#also really want to draw any other character

[sakurapandadreams]

PLACEMENTS THAT EASILY MAKE FRIENDS

Please take all of these predictions with a grain of salt I'm not a professional astrologer.

FOR ASTRO POSTS HERE IS MY MASTERLIST

If you have any questions here are the GUIDELINES

This post consists of placements that if one has in their chart finds it easier to socialize or understand the social dynamics better in a external settings.

One also needs to take the entire chart into consideration.

🎞 Venus in the 1st house

Natives with this placement are very diplomatic, sweet kind and easy to approach. Quite helpful in nature if their close to you, and even if their not they still very amicable. They almost never break friendships from their side. These individuals have the emotional intelligence to understand how to handle people. Hence they may find it easy to form friendships.

🎞 Gemini Moon

Extremely understanding people. Sure they have their own mood swings and their ups and downs but who doesn't ?. Inspite all odds they never give up in their friendships. Most have an idea that it takes time for a friendships to build and they give that time to their close ones. [To all the people who have a Gemini Moon friend please cherish them]

🎞 Libra Moon

One of their most admirable trait is what helps them form so many friendships and even relationships which they eventually benefit from is the fact they give a very highly thoughtful advice and again know how to make people comfortable around them. They have a decent idea when you need to say what. Won't say a thing if they know it will be a waste.

🎞 Venus in the 10th house

These people are so kind like genuinely their really good at their job [provided they love what their doing] yet so humble. Most I know are very popular atleast in their own groups yet they make sure everyone around them also equally feels like the main character of their own lives [which everyone should].

🎞 Mercury At 29⁰

Such natives are quite popular due to their talkative nature. Most love to talk to people very social. If it's in a 🔥/💧sign then it's a bonus these people are easy to talk to or approach. Also these people don't think before talking lol I love it tho. But yes these people are also good at saying understanding things at the right time.

🎞 Mercury Atmakaraka

These individuals have a way with their words and also have wide variety of topics to talk about. These people always keep a smooth flow of conversations. Have a great sense of humor too. Basically their fun people to talk to so who wouldn't wanna be friends with them

🎞 Jupiter Atmakaraka

Individuals with this placement have a very bright personality and extensive knowledge. Each time you talk to them you learn something new. Brilliant at giving advices too. People may like to talk to them because of their optimistic nature, seeing how they never lose hope is admirable.

🎞 Sun Atmakaraka

The Sun shines the Brightest hence these people are quite popular and leadership comes naturally to these natives. Even if their introverted they may have such a personality which draws people to them. [If you say buddy there's no one who's drawn to me] You guys are also quite intimidating hence there are people who want to be friends with you, it's just you guys need to be a bit more open that's all.

🎞 Venus in Aquarius

These natives are the type of people who are very popular and friends with many people. If their not an extrovert their definitely an ambivert. But what's best about them is how open minded they are let's say they like something which you don't these people don't dismiss other people's opinion.

🎞 3rd house ruler in the 7th or 11th house

Again these people are talkative and their laughter is contagious. Their outgoing people who know how to take jokes. These people also love to talk information. Basically at times they can surprise people with the information they hold. [Not me I know yall 😏😌]. Can have or be a part of big groups. Or have connections with important people YES which means your equally important.

ALSO A VERY HAPPY NAVRATRI EVERYONE 🥳🙏

Credits for the images and dividers goes to the rightful owners

Copyright © 2024 sakurapandadreams | All rights reserved.

[literaryvein-reblogs]

Writing Notes: Magic Systems

Magic - change wrought through unnatural means

Most fantasy can be placed along a spectrum where there are 3 main points: soft magic at one end, hard magic at the other, and a middle ground between the two.

Soft Magic

Magic that is not well-defined for the reader.

Generally, we don’t understand where the magic comes from, who can use it, or what its limitations are.

Readers can see this type of magic being used.

But they can never anticipate when magic will be used in the plot because they can’t begin to guess how it works.

You can’t break a rule if the rules don’t exist!

Most stories that feature this system will have the magic users be secondary characters, allowing them to avoid explaining exactly how the magic works.

It’s also argued that without knowing everything about the magic, it tends to hold more wonder and excitement for readers.

Hard Magic

Has very rigid boundaries.

Readers know where the magic comes from, how it’s used, who uses it, and what its boundaries and limitations are.

We know the limitations of the characters and can understand why they can’t simply magic themselves out of any particular challenge.

Stories with hard magic systems do not need to avoid the main character being a magic-wielder, as they have the capacity to explain to the reader what is going on.

A lot of writers this system because it gives them very explicit guidelines to follow in their plot and creates some more satisfying pay-offs for readers.

The Middle Ground

The meeting point between the soft and hard systems.

We might understand a bit about the way the magic works, but not all our questions are answered.

While most of the content adheres to rules, these rules aren’t fully explored.

This system relies on the reader’s suspension of disbelief.

The main character can be a magic-wielder or not, and it’s up to the writer to determine when magic will be used in terms of plot.

How to Choose a System

You can and should use these guiding principles to build your magic system. Remember that you don’t have to choose one or the other. Your system can draw from aspects of both. Just stay aware of the weaknesses of the path you choose, and ensure you utilize its strengths.

Use a hard magic system if:

You are going to use magic to solve problems

Your audience is accustomed to the tropes of hard magic

You are okay with jumping through hoops to expand your system

Your magic doesn’t convey a theme

Use a soft magic system if:

You want to convey a theme through magic

You want to create a sense of wonder

You want the ability to expand easily

You want to be accessible to a broader audience

Your magic won’t regularly be used to solve problems

Branches of Magic

Like most writing processes, there isn’t really a correct place to begin designing a magic system. A common, and efficient, place to start, however, is by choosing what type of magic system(s) you wish to employ, such as:

Nature-based magic: water, earth, fire, air, and everything in between

Divination magic: see beyond sight and peer through time and space

Conjuring magic: move objects through space over any distance

Psychic magic: master the world of the mind

Life and death magic: tap into the very forces of life, death, and un-death with this surprisingly versatile collection

Animal- or creature-exclusive magic: some creatures just do it better

Magitech systems: the blurring lines of sorcery and science give magic a next-gen, high-tech flair

Eclectic magic: it doesn’t have to be “real” magic to have a real effect

Uncommon magic systems: the unsung heroes of fantasy magic

AALC Method

How to create your own magic system using the AALC (Appearance, Abilities, Limits & Cost) Method

Appearance

What the magic looks like

Makes the world feel more exotic

Can cause problems for characters but cannot solve them

Usually tied to a character arc

Abilities

What the magic does

Points calculated based on magical effect, range, number of people affected, and duration

Characters have a finite amount of fuel (mana) to use abilities

More powerful abilities require more fuel

The fuel does not have to be overt for the audience to understand

If points not overt, cannot solve conflicts unless a cost system is added

Limits

Unlimited uses of magical abilities

Abilities stratified in codified levels defined by their limits

The more the levels' abilities and limits are known by the audience, the more they can be used to solve conflicts

Focused on clever uses of abilities against stronger foes

Cost system can be added to enhance dramatic moments

Cost

Costs must be greater than or equal to abilities to make them dramatically satisfying

Costs can include time, exhaustion, materials, sanity, morality, etc.

Adds dilemma to magic by forcing characters to make choices

The greater the character's sacrifice, the more audience satisfaction at conflict resolution

Each system builds on the previous ones, so that Cost Systems use all four, while Point Systems only care about Abilities and Appearance.

Multiple systems can exist within the same story, and systems can harden over the course of the story.

The Force, for instance, has been a Soft, Point, Level, and Cost System depending on who wrote it at the time.

SOFT SYSTEMS (Appearance Only)

Window Dressing - magic for secondary characters; can instigate conflict but cannot solve it; e.g., Gandalf

Soft Villain - No explanation or upper limits needed; makes villains more powerful to make heroes greater underdogs; e.g., The Emperor

Chosen One - Unknown power keeps hero safe throughout story; can be considered plot armor unless earned through character arc

Sort Hero Incomplete - Curse or positive ability the character cannot control; hero still learning limits of ability at story's end; powers and arc continued in next adventure

Soft Hero Complete - Hero embraces ability to complete arc and solve main conflict; magic must become harder in subsequent adventures

POINT SYSTEMS (Appearance + Abilities)

Points Opaque - Non-explicit reservoir of energy fuels powers; cannot solve main problems without cost option because characters finding hidden energy reserve feels like deus ex machina

Points Hard - Both abiliites and points system must be explicit like in video games; becomes about resource management; easy to understand but takes sense of wonder out of magic

LEVEL SYSTEMS (Appearance + Abilities + Limits)

Soft Level Static - Unchanging power without upper limits; cannot solve conflicts because feels repetitive; power must be used cleverly; e.g., Wolverine's healing factor

Soft Level Advancing - Increased powers or new powers with unknown limits; cannot solve conflicts unless tied to a character arc like Soft Hero Complete, at which point "unlocks" new abilities

Hard Level Static - Unchanging abilities with clear-cut limits; can solve conflicts so long as setup is properly seeded, usually resulting in sacrifice; e.g., Genie

Hard Level Advancing - Well-established abilities with limits; can solve conflicts based upon clever uses of abilities, usually against stronger foes; e.g., Airbender

COST SYSTEMS (Appearance + Abilities + Limits + Cost)

Static Cost - Well-established cost remains consistent for each use of ability; can solve conflicts since based on personal sacrifice

Cost Fluctuating - Costs change based upon dramatic need; costs must be greater than or equal to ability; possible costs include lost time, money, sanity, health, memory, life, morality, etc.

Sources: 1 2 3 4 5 6 Writing Notes: Magic System ⚜ Fictional Items; Poisons ⚜ Fantasy

[bookishjules]

there's a specific paragraph in wottg that's been haunting me since i read it. and i can't keep putting off addressing it in fear of not having the right words to do so, so here we go..

from the lines highlighted in blue and yellow here, two very different stories seem to be being told.

on the one hand, in blue, we have percabeth as we have always known them--in sync. a well-oiled machine of a team that functions better together, drawing from each other's strengths and treating each other as equals. this is how their relationship is supposed to function. we know this from books full of moments when we got to see the development of their relationship, relying on and understanding each other more and more as the years pass by.

in theory, the yellow should support the claim of synchronicity the blue makes (and rightly so according to past books), and ostensibly that seems to be the case. percy as the narrator is just making a silly aside before realizing it doesn't work and shifting back to his original statement, right? but there's an implication here that within the team, the focus is annabeth. she's the only one who belongs there and there's no room for a p or a j or any amount of percy at all.

this doesn't line up with the blue statements at all, because in order for annabeth to be the more important member of the team, the two of them can't be equals, which throws off the balance, disallows synchronicity, and makes collaboration difficult at best. could you say, in a vacuum, that the intention here was what mattered and that the truth lies in that which we, the audience, have known to be true for years? yes, certainly. but the thing is, this paragraph does not exist in a vacuum, and in fact, of the two competing stories, i'm far more inclined to point to the yellow as a better representation of the book surrounding it and the representation of the unit that is percy and annabeth therein.

over and again in wottg we see the uncharacteristic, and pretty much unprecedented, imbalance in their team. from the narration, it's clear that percy holds himself at a lower standing than annabeth, but it's also clear from the story as a whole that annabeth is similarly inclined. percy not only believes he can't do as much as previous books told us he could, but his actions seem to prove that lack of maturity. he relies on annabeth more than he ever has, and not in a cute way. he looks to annabeth to solve all his problems because he doesn't trust himself, and annabeth is doing nothing to show him he should. she's surprised when he has good ideas, surprised when he comforts her, surprised when he does or says anything competent. and percy expects it. it's clear he's pretty much given up trying to solve problems etc., because even when he does manage to accomplish something without annabeth, she tells him he did it wrong or makes fun of him (and again, not in a cute way).

there are so many conversations that could be had here regarding blatant shifts in characterization that have little to do with trauma or codependency, but what i really want to point out is how this book, and the author who wrote it, really doesn't seem to understand or properly represent just how big of an effect these changes in the characters seem to be having on their relationship with one another. if a layman were to read wottg, i can't imagine they could read this paragraph and believe the lines in blue. because it's simply not true for this iteration of percy and annabeth.

just as it can be understood how well percy and annabeth worked together by being shown how much they respected and trusted one another throughout pjo, it must also be understood that the dramatic imbalance in authority and intelligence being shown in wottg hold a similar weight of truth, no matter what the narrative otherwise states, or how insistent it is in telling us that nothing has changed in percy and annabeth's relationship. just because the author wants it to be true, and wants his reader to believe what they are being told, does not erase the very real actions of the character throughout the book.

[theloganator101]

"But the problem here is that Vivziepop is claiming to have come up with some of these ideas on her own and that by confirming that more fan theories are gonna be true in Season 2, it KINDA exposes that you’re too lazy to come up with anything on your own and would rather just take other people’s ideas instead.

And I wouldn’t even too surprised if the case is the same for Helluva Boss and she just butchered that too."

Oh that's definitely the case for sure. Look at HB S1 and then HB S2 and you'll see that they don't really mesh well at all together.

Stolas and Blitz meeting as children? Fan thing. This was fanart.

Stolas and Stella's arranged marriage? Fan thing. Look at EPs 2 and 5 carefully, does anything in those episodes imply an 'arranged marriage'? No in fact, quite the opposite really. But people just spun it in their heads because Stolas said "we weren't in-"

As if that's a conclusive statement(It wasn't), that automatically means arranged marriage(it isn't).

Did any of those episodes imply a 3rd party(King Paimon) was involved with their marriage? No, in fact...quite the opposite with Stolas' song.

People clung to stupid stereotypes and an incomplete line, while ignoring literally every other bit of context within the episodes, that seem to imply that Stolas and Stella had SOME relationship together and that it certainly wasn't an arranged/abusive one.

But no fans parroted this around as if it was some fact...same thing with Vaggie being an Ex-Exorcist....even though her having an X over her eye and wielding an Angelic spear isn't poof of anything, because the Exorcists just leave their weapons behind, she could have easily just picked it up and the X wound even being a factor is just...dumb, that could be from anything. That and this reveal was just poorly written in.

Same with Charlie n Vaggie being a couple, also a fan thing.

The show shifting to this poorly written 'romance' soap opera? Fan thing.

It makes 0 sense for either Blitz or Stolas to want eachother given how S1 played out and even how S2 is playing out. There's no chemistry between them, they've insulted one another, they've used one another....so why? There is no narrative reason for them to be together, at all.

In trying to do this, S1 was bulldozed basically by removing Stolas as an important character by getting rid of the Grimoire, so retroactively he doesn't matter to the story anymore because of the Asmodean Crystals which bring up a whole load of questions and different ways S1 could have been done WITHOUT Stolas entirely. He only matters, because now the show is trying to shift it to make him relevant with contrived/forced writing.

HB S1 and S2 just don't work together when one actually thinks about it.

... Wait I was actually kind of right about this?

THAT JUST MAKES THIS EVEN WORSE!!

Please, if ANYONE on Tumblr can link me or even reblog this with the drawing PLEASE DO! I NEED to see this for myself!

Holy fucking shit Vivziepop! You REALLY are not helping yourself here and making it obvious just how lazy and uncreative you really are!

[dr-futbol-blog]

Duet, Pt. 14

And then we get to the part where we see a man kiss another man, and somehow this isn't even close to the parts of the episode where McKay's preference for men over women is most firmly established. Now, McKay doesn't actually kiss anyone in the episode. We see Cadman kiss two people, once a woman and once a man. Cadman just happens to be possessing McKay's body at the time, and she uses him to make advances on two people that she is interested in. And it's worth reiterating that she seems much more interested in Katie Brown than McKay does.

Cadman's actions have been morally dubious from start to finish but perhaps we can give her some leeway here when they don't know that they are going to survive the dematerialization-rematerialization process. It's the last meal of the condemned, one for the road. And the fact that she does this here, in front of all the people that have gathered to witness the procedure and they all (should) know that it is her and not him makes this a hell of a lot less abusive than her using his body to trick someone into believing that it had actually been McKay that did it. So, the kisses themselves don't tell us a lot about McKay, but his responses to being forced to participate in them do. We get a lot of reactions here from many different characters, all of them interesting in their own right.

First, Zelenka tells everyone to step back so that they don't accidentally get caught up in the beam. And note that Sheppard steps back the minimum amount, he's as close as he possibly can be to McKay. Sheppard is closest to the beam, placing himself half-way between McKay and the machine as though he might jump in and draw the beam to himself as a moment's notice. Hands at his sides, Sheppard really looks like he's ready to pounce if and when needed.

Before Zelenka gets the chance to start the machine, McKay puts his hand on his hip and lifts up one finger (right hand!). Now, while we don't actually know that Sheppard knows that Cadman is and has been able to take control of McKay's body, he likely would be able to tell that this isn't McKay's body language. We can compare how a man looks taking the same position as Sheppard himself was just standing with his hand on his hip earlier. The angle of the pelvis is different. While largely subconscious, with Cadman the pose is meant to draw attention to her waist by shifting her weight onto one leg where as Sheppard is standing on both legs because what he is doing is half of a power stance, meant to reassure himself. His other hand is by his side instead of on his hip both not to block Weir from seeing McKay but also as a barrier between them, as he often seems to need one, his right hand blocking his crotch from her.

This kind of body language is not the result of conscious choice to occupy space in certain ways, it's largely instinctual. And given that Sheppard seems to know McKay's body language better than anyone else, he would immediately clock that something here wasn't right. So McKay walking up to Beckett to kiss him would not be the first indication that something wasn't quite right.

In fact, you can see that Sheppard is looking at Zelenka to see if something was wrong where usually he would be looking at McKay to tell him things. Getting mixed messages from McKay made him turn to Zelenka as though he would be able to tell him if something was wrong here. And given that Zelenka had been ready to push the button, he may also have just wanted to look away.

Regardless, Cadman walks up to Beckett and grabs him by the collar to kiss him, and the kiss is very different from the one she gave Katie Brown earlier although not necessarily any less theatrical. With Katie, she was performing the role of a man as she understood it where as here she is doing this as herself, as a woman.

Beckett was an unwilling participant in both of these kisses. While he's surprised by this kiss from his best friend, he will at least momentarily get that it wasn't McKay but had, in fact, been Cadman. And since he couldn't quite believe what his eyes were seeing earlier, he has to come to the conclusion that the person kissing Katie Brown was not his best friend, either. Beckett seems completely blindsided by this, and doesn't have time to react to either push her away or to draw her in, the situation probably far too confusing for him to be anything but paralyzed by it. But he looked way more bewildered watching McKay kiss Katie Brown than he does by this kiss which is in itself pretty telling.

Cadman tells Beckett "Just in case this doesn't work out," emphasizing the fact that this may well have been their final moment. What they were about to undertake was dangerous and everyone gathered here understood that they might not be able to walk away from this. And like noted before, in their final moments people often show who they really are and what is important to them. Death's door is the place where one might want to do things that they would otherwise never do. Cadman wanted to kiss a man that she seemed mostly to be attracted in while occupying McKay's body (and not so much prior or after this), the desire to try this out overriding her sense of decorum. Fair enough, good for her.

I find Weir and Sheppard's reactions to this very interesting, and Weir's probably even more so than Sheppard's. Weir sees McKay kiss a man and she looks down, abashed by witnessing such a private moment in public, and then looks at Sheppard for his reaction. Her eyes are wide open, her eyebrows are drawn so far up that her entire forehead crinkles, seeming to signal both surprise and bewilderment. It's not the look of someone that sees a public display of affection and has to immediately look at the object of their longing, it's a look that says "Are you seeing this shit?" She is looking at Sheppard to both confirm to her that she's actually seeing what she thinks she's seeing and to tell her how she's supposed to be reacting to this.

Now, we don't actually get to see Sheppard's initial reaction to this. By the time the camera shifts to him, Weir has had the time to look at three different directions. Sheppard has his brow furrowed like he's confused, perplexed, nonplussed. He's not upset, he's not enraged, and he's certainly not disgusted which I'm sure some people have read into this. He seems like he doesn't quite know what he's looking at. But then, just as soon as Weir turns to look at him, he glances at her, returns her gaze with his frown deepening, his eyes narrowing as they shift to her. The look that he gives Weir is cautious, warning even. Sheppard himself is trying not to react here, and by looking at Sheppard Weir is drawing attention to him. People often look at the direction they see other people looking at, and by looking at him, looking for his reaction to this, Weir is inviting other people to look for his reaction too. And Sheppard is warning her not to draw attention to him here. As far as he's concerned, there is nothing going on here. As far as he's concerned, there is nothing out of the ordinary taking place. He is perfectly neutral.

Now, the way Cadman kisses Beckett is probably not the way McKay has (and he definitely has) kissed Sheppard. This is a first kiss, a woman kissing a man. Although not necessarily less passionate or even less desperate, their first kiss had likely been different. The context was different, the motivation was different, the build-up had certainly been much longer. I would place their first kiss in the time they had at the end of The Defiant One (S01E12) as they were waiting for the other jumper to make it to the planet, the two of them all alone, no other living things (apart from the glowy bugs) around that they needed to worry about. And almost certainly Sheppard had been the one to initiate it because although they both had felt it, had felt the pull toward each other, Sheppard was the one that had been trying to fight against it. And just then, having watched McKay take on the wraith for him, he had no fight left in him. Nothing to resist the irresistible with.

And while they certainly had had their share of desperately passionate kisses too, that's not what the first one had been like. The first one had been careful, hesitant, searching, seeking both for permission and forgiveness, absolution, and for what, he wasn't even sure. For them, the act was stolen and forbidden, and they both knew that with it they had crossed a line they could never walk back, they had gone all-in on something they could never undo. With them, it had been very different. And the thousand kisses that had followed had all of them been secret, hidden, always fearful of getting caught, always aware of the moment, their surroundings, where they were, making sure that they would never be found out. McKay had to die (or for Sheppard to believe it had happened) for him to let anyone in on what he felt for that man, and here she was now, looking at him to give her direction on how to react to the scene unfolding before them. He didn't know how he was supposed to react to this. He would have been more than glad to take her lead on this.

What ever John Sheppard felt here, seeing this, he would not allow himself to react to it until much later, when he was alone, where no one could see. This is not his reaction to seeing McKay kiss another man in front of him. This is him trying not to react and warning Weir not to draw any undue attention to him. And given the bitterness with which he looked at the (likely) newly wed couple at Weir's office, the most painful thing about this is the knowledge that no matter what kinds of threats or dangers they face in the service of mankind, this could never be them. They would never be allowed to do this in public, no matter if one of both of them were dying. They both have had to experience thinking that the other had died, and it had been made perfectly clear to both of them that they were expected to keep the depth of their pain hidden even in those moments. It wasn't fair, but it was what it was.

People often project homophobia onto both McKay and Sheppard's reactions here. That McKay is upset about having kissed a guy in particular, the idea of two guys kissing being mortifying to him, and that Sheppard looks on in disgust at the display before him. Yes, McKay is upset. But there are so many reasons for McKay to be upset about this that the mere idea that two men may be kissing as the root cause of his upset doesn't even begin to factor into it. And also note that no part of McKay is disgusted by this. Hurt, yes. Mortified, definitely. He looks at his own hands like there is blood on them, like he had just killed someone. He hides his face with his (left!) hand as though he doesn't want anyone to be looking at him, especially Sheppard. He turns his face away from him in particular, once more screwing his eyes shut so that he would not even accidentally look at him. Where Weir immediately looked for Sheppard's reaction to this, McKay knows not to draw any attention to him right then. It's not even that he personally can't face seeing Sheppard's reaction to what just happened, he understands the gravity of what just took place.

But for him, the two main sources of upset are the fact that this is his best friend with whom he would definitely like to keep things platonic and who he knows prefers women, and the fact that this is happening in public, in broad daylight, in front of all manner of civilian and military personnel--not to mention the man that he loves and whom he knows he would never be able to do this with in public, ever. McKay has made painstaking efforts over the years that he has been civilian contracting for the military to cultivate a public persona that is crassly interested in women so that homosexual and bisexual servicemen in his company would not draw suspicion upon themselves from mere contact with him. It's not something he enjoys, it is something he feels like he needs to do to keep people in more vulnerable positions than himself safe. He understands the game and how it is played, and the sacrifices required from him.

And the person whose position seems to be the most vulnerable in this regard is the recently promoted commander of the expedition. The higher up one climbed on the ladders of power, the more untenable their position became. One didn't even have to be interested in men for someone's career to be destroyed by aspersions of dishonorable conduct, and if it actually was something that one had to live with and conceal to the best of their ability, it was crucially important to keep from becoming the object of talk, of rumours, of any kind of suspicion. And here, unthinking and unaware of the delicateness of the situation, Cadman uses McKay's male body to kiss the chief medical officer of the expedition in front of the Lieutenant Colonel that is his team leader and whose promotion has been grinding his heart into mincemeat ever since he learned about it back on Earth, because he knew what it meant for Sheppard, what it meant for the two of them, how difficult it would make it for the two of them to be seen anywhere near each other even after they had agreed, however begrudgingly on both sides, to end their affair.

Even after no longer getting the benefits of a relationship they were still required to keep up the pretense, to participate in the masquerade, to play the game, to live out their lives like nothing had happened, like their hearts hadn't been broken by each other and by circumstance, like every time they saw the other man it they didn't feel such deep hurt it was sometimes difficult to even breathe. And here she was, the young and clueless soldier, making all that sacrifice meaningless, giving anyone who wanted to harm Sheppard ample cause to flush his entire career down the drain just like that, with only a dishonorable discharge and a one-way trip back to Earth to his name. What happens here is played out for comedy but it is not amusing in the least, in context. It's tragic. It's so goddamn sad, all things considered. And you can see this play out on McKay's face as he realizes what she had done, again without his consent. Because he would never have consented to this. And it has nothing at all to do with whether he personally prefers the company of men or women.

And so, with McKay clearly wishing the floor would open up and swallow him whole since he has reached levels of his personal hell he had never even knew could exist, he tells Zelenka to get on with it, which he does with no further ceremony.

Zelenka: OK, it's reading as two life signs. Power levels are steady-- Sheppard: Get 'em out of there!

While Zelenka is still going over the readings, Sheppard is suddenly entirely out of patience and he tells him, orders him, to get them out of the machine right now. He can't stand not knowing whether McKay is alright or not for one moment longer. He needs this to be over. He needs McKay to be alive and well and he needs to be somewhere where there are no people around so that he can come apart. But note how he keeps his eyes fixed to the machine where McKay is, only briefly glancing at where he was but otherwise not letting the place storing McKay right now out of his sight.

Zelenka does as ordered, and McKay and Cadman both pass out, falling to the ground. The same thing happens here as it did back on the planet the first time. Where Sheppard was the person closest to them, he is not the one kneeling by their bodies (we see his face briefly in the upper right corner of the screen). We see that he wants to approach but he keeps himself back, only watching from further on. Back on the planet, he had allowed himself to forget for a fleeting moment everything that now stood between the two of them. But here, now, he had just received a grim reminder of why he needs to stand back and let someone else take care of him. Why he can't be seen reaching out to McKay even when he is in need of medical assistance. Why they can never be.

Continued in Pt. 15

[tinylittlelilac]

I am under a legal obligation via contract with happyelements to fully listen to mahiro no zanzu whenever it comes on

[hoofpeet]

Punk Ingo and Emmet painstakingly sowing dozens of safety sign patches to their coats

[cerealmonster15]

i want jamiazu + idikei to go on a double date so badly i think the vibes would be So Very Turbulent

[poorly-drawn-mdzs]

Thank you all for voting in the poll to decide who was going to be the leader of the band! It turned out to be such a close race!

[zecoritheweirdone]

hehehehehhooo,, decided to draw some hermits as the mystery skulls animated gang!! why? uhhh mostly just 'cause.

special thanks to the ibaaf server for helping me pick the roles! gem is vivi,, false is arthur,, pearl is lewis,, and etho is mystery!!

better pic of pearl under the cut, where you can how lazy i am,,ms ksmsksjs

[tradingjack]

yuppeeee just having fun!!!! ig!!!!! consistency Who (i dont know her :)) (thank you for tagging me @creepycoffins i used this opportunity to simply vibe i hope that's ok 😭)

[smalltimidbean]

IT'S THE WORLD'S MOST SPECIALIST GUY, EVERYONE CLAP NAOW!!! (silly!!!)

Satoshi but as a Fake Peppino clone, so no longer Satoshi but still mostly them jlkdfgkj

They do need a different name tho, bc my food-themed naming scheme can not be ruined!!! (silly! I already messed up on that early on, but still jkfdjkfsd) - I would refer to them by number, but I am leaning towards them being one of Mr D'Angiolini's... 'Special Request' clones for 'Personal Use', so they wouold not have a number, but I have not decided yet!

For now; They are here, and ready to get sillay

[steakout-05]

medic tf2 doodles?!?!?? in this economy!???!?!? (art from yesterday)

most gentle and sweet middle aged german man in the whole entire world smile vs planning to swap all of your organs with a series of interconnected frogs smile

a doodle i did of Medic and Archimedes.... he looks too round in this drawing, not smug and evil enough..... also Mitzi from the RAE appearance :D

i LOVE the voicelines Medic has with Haunted Archimedes, he's not disturbed or even slightly put off by the fact that his zombified dove is 1. talking and 2. has a violent and constant craving for brains. he's just like. being a slightly irritated pet owner about it. he's just like "ugh yes archimedes vants all zhe brains doesn't he. now shut up". also i think this is the most on-model medic drawing i've ever done wtf

[holoscout]

another day another fern and jermaine sketch dump whats upppp

[unproduciblesmackdown]

set out to create a serious, canonesque drawing with which to say "feel free to go in my lackadaisy tag and help me mystery speculate" but only got going when i made it bowling and the rarepair agenda

[emily-mooon]

60s spy au Nordegrim anyone?