially when a) it makes sense narratively, and b) there's plenty of representation of these groups in the media in question. The answer isn't making such characters invincible and immortal, it's increasing the number of these characters in shows so it's not devastating when some do die in the course of natural storytelling.

OFMD was my comfort show/safe space show, now it's ruined for me

I am not trying to be insensitive here when I say that's a problem that is yours and nobody else's. David Jenkins created this show with a three-season vision and a story in mind, and he is telling that story to the best of his ability the way he wants to. It's already been said that he and the crew did not anticipate the fandom becoming as large and passionate as it has. The plot of the show was never intended to be 'fan service,' and it's ironic that there were people complaining this season that there's been too many fanservice tropes, up until David and the rest of the writers room made a narrative decision they did not like, then the complaints changed to not coddling the fans enough.

We as viewers can derive joy from this show, it can be a comfort to us, it can be important to us. But it was not designed specifically for that purpose, therefore it cannot fail in that respect. We do not have the right to harass writers for not steering the ship in the direction we want - it's their work of art, and we can choose to either come along for the ride or not. It's rare to see creators actually given the chance to tell their story the way they intend (budget cuts aside), so let him do that. He should not cater to fans, or cave and change the story to appease us. Respect his right to create his art, and remember you have the right to create your own. That's what fanfiction is for - write fix-its to your heart's content, but keep these realms separate. David Jenkins and Co hold zero, and I mean zero, responsibility to you. He could not please everyone no matter what he did, it would be fruitless to try, and it would certainly compromise the quality of the story he set out to tell.

You are absolutely allowed to dislike choices made in any show. Curate your media experience. If this show no longer brings you joy, stop watching. But it was never David's purpose nor responsibility to juggle the mental health of millions of fans. Trying to put that on him will only make him less enthusiastic about interacting with fans or continuing to make this show. This isn't rocket science. You're responsible for yourself, not this guy you call 'Dad' that you've developed a parasocial-therapist relationship with.

Izzy should have become captain of the Revenge.

Really?? Firstly, we did actually get that already in s1. He was tyrannical and the crew mutinied. But even if you think 'well after his character arc he'd be better suited to it,' it goes against the point of this arc. He's found value in not having a distinct role or purpose on the ship, decoupling his worth from the job he's expected to perform. He's found his place amongst the crew, not commanding it. There's no narrative reason to put him in charge when he's expressed no further interest in slotting himself back into a role full of pressure and expectations.

Con O'Neill was only told halfway through filming, it's cruel to just kill off the character he loves so much.

Guys, he's an actor. More than that, an actor with a theater background. I think he's used to characters dying. You don't need to look out for him. Con and David spoke one on one about it at length so they were on the same page, and David even said that Con took it well. I'm sure Con had input, just as other members of the cast have influenced their characters' stories, costumes, backstories, etc. Do you really think David Jenkins hurt Con's feelings or something? The writers (remember, it's not just David, it's a whole team of hard-working people coming up with these ideas) gave Con such a chance to shine this season, really developing Izzy beyond what he was given in s1 and letting Con show off his full acting range. Why are you only focusing on the destination rather than the journey? Sure, Con's probably sad to see Izzy go, but please do not project your distress onto him or try and accuse David & Co of being 'cruel' to their cast. That's really ridiculous. It's constantly evident how close they all are.

More importantly, do you actually, seriously think that Con O'Neill would want fans to harass each other or the writers over his character? The man who preaches being kind above all? There is no better way to make an actor uncomfortable about a show and its fanbase than to start treating fictional characters like they're more important than real people. He would not want you to bully people over Izzy Hands, and it's mind-boggling that some of you have convinced yourself otherwise.

Lastly, I just want to talk about the fact that some people are holding OFMD to absurdly high expectations.

Our Flag Means Death has been a pioneer series for its diverse representation, earnest storytelling, and themes of hope, community, and love. It's fine to discuss aspects of the show with a critical eye, but so much of the discourse has truly felt like folks are trying to find fault in a show that is leagues ahead of the average tv series that we still enjoy. How many fan favorites are killed off all the time? How many plotlines are scrapped, or drawn out without closure, or contradicted the very next season? How many shows are indifferent or actively hostile towards their fanbase? How many have any queer characters, or actually do bury them? The bar's so low, and OFMD has risen above to give us so much. Some are holding the show to astronomical expectations, waiting for it to fall from the pedestal it's been placed on. If something you don't like happens in the show, it's not suddenly ruined or demoted to being ~just as bad as those other shows~. Give them some breathing room, have some perspective on how progressive the show is, and that perfection is impossible, especially meeting every single viewer's idea of it. This is basically a repeat of the recent Good Omens drama, with an absurd number of people harassing Neil Gaiman for breaking up Aziraphale and Crowley and leaving the second of three acts on a very predictable cliffhanger. Let stories be told, let them unfold as they may, and you are free to leave anytime. It's so wonderful that more queer love stories are becoming popular and even mainstream, but let's not shoot ourselves in the foot by tearing them down when they don't go exactly the way you want it, which often seems to mean no drama, no character deaths, and therefore no conflict or even plot!

Just, please be civil human beings, and while this seems to be a difficult thing for so many fandoms to do, just keep your fan opinions in the fan space. Never bring your grievances to the writers, never bully them and persecute them for telling a story that you opted into viewing. That's something that goes entirely against everything this show, and this cast and crew, have imparted onto us - the importance of kindness, support, community, and love. I'll say it again because it bears repeating: the fate of a fictional character is never more important than how you treat real people. Just be kind in real life, which includes the internet. Thanks.

Now please, let's work together to ensure we get a season 3. There's so much more story to be told, and if you want to see Izzy back, whether that's as flashbacks, as a ghost haunting the inn, or in the gravy basket, we'll need more episodes! #RenewAsACrew

[silusvesuius]

this drawing is from a couple mouths back now; ......but i still like it 😝 forbidden love as witnessed by ms. Varona. it killed off my traditional art kick when i was done with it, but i had fun. i used very faint watercolors for this one just to see how well i'd do with them and pencils together. my favorite part of it is this tree, love how it looked in this WIP pic i took:

and some random bits of the drawing but closer because i do love pencils as yk���

had to compress the whole pic a bit cus it was huge, but a version that's a bit better can be seen heare, still not the best it could be, still crunchy, but better nonetheless

[asmogorna]

Ok so for the last couple days ive been ill in the head about The Black Parade as mcr's alter ego/characters and i wanted to share some thoughts i had so far :3

It doesnt align with the canon lore that we have (i didnt really use it for reference at least) so it can be viewed as some sort of an au

I dont know if im gonna give them new names that just sound similar to the names of mcr themselves, so for now i will be referring to them by the names of the band members

So far I've been thinking about the typical "chosen by fate" scenario, where the characters lives lead them through a path for a specific cause

So

Post WW2 England

5 kids under their own circumstances witness a big parade (I will be doing some research and see if it could be some kind of victory celebration parade? It's just that I'm not sure if England had those. Not that I'm aiming for historical accuracy atp it's simple curiosity)

The kids get heavily impacted by that event and carry on (ha) that memory throughout their life

Now to the specifics of the characters cus by God they all gave me a headache

Heads up: they're all british orphans lol

Frank and Bob are students/residents in a Christian orphan school, and later on in life are priests in the town church

The reason why is that they both have badges on their uniform with crosses that could be associated with christianity

(I couldn't find any info about what exactly certain design details could be referencing, so ig it's up to interpretation)

The military theme in Gerard and Mikey's costumes will be explored on later (Mikey's medal could be either The Victoria Cross or The Distinguished Flying Cross, and the symbol on Gerard's shoulder is most likely the Order Of The Garter star)

And I couldn't figure out what to do w Ray, because I'm not sure if his uniform design details reference anything specific 🤷🏾🤷🏾🤷🏾

Now, Gerard and Mikey lost their father to war, and their mother passed away when they were both very young

And after that they ended up in the same orphanage as Ray, befriending him and finding out about their shared passion for music

This doodle was made abt that specifically <3

Later on in early adulthood they decide to start a cabaret band, in which Frank and Bob both join them later, deciding to leave their priest lives behind (partially because iirc both of them kinda fanboyed their way into the band irl lol)

After receiving little recognition, the band decides to take a train to America, to try their luck there. With a lot of hope and determination

That, sadly, doesn't last for long, for the train crushes with no survivors on board

The group crawls out of the collapsed train in their no longer physical forms. Yet, even after their death, they still have a desire to move forward. And that desire, though thoughtlessly, forces them to go forward. The souls of all the other people who lost their lives to the train accident follow them, through the landscape that no longer feels like earth

They then reach the end

Walking in one by one people disappear, finding their own peace and meeting their own finish line

After it's done, The Black Parade now have officially made themselves into what they're supposed to be. Gaining a new purpose and a new sort of life

I got too poetic for my own good here I fear .. anyway

Their job now is to lead the lost and the forgotten to the afterlife

They could be referred to as some kind of a grim reaper, I guess

I'm still thinking about adding more to the story, and maybe I will change some things, but so far this is all I can share really !! I hope if you've read this far you found this entertaining .. this is all for the satisfaction of my urges so I might or might not have too much fun w it in the future :3

The story was mainly inspired by this specific post from Gerard himself, because i liked the concept a lot ..

Also

She's gonna be here as a separate character too probably...... Cus I'm self indulgent and I love the ideas bubbling in my brain

[bacchuschucklefuck]

Riz has counted four casseroles this week alone. Five, if one goes by the method of cooking, but Yelen's scary when she's crossed, and calling her burek by its proper name is important to her, so Riz does her the courtesy and doesn't include it in his mental tally.

He holds the tupperware over his head to keep it out if the way as he takes careful steps over the piles of notes in his path. The dockman case just closed, relevant documentations handed over to relevant personnels, evidences dealt with as needed; all he has lying around now is just record of the process and traces of himself thinking through it. Unsurprisingly they still haven't invented a surface more convenient for people under five feet who like to pace to put pieces of paper on than the ground.

Actual records go into the case folder with the other documents. Anything else with at least one side still blank is going to the school kids in the block - they chew through an astounding amount of paper just learning arithmetic. The rest is for the recycling basket.

Later. It's his mandated lunch break right now.

Riz sits down in front of the corner file cabinet. In an office often overrun with papers and strings and sometimes even thumbtacks, he's never really managed to clutter up this exact square of surface like every other ones. Ever since the bottom drawer rattled for no discernible reason a day long past, his eyes have always just kinda decided to slide across the space without acknowledging it.

It's years out, now. Riz doesn't know why he thought it such a big deal anymore, back then. He wasn't scared, he doesn't think. Not anymore. Maybe just uncomfortable with the idea that certain things persist despite all efforts to change.

He opens the tupperware. Dame Carabelle's experiment greets him with enough spice in the aroma alone to knock out a small mammal. When he chopped the vegetables for this casserole he couldn't really imagine the eventual heft of it, evident even through just these few ladles' worth, maybe weighing heavier for being still warm. His folk eat more through the smell and the textures and the aftertastes than the taste itself. His folk's meal is really the cooking rather than the eating. The eating is the meal's end.

"Hey," he tells the file cabinet's bottom drawer. "Um."

It's the anniversary. Riz doesn't know the exact date of his dad's death; nobody currently alive does. He and Mom both use the date of the funeral, though as he moved out to Bastion and then got more directly involved with Interplanar he hasn't really been going to Dad's grave as much. Doesn't seem like very efficient use of his time, catching a train or borrowing a car or spending a whole spell slot on going somewhere he knows Dad isn't at. They're sorta coworkers now. They talk on and off every other week between missions. When he goes now, it's just to clean up the place, keeping the landmark tidy and respectable.

Without that work to mark the date he doesn't really know what it serves anymore. But he still remembers it. Still takes note, absently or not, when it comes around.

There's not really a good way to tell the drawer that. Riz looks for another way to start the... conversation, hopefully. The question at play, he'd guess, is why he's doing this. He's been pretty content ignoring all the rattlings and the knocks from inside and the times it sits slightly ajar without him ever opening it himself; hell, he still uses the three drawers on top of it. Space is fucking precious in Bastion.

Precious enough to finally fix this damn drawer so he gets his turn to use it? Riz asks himself. Is that what we're getting to? Then he dismisses the thought - he didn't manage to fix it the times he actually tried, let alone-- now. When he doesn't really care that much to.

That's probably a good place to start. "'s fine if you keep being in there, turns out," Riz says.

The lunch hours are quiet in the block, sleepy and bright with the brief window of sunlight that manages to break through roof overhangs and extended balconies and laundry lines and climbing vines. Riz's work isn't loud here (the loud parts happen away from his office, if everything goes right), but the fragment of early summer heat reflected in the steady warmth his meal still carries compels him to lower his voice even more. It makes the words feel intimate, in a way he's never been familiar with - if he says something he just says it. He doesn't whisper. If he gives his friends something, he gives it open-palm. He's found out, along the way, that people usually don't think of rituals and courtesies the way he does.

Small voice for a diminished monster. "You know why I think so?" Riz asks. "Because almost two decades ago you kidnapped me and almost killed me, and now you rattle a drawer in my office."

It doesn't sound as much like a taunt as Riz wanted it to; the drawer has made a lot of noises again this morning when he checked the calendar, and he was definitely annoyed at it. Now, though, facing it like this after cooking the whole morning with more grandparents and peers from the block than he can count on both hands to cater for a tenant union meeting, he thinks the annoyance has morphed. Changed shape.

It has the shades of something like pity. Riz is not prone to pity, and especially not at these kinda matters. It's slightly maddening that he coheres perfectly outside of this one spot. That he commands his spaces, except for a drawer.

He puts the tupperware onto the floor between himself and the cabinet. "I know we're aware it's the anniversary," he says at the drawer. "You do this every year. You make a ruckus every time I decide to go do my job instead of mooching off my friends' aircon, and every time I get an invitation to some stupid social thing I want to turn down, and every time one of the old people tries to introduce me to a child or a nibling, because being a bachelor over thirty is weird," he pinches the bridge of his nose. "I have three fucking jobs. I love doing my fucking jobs. I'm forcing funds into infrastructures. You're never leaving, are you."

The drawer vibrates lightly. It's a very, very mild acknowledgement, considering the history of reactions Riz has gotten from this thing. Riz thinks it's emanating joyous agreement, or satisfaction.

It only sharpens the pity. Riz doesn't like that, but it's how it is. That's, ultimately, the lesson he's been taught over and over and over again, just by existing as himself, turned every which way by space after space that don't see him eye-to-eye: it's not like he'd quit living over any of it. It's not like any of it can sand off these fundamental pieces of him.

He's outgrown a lot of things, he's found out. Again, and again, and again. A childhood home, a yearly trip, a monster.

"'s probably scary for you, huh?" He asks. "Because I left."

He thinks he hears joints creak that sound like you did. Probably the way a scorned lover would say it, in a movie or a yellowback. He has no more connection to the idea than he did as a kid. Less, because it doesn't even scare him.

"That's what it is, right? That it's the anniversary, and I'll never be like Dad." He raises a knee from the floor, pulls it back closer to him. Slings an arm over it. "You love to remind me. The thing is, Dad also left. He loved Mom and he loved me, and none of us wanted it to happen, but it still did. Because love does fuckall to make anyone stay on its own."

He's long past being bitter about it. It's just the facts. Once upon a time he looked into the future and the specter of his friends' happily-ever-after casted lightless, fathomless shadow over him. Love, marriage, that kind of devotion, to a fifteen-year-old with more solved cases than friends seemed so eternal. Final.

But you can only watch your friends build up apps' worth of jilted lovers for so long before getting over it.

"You know what I learned?" Riz tells the drawer. "Love doesn't make anyone stay. Project management does."

He stands up, and picks up the tupperware of Dame Carabelle's casserole, that he helped make, that he helped share with a block's worth of neighbors and members of a community he's at home with, and goes sit at his desk to eat. "Last chance to get any," he drops an offer over his shoulder as he walks away.

He doesn't eat all of his share in one go. What he's spared he leaves on the desk when going outside for a smoke break. Baron looks the exact same as when he saw them last, when he catches a glimpse; they haven't grown at all. They aren't there when he comes back inside, but the leftover has gone days-old cold, like someone's sucked the future out of it.