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badnewswhatsleft · 2 days ago

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rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be?

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails.

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can...

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band.

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music.

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special.

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

#sir the ''schlubby dad'' in question is getting on stage and GROWLING. people are dying and creaming and dying and cr #time capsule #read the charts #fall out boy #patrick stump #pete wentz #joe trohman #andy hurley

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kanmom51 · 2 days ago

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Jikook came home

God, how I missed this.

How I miss them!!

Before getting into the whole JM post followed by the cute-flirty interaction that followed, I will take this opportunity in congratulating both JM and JK for their MAMA awards achievements.

JM winning Daesang fans choice of the year.🎉🎉

JK winning top 10 fans choice, best male artist and best dance performance (SNTY).🎉🎉

JM being the sweetheart that he is came to us with a lengthy post to thank Army for voting and receiving a Daesang.

There are a couple of nuanced differences in some of the translations, but all in all, they are pretty much on the same page.

The main difference I've seen is the translation of this part:

벙벙 벙벙 벙벙벙벙벙

Being it "dumbfounded" or "stunned" or "bemused".

I think this probably captures it best:

And then we had JK....

Who was most likely sitting there right by JM's side, the speed of their back and forth being one of the indications to that (we are talking within seconds here), not to mention patterns of past behaviour with those two.

Do we discuss for a second the Weverse translation of the discussion?

Like wtf? 🤣🤣

Ok, so the actual translation would be:

Insert the word of bemusement of your choice I guess, lol. But basically we have JM telling us he's stunned/dumbfounded and mainly happy and then that back and forth between those two right in front of our salads.

Oh, and can someone explain the @JK to me please? I mean, I get JM @JK -ing when posting his replies, but why the hell is JK @JK -ing when posting his replies to JM?🤣🤣

The way those two keep doing this shit (in such a good way, may I add) is just absolutely and utterly hilarious.

This whole exchange gives me these vibes:

And Idk why, but this interaction came straight to mind as well when I saw this back and forth between them...

Take those two and combine them and then picture that in mind with this back and forth going on:

Oh, and do I mention that obviously they had access to Internet, enough to have this back and forth between them, while both in the same place, and JK preferring to flirt in our faces with JM rather than post himself about his wins, which I can assure you he knew of. You know how it is when you don't want to take away from your boyfriend's thunder...

Maybe we'll hear from him later on maybe not, but this was about JM, his win, his moment, his post, his excitement.

And JK CANNOT miss out on a little teasing-flirtatious banter with his man, now can he?

Let's back track for one moment, because I do want to talk about JM inserting JK into his post. I do believe this is going to be a new standard/constant/reality. You know, the "me and JK"/ "JK and I" or "me and JM"/"JM and I". That very natural way of inserting one another in their interactions/conversations with us. Now, don't get me wrong, this is not a new thing what so ever. They have been doing this since forever. But I do think that it's going to become more of a constant and less of a "OMG, he mentioned JK/JM" moment for us. They have shown us for years, but more so over the past year, just how important they are to each other, but even more so, just how intertwined their lives are with one another. They literally could not even part ways to do their military service!! Choosing to spend those 18 months together, even if it meant having to endure much harsher conditions and a much more difficult service as a whole. All to be able to be together. With each other. What I'm saying is that I do think we will be getting so much more of "US" from those two.

Openly and proudly.

US.

One last thing, and again this is either Jikook coincidence or kismet or maybe not too much of a coincidence and more of a conscious decision, but JM's post yesterday, 23 Nov 2024, was posted on the year mark of Jikook leaving for their oh so very special and emotionally charged Japan trip, 23 Nov 2023.

💜💜💜

Coincidence or not, we got Jikook back then, and after radio silence from those two for such a long time, we got Jikook yesterday again!!!

#Jikook #Kookmin #Minkook #JunJi #Jungkook #jimin #JK #JM

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genderqueerdykes · 5 hours ago

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holy shit wait…your 32???

I…im gonna cry

I didn’t know we can live this long…

not just trans mass but…

alterhuman…and plurals..and…

I can’t…

so happy

gonna cry……..

yes i am! i was born in 1992 :)

that's exactly why i have my age in my bio- i've wanted to show people that you don't "outgrow" fundamental parts of your identity. it's natural to adopt and shed identities as we age, but i've been out as genderqueer since 19! nothing has changed, i'm still the same genderqueer person i was all those years ago!

and if anything- life has gotten better in my 30s. as a word of advice to most people out there: your teen years and your twenties FUCKING SUCK!!!!!!!! they tell you those are the "best years of your life" but they're NOT- you're growing into a world that is terrifying and doesn't understand you. you're scared. your brain and body are still developing and you're constantly facing new challenges. those are honestly i think the HARDEST years of your life, hands down

when i was a teenager, i would think to myself "phht there's literally no way i'm making it past 25 lmao" and figure that life ends after 25. well, that day came where i turned 25... and nothing changed.

and then i turned 30. still, nothing changed

now i'm 32 and... nothing has changed. maturation happens with age, yes, but it doesn't mean that you're suddenly a completely different person. people have such a shitty view on 30 year olds, like it's somehow "embarrassing" to be above the age of 25 years old. people in their 30s are constantly picked on, we're constantly told to "act our age" when... we are. i'm happier than ever realizing that I made it to my 30s, still trans, still nonhuman, still plural

i've been in treatment for DID since 2017, and while i've healed a lot, i have not integrated with my alters, and i never will. i don't want to. this is how my brain functions. the dissociation can be a nightmare for me, but my brain needs different people inside of it in order to be able to function properly. we tried to force ourselves to live as a singlet for 3 years and what ended up happening was that host at that time cracked from being under the constant pressure and still has never returned. the amount of stress it placed on us to try to live as a singlet was not worth it. at all

there hasn't been a singular moment in my adult life where i stopped being nonhuman, either. that was something that i never even tried to force myself out of. i never viewed it as weird or something that i should "outgrow"- i told my own mother that i did not identify as human as a child and that never left me. even now, i still wear dog collars, ears, tails, and take nature walks and do things to make myself feel more like my nonhuman selves. i'm still a furry, too!

i might not be a queer "elder" yet, but i'm happy as can be to be able to be an older queer person who can use their experience to help younger folks. thanks for sending this message! trust me, there really is a life after your 20s. your teens and 20s suck massively. but after i passed 30 i became more down to earth about my age. it's not a bad thing to live past 20- in fact, it's a badge of honor. i made it. i'm still breathing, i'm still here, still queer, despite all attempts to prevent me from still being here.

i'm going to continue be here for a long, long time, and you can be here with me, too.

take care of yourself! thanks for stopping by!

#asks #feedback #positive #about us

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renthony · 17 hours ago

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Considering the fact that there's still ongoing waves of covid, bird flu is an active concern, and I'm disabled, no, I don't have in-person social life. And since people refuse to mask up, get vaccinated, or offer virtual participation in things anymore, my attempts to find wider social groups keep getting hamstrung. It sucks. A lot.

I've thought about joining the local French conversation group, but they don't have any covid safety protocols in place. I've thought about going to the weekly free art classes at the comic school, but they aren't covid-safe either, so I just watch the recordings when they upload them on YouTube later. I've thought about going to multiple groups at the local queer community center, but when I asked if they had covid safety protocols, their excuse was that "Ron DeSantis banned mask mandates, so we don't do that anymore," instead of doing literally anything to fight DeSantis. I keep thinking about going back to my theatre & stage combat troupe at the ren faire, but I got sick after the show every single year pre-covid and I cannot risk that "faire crud" being covid proper. I just can't.

I am an active member of a union, but that doesn't count for this poll because I exclusively participate online by video calling into meetings. I play D&D with my parents and siblings every week, but that doesn't count because they're family. I talk to multiple friends and family members every day and regularly check in with folks, but it doesn't count because it's on my phone. I hang out with my housemates and we do all kinds of things together, but that doesn't count because they're the people I live with.

I am being as social as I safely can. It feels really shitty that so many people think it isn't good enough. It feels really shitty to constantly feel like my choices are "be a weird angry shut-in" or "elevate my covid exposure risk." It feels like there's no winning.

If you genuinely believe that it's important for people to have in-person social outlets (and I do agree!), here's what you need to be doing:

Follow the People's CDC's Safer In-Person Gatherings guide (which is due to be updated for 2025 soon).

Get your updated covid booster. People aren't getting their updated vaccines, and it's a problem. If it is available to you, you need to GO. GET. YOUR. BOOSTER. And get your flu shot while you're at it.

Advocate for improved air filtration in the space you want people to meet in. Push for air purifiers if the HVAC system can't be fully upgraded. Help make Corsi-Rosenthal boxes.

At gatherings, provide FREE high-quality N95 masks for people who may not be able to access them. Get some for yourself if you can, and actually wear the fucking things. Over your nose and mouth. Properly.

Stop participating in social dogpiling when people make honest blunders or commit a faux pas. A lot of people have been isolated for years by this point. Social skills atrophy if they aren't used. Is that "weird" person in the group actually hurting anyone, or are they just awkward, intimidated, and out of practice when it comes to social groups?

Stop being a shithead to people who still can't participate. Stop entertaining the belief that people who don't have a robust external social life are "defective" or "untrustworthy." Stop treating people who don't have a robust social life as if they're dangerous, stupid, or shady. Sometimes people just don't have a robust social life. There are many, many reasons. It's not something you should make harsh judgments about.

Evaluate your space for general accessibility. Can disabled people enter and make use of the space? Is it mobility aid friendly? Sensory friendly? Are there things that can help make it easier for disabled people to find, access, and participate in the group? Have you asked any disabled people about how you can make improvements?

Get your fucking covid booster. It's on here twice because data suggests you fuckers aren't doing it. Go get your fucking vaccine.

I know I'm setting myself up for another barrage of, "Ren, it's just some stupid tumblr post, it isn't that serious" comments, but...well, it is that serious to me. I want to participate in social groups again. I want to go places and do things again. I want to go out. But I, and a lot of other people like me, just don't have the option.

You can help give us that option by giving a shit about covid safety and disability justice in your community.

Thanks, Anon!

-submit your poll!-

#original post #covid #disability justice

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nadas-dirthalen · 2 days ago

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Dragon Age: the Veilguard Was Packed with Lore — But Many of Us Overlooked It

— PART TWO —

[ 1 ]

Welcome back, friends and travellers. If you've been here a while, you'll know that I wrote 30,000 words of predictions in the week and a half before DA:tV released. But here's the most surprising thing—I was right, for the most part.

I spent my first Veilguard playthrough grinning (and then sobbing) at all the lore reveals. And here's the thing: I think most of us missed a lot of them, including even me.

So let's unpack some more.

Titans and Spirits: Dark and Light, Abyss and Fade, the Eternal Hymn and its Endless Listeners (2/2)

This is your warning: This post will contain spoilers for the entirety of Dragon Age: the Veilguard, and all Dragon Age content made before Veilguard.

I've spoken a lot about the titans before. In fact, they make up the bedrock (lol) of many of my pre-Veilguard theories. While a lot of what I said a month ago has since become canon in Veilguard, there's a lot that remains as speculation.

Today, I'm going to talk about why I still stand by my theory from October: that the titans and the spirits have far, far more in common than we think, and that this is of vital importance for the next game(s).

Today's Discussion:

What Solas' Creation and Harding's Personal Quest Have in Common

Not Only Do Titans Behave as Spirits... Spirits Behave as Titans

The Dark and the Light, Sundered

Atonement Solas' Promise: He (Still) Seeks Regeneration

What Solas' Creation and Harding's Personal Quest Have in Common

Thanks to Veilguard (and the hints that came before it, if you're coming here from my previous posts), we know that Solas and Harding have far more in common than they think. Both are inexorably connected to the titans: Solas because his body was crafted from lyrium, and Harding because of how her Stone magic awoke after touching Solas' lyrium dagger.

I've theorized before that I think Solas is still connected to Isatunoll, but that the creation of the Veil altered or harmed this connection somehow. Veilguard touches on this with its implications: Solas says the blight senses his presence during the Minrathous portion of the endgame, and says during his Atonement ending that he is able to soothe the titans' anger. It also asserts, during Solas' Memory #3, that the ritual to create the Veil went wrong, wounding Solas in the process.

Both Solas and Harding, then, have to do with both the titans' past and their future. The Temple of Solasan is referenced when this codex in Trespasser mentions the titans needing to be forgotten, and we know now that Mythal and Solas would come to sunder the titans with the lyrium dagger. Solas is the reason the titans were forgotten, and is likely the source of the song "I am the One."

Harding, by contrast, is one of few dwarves whose magic has awoken. The Titan Shade in her personal quest demands that the world remember the anger and pain it has forgotten: the titans' sundering (as well as her own anger). The titans have no future without acknowledgement of their past, and so both Solas and Harding have instrumental roles to play going forward (assuming both are alive and have agreed to this).

It is evident, also, that the pain of being forgotten is traumatic to the titans. Cole mentions this several times in Inquisition, as referenced in the last post. Songs that once sang the same; titans stuck asleep, forgetting how to wake.

And here is where Solas and Harding's parallels really come to light.

This trauma forces Harding to make a choice with her Titan Shade. In every scenario, she acknowledges the Shade's pain. Her choice, then, is to embrace that pain and carry it in Compassion... or embrace the titans' anger, as well as her own. In other words, as is referenced by Stalgard...

I drew close, and the sound became something more. I could feel it, Lace Harding…. Rage, sorrow, and a vast loneliness. — Codex: Letter for Lace Harding

Rage. Harding must choose between Compassion and Rage. We've seen this before. It comes up in Down Among the Dead Men, a story in the Tevinter Nights anthology:

Following a trauma, spirits are pushed toward changing. For so long in this franchise, we called these changes "demons," and still do. But the creature itself is not different—it just exists in a different state.

Emmrich says exactly this, equating spirits and the Titan Shade.

I once communed with a soul who shared a tale of deep sorrow from his youth. "So that the truth wouldn't be lost," he said. Interestingly enough, he could only bear to recall the event after death, when the memory had lost its sting. (l cannot share the tale. A Watcher must keep the confidences of the dead.) Your experience with what you call "the Titan's Shade" brought this anecdote to mind. As you say, in the first moments of your transformation, you were unable or unwilling to confront the depth of the Titans' sorrow. But unlike my friend, this pain was never quite your own. Instead of being trapped within, it fled elsewhere. — Codex: From Emmrich, on Sorrow Denied

We see, now, that the titans do the same thing. The only difference is that Harding is connected to the titan through Isatunoll; her spirit is not, itself, inside the titan. Put through a trauma, though, the titans turn. This is something I theorized as happening to Solas' titan upon his creation, because the trauma of the elves making bodies from its lyrium caused the titan to lash out and fight back, just like Cole says in DAI.

This is why both Solas and Harding are capable of soothing the titans' anger. It doesn't matter that Harding is a dwarf and Solas is one of the elvhen: both are still connected to their titan.

But as much as Veilguard tells us about the Titans being more similar to spirits than previously thought, it does not stop there. No: if you listen closely, Veilguard whispers to you that this similarity goes both ways. Spirits are more similar to titans than we ever could have imagined.

Not Only Do Titans Behave as Spirits... Spirits Behave as Titans

Something caught my eye during my very first Veilguard playthrough, super early on. Of course, I played the whole game through the lens of my own theories, wondering if there could be a connection between titans and spirits.

Immediately I saw, on the floor of a cell in the Ossuary:

I am Nyrys I was Nyrys I we were we are Nyrys — Note: Inmate Scribbling

Immediately, I was reminded of Harding's description of Isatunoll: "It means 'I am here.' But no, not 'I.' 'I' is singular. But it isn't 'we,' either. 'We' is multiple, but also separate... Isatunoll is the eternal hymn that encompasses all time. All spaces. I am. We are. This. That. Here. There. Now. And forever."

That seems to suggest that Nyrys, an inmate who was probably turned into an abomination, might be connected to Isatunoll. The note is written almost the exact same way that Harding is speaking. "But Lore," I hear you saying, "Couldn't that just be an abomination thing, a spirit struggling to share a body?"

I thought so, too. Right up until this.

Late after— (the handwriting abruptly alters:) a PEACE cut from the ALL golden stranded weaves PROTECTION CAGE keep them OUT keep me IN (Drawn below is a decagonal diagram of perfectly even, intersecting geometric lines.) — Codex: Lucanis' Logbook, 2

Understanding that Spite is likely writing with a phonetic understanding of the common tongue, we can interpret his words as 'a PIECE, cut from the ALL.' While I cannot say for certain what the rest describes (it could be Spite's opinion on the Ossuary, a reference to the titan's sundered dreams, or anything in between)... I know that these two first lines clearly talk about a spirit who has been cut away from something larger and grander than itself. The "all."

Now that sounds like Isatunoll, to me.

If you've been here since my October posts, you know where this is going. I've got to find a way to check this idea against other sources. And the first place I go, usually? The Chant of Light, for all the Chantry's evident faults.

I'm reminded of the creation of the Maker's first and second children.

Then the Voice of the Maker rang out, The first Word, And His Word became all that might be: Dream and idea, hope and fear, Endless possibilities. And from it made his firstborn. — Threnodies 5:1

That exact phrasing—"dream and idea, hope and fear, endless possibilities"—is used both in the creation of the Maker's first and second children. The spirits and the second children's souls. It is not used anywhere else in the Chant of Light.

At last did the Maker From the living world Make men. Immutable, as the substance of the earth, With souls made of dream and idea, hope and fear, Endless possibilities. — Threnodies 5:5

I've said before that I believe that all spirits originate as thoughts—namely, the thoughts of one or more of the titans. I think that even the souls of living people apply, here, despite what some of Emmrich's codices discuss. When you consider how Solas speaks about the Inquistor's spirit in DAI, it seems apparent that (at least to Solas) spirits and souls are interchangeable terms, when they belong to a living person.

Additionally, there is a manor in the Hossberg Wetlands that features an Obsession demon locked away that Rook must kill once they get to its location. The party speculates how the demon may have gotten there, and (I believe Rook) comments on how it is possible that the person from the manor themself may have become the demon.

That would imply that their soul was capable of doing so.

Now, let's go back to how spirits (the Maker's first children) and dwarves (the Maker's second children) are in possession of the same souls, per the Chant of Light. Understanding that the Chant of Light is flawed and that I do not believe that Solas is the Maker (rather, that Solas may have come from the titan that Andraste spoke to), I want to draw attention to this verse.

Then the Maker said: "To you, My second-born, I grant this gift: In your heart shall burn An unquenchable flame All-consuming, and never satisfied. From the Fade I crafted you, And to the Fade you shall return Each night in dreams That you may always remember Me." — Threnodies 5:5

It's important to note that the Maker says to his second-born (the dwarves) that they shall return to the Fade each night in dreams. Remember: the dwarves were once able to dream. More than that, though, the Maker says that the dwarves may visit the Fade each night in dreams to be able to connect with the Maker. They were, in fact, crafted with the "flesh of the Fade," a reference made to lyrium.

That implies a direct connection between the titans and the Fade. It suggests that, once, the titans also shared the Fade with other living creatures—or, perhaps, even more. I still believe that the Fade is the collective consciousness of the titans, and that reconnecting with the Fade is part of reconnecting with the titans because of that fact.

The Dark and the Light, Sundered

In a previous post, I theorized that, because Solas created the Veil and it seemed to have sundered the titans in addition to separating the Fade from the waking world, the Fade must be the titans' shared consciousness. We know now that those were two separate acts: Solas sundered the titans and put part of their dreams into the orbs that became the Evanuris' foci. For a time, I thought that this theory must be wrong.

However, in the same series of memories, we learned one more fact: his ritual to create the Veil went wrong. In Memory #3 (Blackened Hearts), he cries out in pain during the moment the Veil is created. This not only hurt the world, but exhausted Solas. Hurt Solas.

"He broke the dreams to stop the old dreams from waking. The wolf chews its leg off to escape the trap." — Cole dialogue

This refers to the creation of the Veil. We know now that Solas created it, in part, to stop the blight from escaping—that would be the old dreams waking that Cole refers to. What's interesting is that Cole refers to this as Solas chewing off his own metaphorical leg to escape the trap. There was always a personal consequence for Solas referenced here.

But why? Why would being cut off from the Fade outside of dreams hurt him? Spirits exist on Thedas all the time. It is only the trauma of being pulled through the Veil against their will that turns them to demons.

To understand that, we must understand what the Fade even is. How it relates to the titans, and what that means going forward.

First, I want to take a look at this codex from Inquisition, which suggests that the water in the Abyss (the realm of the titans) may be the exact same thing as the emerald waters in the Fade.

It is possible—even likely—that the "emerald waters" Andraste refers to are the substance of the Fade, which began as an "ocean of dreams" (Threnodies 1:1) and was reduced to a well—bottomless but limited in scope—by the Maker's creation of our world. —Codex Entry: Here Lies the Abyss

There are other similarities between these two things that come up in Veilguard, if you're looking for them. The first, for me, is a codex.

What determines which sections of the physical world are echoed in the Fade? Is there an underlying logic, or glacial patterns past comprehension? Do our collective fears and longings craft what we see? The will of a mage is especially potent. We may learn to shape the Fade's pathways, if we are ever-mindful of the dangers this invites. — Codex entry: The Obverse of Reality

The phrasing here is very interesting. We know that Shaping is something that the titans once did. The dwarves, to this day, have the Shaperate, in charge of the Memories. To see that language applied to a mage's influence on the Fade implies that mages may exist the same power to manipulate the Fade as the titans did on the Stone, which suggests that the Fade and the Stone can be Shaped in the same ways. The similarity here does lend itself to a theory where the titans and the Fade are parts of the same being/collective.

The second is that one of the revenants—the Slaughtered Pillars, from Elvhenan's Haven—have a line of dialogue that jarred me the first time I heard it.

"Light and song, stolen."

We know that the titans being sundered took their songs away, for the dwarves (save for a few, now) do not hear the titans' songs anymore. It's the word light that gave me pause.

Three guesses as to where I looked for more instances of the word light. If you guessed the Chant of Light, the gigantic piece of lore with light in its title, you are correct!

The first mention I want to note is the very early in the Chant

Opposition in all things: For earth, sky For winter, summer For darkness, Light. — Threnodies 5:4

Note that Light is capitalized here, implying significance. Again, it appears here. Here, we're implying that capitalized Light refers directly to the Fade.

(11) Above them, a river of Light, Before them the throne of Heaven, waiting — Threnodies 8:11

And, lastly, and most prominently in Veilguard: the Lighthouse. Its name, in the elven language, is "Vhen'Theneras." Translated, though, that would mean, "core of dreams." Unless, of course, dreams and Light are the same thing.

But if the Light is indeed the Fade, and there must be opposition in all things according to the Maker, then where have we seen dark before?

We've seen it in the Abyss—aka, the Void. We've seen it in the darkspawn. Those blighted beings that emerge from the Deep Roads, aka the Abyss/Void. Remember that the blight itself is the escaped maddened dreams of the sundered titans. Darkspawn refers to the product of those escaped dreams—the ones not in the Fade/Light.

Crucially, the darkspawn behave in much the same way as anything connected to Isatunoll. They hear a Calling that, at first, belonged to the archdemons, but Antoine now says is coming from somewhere else, as well.

It's the description of Isatunoll that ties this all together for me: titans/their children and spirits, Abyss and Fade, dark and Light.

In a letter from Dagna to Harding, she describes Isatunoll — but in that description, she focuses on this idea that beings connected to a hivemind "know their purpose." Purpose is a word used by Solas all the time in DAI. Spirits have their own purpose.

Think about ants. Ants know what they are. They know their purpose, and they must understand, instinctually, how that purpose fits within the whole. But what if it doesn't end there? What if their consciousness isn't just individual? What if the nest itself knew what it was? A collective sentience of some kind. Nothing says the ants don't have a collective sentience. We just assume they don't, because they're ants. Ants. Or bees. Or darkspawn. Now, there's a thought. — Codex Entry: Thoughts on "Isatunoll"

What if consciousness itself is not individual? asks Dagna. What if the nest itself knew what it was? This explains the darkspawn, after all: the blighted beings who are all connected to the song of the Calling, and the maddened dreams the blight originates from.

The nest, except for that small trickle of escaped blight, is the Fade. The Fade, which is a place that responds to the collective wants and memories of those inside it. The Fade, whose pathways are shaped by the thoughts and wants of the people—especially mages—within it.

My theory is this: the creation of the Veil may have hurt Solas because Solas was still connected to his titan, and to Isatunoll. Some of his love of the Fade may be because he misses the titans' shared dreams—and, by extension, the shared dreams of every living person on Thedas (except the dwarves, and we know why that is).

Atonement Solas' Promise: He (Still) Seeks Regeneration

We know that the Fade is the collective consciousness of the Titans. Their shared dreams. We also know that not all titans are blighted, because the one in Descent is not. Harding's titan also is not, by the end of DA:tV. I posit that this is why much of the Fade, according to Solas in DAI, is far preferable to the Nightmare's domain that we get to see in DAI. Some of that shared consciousness is still healthy.

Easing the titans' anger, therefore, means fixing all of the Fade. Reconnecting the two might mean that the collective consciousness between all spirits could return to Thedas—and since at least elves' and dwarves' souls likely come from the same origin, it could do a lot to bring some of the people of Thedas together.

This, to me, is part of Solas' grand plan. It is not only to bring back the world from Mythal's time—it is to bring back the world before they broke so much of it, before the titans were sundered by his hand. After all: Solas seeks... regeneration. And that's something he promises us after Mythal leaves.

It's important to me, therefore, that Solas says the blight can feel his presence during the fighting in Minrathous. Not that Elgar'nan can detect Solas through the blight, but that the blight itself can feel him. Neve/Bellara, depending on who is taken, can reach out to protect Solas the very same way: by communing with the blight itself, feeling what it wants, and redirecting its course. We see, here, a hivemind in action.

We also know that Atoned!Solas promises to "soothe the titans' anger." This is something he promises to do from Fade Jail, implying that he is able to interact with the titans and their anger from the Black/Golden City. This implies that the Fade itself, as a realm, is a means of communing with the titans, not just a specific spot within it.

The Veil coming down was always going to un-sunder the titans, and that was always one of the true aims of Solas' goals. Even if it meant blighting the world at first and effectively causing the apocalypse, the titans would eventually feel soothed. The Veil is a wound inflicted on this world, Solas has said before... and we know now that it was.

This section, short as it is, is just me telling you that Solas is still able to achieve those ends from Fade Jail. Just because the Veil is now bound to Solas' life force does not mean that the titans can no longer heal.

This buys us valuable time, allowing the titans' anger to soothe before their consciousness is restored, so that the transition is gentler. It promises hope for all of Thedas going forward. It might even promise a healthier, more stable Fade, shaped by dream, idea, and hope more than fear.

But what will that mean for future games? What could the Fade have to do with what's to come?

Why is now the time that the Executors and "those across the sea" want to make their big planned move on Thedas? Why is now when the "poison fruit" has ripened?

Like many of you, I hope to figure it out—and I feel that every day, I get closer.

Stay tuned. :)

___

If you read this far, you're a hero, now and always.

Like I keep saying: I have to absorb this lore day by day! I cannot inhale the entire wiki in a day, much as I'd like to believe I could! That means that future posts can't adhere to a strict schedule, as they depend on me unearthing enough codices, notes, and connecting threads to provide a post's worth of material.

In future, I'm hoping to learn more about: the Forgotten and Forbidden ones, as well as the connections between them; the Executors, those across the sea, and the connections between THEM; the areas across the sea; the Devouring Storm and what it could mean for Thedas' existence... and maybe how Ghilan'nain was ever connected to any of it.

Stick with me on this journey, if you like. It's fun to keep theorycrafting and yelling with you all. <3

#dragon age #veilguard spoilers #dragon age: the veilguard #dragon age the veilguard #da:tv #da:v #da theory #da meta #dragon age theory #dragon age meta #dragon age lore #dragon age theorycrafting #solas #solas dragon age #harding #harding dragon age #lace harding

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sweatyracoon · 3 days ago

Note

Hey:) can you please do a part 2 of Tell me and make it smut

A/n: This is part two to a story I made a while ago, but can be read separately. Enjoy! Thanks anon for the ask! Feel free to suggest more. Part one

Warnings: smut, obviously. Vampire Felix, biting, blood?, pinv, unprotected sex, dom felix, pet names, let me know if I missed anything

It had been nearly a month since you and Felix had the heart to heart, and things seemed to be going smoothly.

His features matured in ways you would have never thought.

He switched back to his natural blonde about a week ago, and you almost felt relief.

Although you didn't mind the black, you had noticed that it affected you in ways you shouldn't be by your best friend.

He was hot.

The black made him look mysterious and sexy. It nearly killed you to look at him, much less be near him.

Today was one of your mandatory hang nights, more specifically, a movie night.

You had found out that he no longer had the same needs as normal people. He doesn't sleep, but can force himself to for a short period of time.

He doesn't eat like he used to. He found that yes, he needs blood, but not often. And when he eats, he takes a few bites before feeling full. He can walk in the light, but it makes him a bit weak, like muscle aches.

It had been surprisingly easy to accommodate these new discoveries. And he had been so grateful to you for being so accepting.

He was sitting on the couch, his blonde hair peaking from above the head rest. You smiled as you walked around to join him, a bowl of popcorn in your hand.

"Ready?"

He grinned at you, his eyes shimmering from the blue light.

"Yep!" He barked, snuggling against you after you got comfortable.

You pressed play, watching the beginning with interest.

The movie was barely forty minutes in when you felt Felix tense against you. He felt colder than normal all of sudden, even under the blankets.

"Felix?" You turned to look at him, seeing that he was avoiding your gaze.

"Lix, what's wrong?" You went to reach for him, but he flinched, making you stop.

"Don't." His voice was deeper than usual, rough around the edges.

It almost sounded like a threat.

"Felix what's wrong? Remember, you promised you wouldn't shut me out," you whispered, unsure of what was wrong all of the sudden.

He sighed before drooping his shoulders, still not looking at you.

"I lied the other day. I-" His voice cracked. "I wasn't able to feed on Thursday."

Your eyes widened, your blood running cold. Wasn't that needed for him to stay sane or something? You weren't entirely sure what would happen if he didn't feed, and he wasn't either.

It was still entirely new.

"So what's wrong now? Are you hungry?" You asked, turning your whole body to him. He had your full attention, even if the movie was still playing.

"Yes, but that's not all," he gulped, looking at you finally.

You gasped, seeing the bright red hue in his eyes. They almost seemed to be pulsing, as if they glowed in the dark.

"I felt the blood going through your arm...when I was laying on you. It was weird." He frowned, wanting to look back to the tv.

Suddenly an idea popped in your head, thinking you might be able to help the poor guy out.

"Have you fed from a human?" You asked.

His eyes blew up. "Uh...Kinda? Bang Chan, he's like me, and he let me bite him. But other than that, just animals," He cleared his throat, his eyes getting brighter by the second.

"Do you want to feed from me? Do you know when to stop?" You tilt your head, watching him freeze like a deer caught in headlights.

"What? No! I don't want to hurt you,"

You blinked. You didn't think about that.

"It hurts?" You couldn't stop the words from leaving you. You cringed.

"Well, Chan said it felt really good when he bite people, but it doesn't have the same effect on him."

"Bite me then," you giggle, shoving your wrist to his face, making him recoil.

"I've never fed from a person. I can go out real quick so we can still have movie night-" he was stuttering at this point and you just wanted him to stop and breathe.

As you listened to him, you brought your nail you where your shoulder and neck meet, scratching just hard enough to break the skin.

Even though it didn't breach your skin yet, the sudden smell of the iron liquid reached Felix's nostrils, igniting something within him he didn't even know was there. His eyes darkened, and before he could stop himself, he was on you in seconds.

You let out a yelp of surprise, now on your back with Felix straddling your hips, locking you in place.

His face was buried in the crook of your neck, and you heard him breathe in deeply, wanting to burn your scent in his memory.

You heard his jaw clenching beside your chin, and you took a deep breath.

"It's okay, Felix. I want it," you breathed. You didn't know entirely what it is you wanted, but he got the idea, latching his teeth into your pulse point.

It hurt at first, the pierce through the skin, his sharp teeth cutting through the many layers of skin. But once he got deep enough, it turned into a cooling heat that then turned into a flame, one that burned hotter with each passing moment.

The shock ignited the pooling arousal in your abdomen, and you let out a moan into his ear.

He growled as he knawed at your neck, squirming above you. You could feel his hardening cock through his sweats, your mind reeling at the thought of him inside you.

He groaned, finally pulling away from your neck to look at you.

His eyes had gone back to their natural color, and his face was flushed. His breathing was heavy, and his lips stained red with your blood.

He looked like an angel.

"You okay?" He asked softly, bringing a hand to rest on your face.

You nodded, unable to speak all of the sudden.

Your gaze blurred, your mind fuzzy.

He seemed to have caught on, hearing the small whimpers emitting from your throat.

"Whats the matter, honey? Can't talk? Did it feel that good?" He cooed at you with a grin, rubbing circles on your cheek.

You sniffled, nodding in response, nuzzling into his touch.

"Can I, y/n? Can I touch you?" He whispered, staring into your eyes deeply.

His free hand rested on your waistband, gently messing with a stray thread.

"Please, lixie," you mutter, suddenly hotter.

You lifted your hip gently, the skin of your torso meeting his cold fingers. You sighed at the contact, tilting your head back slightly.

He watched in awe as he pushed his fingers under your clothing, his index and middle finger playing with your folds before flicking your clit. You groaned, your arms coming to grasp at any part of him that you can. Your left hand found purchase on his forearm, your grip tight. The other fisted the fabric of the couch, scratching roughly on your skin.

“More, lix. Please…” you breathed, loving the way he touched you.

He said nothing, but showed that he heard you by shoving two fingers deep within your sopping cunt, pushing at a fast pace. Though his hands looked small, they seemed to be finding your g-spot immediately, grinning as he abused that sacred spot,watching as you let out louder moans. He forced himself down to catch your lips in his, sucking the air out of you as he continued to finger you, curling his fingers every other thrust. He brought his other hand to rub roughly at your clothed nipples, feeling them harden under the fabric.

“Want me to fuck you, y/n? Just tell me the word and I’ll take care of you, love. Let me take care of you,” he all but begged, sounding fucked out before even undressing.

He loved the way you clenched around his fingers, pulling him in, not wanting him to leave. If Felix had it his way, he’d never let his fingers leave from you. And if you wanted it to be his cock instead, who was he to deny you?

“Yes! Please Felix!” You moaned, your stomach doing somersaults as it begged for release. You whined as h pulled his fingers from you rather quickly, and watched as he fumbled with his sweats. He rushed to pull them off, nearly falling from the couch in the process, making you giggle at him. It quickly died down once you saw him.

He sprung out of his pants, a loud thud emitting rom where his cock hit his stomach. You nearly let yourself drool at the sight of him.

No other guy has made you feel this way about his cock, but boy was Felix beautiful. What he lacked in length, he made up for in girth, almost looking like the stretch would be painful. But you’d take it. You needed it. Almost as much as he wanted it.

He grabbed the bottom of his shirt, bringing it up to bite, showing of his abs. You moaned just from the sight of them.

“You sure you want this? We can stop…” he mumbled with the tee between his teeth. His eyes shimmered in the dim lighting, looking as if he held stars in his eyes.

“Yes I’m sure, lix. I just have one question…” you smiled at him. “Could you…bite me again?”

His eyes widened at first, but he felt himself twitching at the thought. Your blood was certainly way better than that of an animal. Yours was more fresh and almost electric with the way your adrenaline spiked. It was almost like his own alcohol just walking around in the apartment. He was head over heels for your taste, plus his long term crush on you.

He relaxed before placing himself at your entrance.

“Of course, baby,” he pushed in slowly, watching your back arch off the sofa.

He quickly came down to latch onto your neck, sucking, hoping to ease the pain with the pleasure of the bite.

It seemed to calm you down, because shortly after that, with each draw he took from you, your moans became louder. He started to move, cursing himself suddenly. Drinking from you was enough to make him finish, but he didn’t want to finish before you. He pulled his mouth back, looking you in the eyes as he picked up the pace.

Once again, his lips were stained with your blood, the amount a lot more than previously, making droplets form, and threatened to fall with each thrust. He hit deeper, pushing harder against you causing slapping sounds to echo the room. You both grunted with one another as each of you closed in on your high.

You felt the knot forming in the pit of your stomach, watching as his eyes fluttered shut as he rammed into you as if he never would have sex again. He wanted to make it last. He found that he was struggling just to not cum from staring at you. He loved how helpless you looked right now.

You finally felt the knot snap, your high washing over you like a ton of bricks. You shivered as he continued, your walls clenching around him desperately, wanting to absorb his delicious cum.

One droplet of blood finally parted from his lips, landing onto your own. He watched as you stuck your tongue out to taste yourself, moaning at the flavor. The sight of you tasting your blood finally made him snap. His cum shot out in spurts inside you, riding out his high until he was shaking from overstimulation. He collapsed onto you for a few seconds before pulling out, making you whine. He grinned, pulling his shirt of all the way.

“One second,” he muttered, cleaning you both before pulling the blanket over you both once more. “How are you feeling? Did I take too much?” He nuzzled into you, trying to make sour you weren’t uncomfortable.

“No, I’m okay. I don’t feel any different,” you responded with a yawn. Your shoulder aches slightly, but you deemed it worth it.

“You might not feel that way later, though!” He whined, pawing at your hands.

You giggled as you saw the ending credits to the movie you were supposed to watch.

“Good thing I took the next two days off!”

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aceingonthecake · 3 days ago

Text

Very Personal Take on Good Omens

I've always related more to Crowley. It has always been easier for me to understand them than Aziraphale, especially in s1. Don't get me wrong, I've adored Aziraphale since day one too, I just think that, personality wise, we have less traits in common.

However, since the end of s2, I've been able to really feel for Aziraphale and immediately found myself defending them and their final decision. I won't lie and tell you that, at the beginning, I didn't feel angry and even a little betrayed at all, but once I cooled down and thought about it with a clear mind I got it. And, later, I also got the reason why I was feeling so defensive about Aziraphale.

Last year I broke up with my partner, with whom I also had a lot of mutual friends. I was the one to call it off and I did it because there were some dynamics I couldn't tolerate anymore, but I still loved them and I suffered a lot (still do sometimes). Still, I knew it was the right thing to do for the both of us and I never regretted it.

The thing is, the friends we had in common never really bothered to check up on me: I was the one to call it off and I was the one who'd always appeared emotionally stronger, so why would I be suffering? However, they comforted my ex multiple times, sometimes right after I'd gone home, because they just burst into tears in front of everyone. Obviously, I was very sad and cried a lot too, I just avoided doing it in front of our mutual friends to avoid creating sides (when we broke up we promised this to each other).

Connecting all of this to Good Omens, I believe that something like that is happening in the fandom too. A lot of people are hyper focusing on Crowley's pain because it's more obvious and understandable to them, while they're painting Aziraphale as the "bad one" who broke their heart and doesn't care about them just because they were the one who made the difficult decision. And, while I understand it's easier to see it that way, I also think it's not actually that hard to dig a little deeper.

Just because someone's pain is more evident doesn't mean they were the only one to get hurt and didn't hurt back too. Crowley hurt Aziraphale too, even if we might not see it immediately or as clearly as the other way around. They're both suffering, there is no right and wrong side, they both made mistakes and, nonetheless, it's no doubt they love each other and deserve a happy ending.

I hope this makes sense. It's a very emotionally charged analysis so, even if you don't agree, be polite about it please. I know I didn't get too much into what happened in the final 15, but I've already made (and I'll make) other specific posts about it. This one was more of an emotional take.

I'd also like to underline that none of this is a contest about who's hurting more. It's an invitation not to take for granted other people's feelings but actually try and understand both sides of a situation, even if we naturally relate to or understand one more than the other. (Of course, this doesn't apply to toxic relationships).

#good omens #ineffable husbands #crowley #aziraphale #aziracrow #final 15 #the final fifteen #good omens season 2 #good omens thoughts #break up

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macaiv · 3 days ago

Text

Source: Sky Sports F1 Pre-Qualifying Show Las Vegas GP 2024

Esteban: Yeah it's definitely been awesome to just being able to have such a result after difficult season. Yeah it's been fantastic and also coming back here last year we had almost a podium, finished fourth. It was a very good race so there's a good momentum at the moment going on and obviously a big fight with the other teams until the end of the year. So it just brings more spice and more interesting things for us until the end of the year.

Transcript:

Rachel: So Esteban we're back in Vegas, it probably feels like a long time since Brazil but those memories must still be pretty good.

Rachel: What did it mean to the factory and to everyone who works in the team to have both of you up there because as you say it's been a really difficult year. Everyone's had to keep their heads down and keep working hard and try and get something out of this season.

Esteban: Yeah I mean there was a huge buzz inside the factory. It meant the whole world for the team. Everyone, everybody was working so hard you know to try and get a good car this year. Unfortunately we don't have the the car that we expected but it's a good reward for everyone and a very very nice one you for me and Pierre for sure to to be on the podium together. It's a special story for us and yeah definitely a moment that we will forever remember.

Rachel: Last three races with Alpine. How are you feeling? Is it weird?

Esteban: Yeah it's going to be emotional for sure especially the the last race but I've spent five years with this team. It's been a hell of a ride some good times some times a little bit more difficult but five years in formula one terms is a long time.

Rachel: You're making me feel really bad man.

Esteban: You've been here for a long time Rachel. But yeah no it's been nice obviously to get that last good results. I hope that we can get some good ones as well for for the rest of the year but it will be more tricky to be realistic to be honest. It won't rain for for the last three but yeah as I said it will be emotional but I'm looking forward to finish the story on the high.

Rachel: I mean this place is quite distracting, isn't it? This actual I mean the city itself have you been out what have you been doing and and I mean look at all this this is crazy.

Esteban: Yeah this is crazy and you know the sunset, the scenery and how it is you know the whole week. It's a standout race I would say compared to the rest of the year. It's a race that we've got really good surprises from last year. I think you know we were expecting something to be very different to actually how it is but it's a really good racing circuit. It can feel like it's warm because I'm wearing very thin jackets but I'm actually freezing for it.

Rachel: But I'm really warm that's the thing I'm really warm right now but I've got about 10 layers back in the office ready for it.

Esteban: Yes exactly just before you take them off and when we do the interview but no it's actually freezing so that brings opportunities because you know the tires the way they work you know it's not usual it's quite extreme so it should be interesting.

Rachel: All right, go well this weekend. Enjoy your last three races with Alpine. Thanks for talking to us.

Esteban: No problem. Thank you.

Bonus Part:

Simon: Well, it was a nice way, isn't it, to end his Alpine career. Great scenes up there. They're not always been the best of friends. We know that. Great rivals himself and Pierre Gasly. But I mean, what an enormous moment for the team, Jenson.

Jenson: Yeah, that was massive. That came from ninth in the championship to seventh. Right. Yeah, sixth. So they jumped three teams. That's massive. But this is a nice way to see out their championship. Well, they they're time together as teammates, as we know, they haven't seen eye to eye always. But to hug it out and stand on a podium together, it's pretty awesome.

Simon: Such similar careers that they've had as well.

Danica: I mean, it's a small world. You never know when you might run into each other or the or a team again or the team personnel within. So I think it's a really good thing to sort of be on this being this in this in this feeling at this point in the season as this comes to an end for Alpine with him. And, you know, he still has a chance to make some really great impression in their these last few races. Here last year, him and Pierre had a great race against each other. So, yeah, it's good to see good to see smiles.

Simon: Is he destined, though, do you think to be one of these drivers that last a long time in the sport, but perhaps doesn't get to one of the top drives, Esteban?

Martin: I think there's more potential in Esteban than he's showed. He fascinates me actually, because he is the nicest person you'd ever want to meet. And then when the helmet goes on, a little switch just behind you here that we've all got goes down and he turns into, with all due respect, a bit of a monster on the racetrack. And I think that energy is wasted in a way. I think there's more potential in him than he's delivered so far. But there's still time.

#esteban ocon #eo31

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nicholaswantslove · 2 days ago

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It's been 10 days since I came out...and well, everything is the same and I can't tell if that's a good thing or not.

I wanted to buy a binder with this check but with the mail on hold because of the strike here in Canada. It's going to have to wait.

I have no gender affirming clothing, like none at all and it's driving me insane. Also, my dad is with me like all the time, and I know he doesn't accept the fact I'm trans... so I feel like he's judging me for shopping in the men's section and it makes me feel awkward.

The other day, he called me a woman for the second time this week. The first time I told him that I'm not a woman and he looked at me like "really?" and I said "I have female body parts, yes..." and he goes "see?"

Ugh, it makes me so frustrated. He's never going to respect my decision... if you can even call it a decision...

It makes me want to move out but I can't afford to get my own place... at least not for a couple of years... maybe when I get a student loan when I go to University, I might be able to but right now, it's out of the question.

I love my dad but I'm starting to really not like him. I'm glad he's going back to work soon... maybe I'll feel more comfortable being away from him.

I've been thinking about what I want to do moving forward with my transition. I'm not sure if I want to start the process of changing my name and gender marker first or start the process of getting HRT.

I think a good place above all that is actually buying masculine clothing and a chest binder...

I can't worry about what my dad thinks and I need to start sticking up for myself with him.

Anyway,

I made cookies today... they were pretty good.

- Nick

#ftm #trans guy #trans pride #transgender #lgbt pride #pride #trans #transmasc #lgbt #lgbtq #lgbt community #lgbtqia #lgbtqia+#queer community #queer

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aureatescars · 10 hours ago

Text

Sasha scoffs when Leon brings up teaching him pickup lines, but he can't hide the amusement crinkling his eyes and lightening his tone as he looks up at him. "Swear words I can do." He says. "But what on earth has you believe I'd be the right person to ask about pickup lines?" He shakes his head but continues down the aisle with the smile persisting in his expression. "I've been in exactly one relationship, and she asked me out."

He stops in his tracks then, wheelchair coming to a halt. He is struck by how easily he said this just now. How easily he is able to talk about her in this moment. Previously, making even the smallest of remarks regarding her did twist a knife in his gutt, had him aching as if bleeding out from an open wound. But reminiscing about the day Irina finally had enough of dropping hints and downright demanded he take her out for dinner is not as painful as it once was. It still hurts to think of her, the grief persists even now and there won't be a day in his life when he won't miss her for the person she was and it's much the same for JD. He'd ever wish things would have turned out different, and he will always feel guilty for dragging him into a fight not his own. bBt Sasha won't let that grief and guilt possess him anymore, he won't let it corrupt him. He's been down that path and it nearly took everything from him.

In fact, the reason he is still here, looking toward the future rather than succumbing to the rage and guilt that swept him up during the war is standing beside him now. Joking about Sasha teaching him his mother tongue one inappropriate word at a time. And somehow that has him smile a little brighter.

Until Leon points out that there is someone staring at them. Sasha turns and immediately recognizes the man. "That's the man we're renting the cabin from." Sasha explains, realizing belatedly that Leon stayed by the car on their day of arrival and Sasha went to pick up the key by himself. Sasha didn't think much of it at the time, but now he wonders if Leon deliberately stayed behind that evening to keep the potential suspicion of the man to a minimum.

Well, there is not much to be done about it now, so to avoid any awkwardness Sasha raises a hand to greet the man standing a ways away from them before he begins wheeling himself over. [Hey there] Comes the gruff but not unfriendly greeting from the older man when they're within earshot and Sasha nods in acknowledgement before returning the greeting.

He gestures at Leon, meaning to introduce the two men to eachother officially. [This is Leon, he's been helping me get settled after... everything.] He avoids the older man's eyes as his brows furrow and his expression morphs into something uncomfortably close to pity. Then he looks up at Leon, while indicating the older man. "This is Mikael."

With introductions out of the way conversation moves on to stilted but overall friendly smalltalk, with Sasha playing intermediary between the other two men.

[You two here to get materials for the construction work you plan to do?] Mikael asks and Sasha shrugs. [Just for the ramps. We're not going to touch the doorframes. We won't go against our word.]

[Listen, I'm sorry, but I really can't just have you up and change the entire thing on a whim.] Mikael says and Sasha shakes his head. [I know. And I'm not holding it against you.]

Mikael looks at the wheelchair and Sasha has to do everything in his power to not squirm under what he perceives to be an almost scrutinizing gaze. [Is it really that hard to move around?]

Sasha presses his lips together, not translating what Mikael just said into English since he is overcome by a wave of shame, memories of the last couple of days coming back to mind. Not least of all the moment in the bathroom and this morning. [I told you. It's not as much moving around as it is the chair not fitting through the doorframes. Leon has to ... he has to help me. Often.] It comes out curt and a little rough around the edges. Sasha knows Leon noticed that the conversation involves him in some way, having heard his name and likely noticed the brief glances Sasha threw his way. But right now he can't bring himself to explain.

It's then that Mikael takes pity on him, trying to stir the conversation away from the heavy topic. [He seems like a good guy. ... For an American.] He crosses his arms infront of his chest. [Tell him thank you from me for taking care of you, and sorry about saying no. Go on. He seems a little lost.]

Sasha blinks up at Mikael, a little startled by the request. It takes him another moment but then he awkwardly shifts in his seat and turns to Leon, who indeed seems a bit confused by the whole exchange. "He says thank you, for taking care of me." Sasha's ears burn while saying so, but he has to agree with the sentiment regardless, which makes it even worse tonsay it out loud. "...And he apologizes for not letting us make changes to the cabin."

"Not that I know off." He answers, wheeling himself towards the entrance of the store, Leon by his side. He's glad that Leon doesn't immediately go to push the wheelchair for him, but rather lets him maneuver on his own unless asked for assistance. Sasha still appreciates Leon opening the door for him without him having to ask for it. It feels almost normal like this. Sasha is happy to not have to pull attention to every little thing that gets in his way and judging from the lack of a pointed look or any verbal indication on Leon's part he didn't even really think about doing it either, as if it comes naturally to him by now to accommodate for Sasha.

An odd feeling of warmth overcomes him, knowing that Leon cares enough to account for things like this by now, although it is also slightly tainted by him wishing that it wasn't like this, that things like closed doors and uneven pathing weren't obstacles to overcome. Sasha pulls himself away from those thoughts, focussing on what Leon is saying instead.

He considers it. "An electric screwdriver, a power drill, nails and screws..." He keeps adding to Leon's list, and Leon chimes in with a few more ideas as well. Measuring tape, a level, "...Some work gloves and protective eyewear, too." Sasha gives Leon a pointed look. "I will not have you injure yourself on my watch."

When they come to a halt in the entryway of the store to orientate themselves Leon brings another thing back to his attention. It's easy to forget when it's just them, but Leon's knowledge of Russian is limited and he's relying entirely on Sasha here, and readily, too as it seems. Somehow that makes Sasha feel a little better about himself, like he is finally doing his part in their little arrangement.

"Of course." He says without hesitation, not entirely unaware of the curious and borderline distrustful glances they're receiving while they keep speaking English. But before they seek out an employee to guide them, Sasha takes stock of their surroundings, reading a few signs which are already helpful enough in directing him where to go. "Tools should be this way. Let's go from there."

As they make their way down the aisle to get to the tools Sasha looks up at Leon. "Do you want me to teach you a few more words and phrases?" Sasha knows Leon has some understanding of his native language. He's heard him greet people and thank the staff at the hospital and the clerk at the gas station at the very least. But Sasha wouldn't mind teaching him at all. In fact, he finds he's quietly hopeful that Leon will agree, although he isn't entirely sure as to why.

#petrokhelidon #post damnation verse

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evanbuckleyrecs · 3 days ago

Note

Any recommendations on hurt-comfort Buddie that will make you cry? HEA please!

I started to answer this but accidentally clicked on a Tumblr link so I gotta start over 😂

I haven't read Buddie fics in a while so these are a bit older. (I'm going to catch up soon! I've just been in a phase where I'm either reading Teen Wolf fics or physical books)

Also haven't updated my bookmarks yet. Sadly a lot of great authors I'd normally recommend have turned anti-Buddie since April and I'd rather not promote them in Buddie posts if they're not safe to follow anymore as a Buddie fan.

Please check the tags of a fic before reading in case something is triggering for you!

the things that haunt me in the middle of the night by justhockey

2,4k, rated G

He gasps for breath and it feels like a reflex - like coming up for air after being sucked under. Like a desperate, manic thing.

He’s safe, he knows that. Knows he was never really in much danger anyway. But the sound of it all - the waves, the rain, the crashing and the thundering - it echoes in his head, ricochets through his bones. It lives inside of him, he guesses, even after all these years. That fear, the exhaustion, the crippling terror of finding the surface only to realise that Christopher was gone.

He rubs at his sternum, tries to breathe deeply, tries to blink away the memories of the day the water nearly took everything from him.

I let my guard down by bucksclipboard

6,5k, rated M

"It didn’t stop. Buck went from hoping the packages were from someone special to suspecting someone was toying with him. The hopeless romantic in him was slowly wilting. When he opened the latest letter, suddenly he was not so sure his secret admirer was of the good-natured kind. "

or: who needs police protection when you have eddie diaz by your side?

Cut me slack (I've watched your heart stop) by kat_atthewisco

Rated G, 5,4k

“Well, unfortunately I am calling you specifically for your role as Mr. Buckley’s power of attorney. He does need a couple of decisions made about his care that he’s not fit for at the moment. If you’re able to get here soon that would be best, I can’t tell you much over the phone.” To her credit, Deirdre does sound apologetic, and Eddie’s panic has begun to ratchet back up.

“I’ll be there as fast as I can, is he- please, how bad?” Eddie repeats.

In which Eddie gets The Call from Cedars-Sinai while he's off work thanks to a healing injury. Being Buck's emergency contact is suddenly a very real thing.

Never More To Leave Here by devirnis

Rated T, 10,2k

"Can you remind my brother that we were supposed to get lunch?” Maddie asks.

“Uh sure,” Eddie says slowly, confused. “But why don’t you just call him yourself?”

“I did, a couple times, but he didn’t answer. I assumed he was still with you?”

Eddie thinks back to last night, to Buck specifically making plans to go back to his own place so he wouldn’t be late for lunch with Maddie. Buck had texted him when he got home, just a simple night :) that still made Eddie’s heart flutter, so obviously Buck had made it back to the loft… But there haven’t been any texts from Buck all morning. Not that that is necessarily unheard of, but especially over the last few weeks it’s become rarer and rarer for even a few hours to go by without Eddie’s phone dinging with a message notification from Buck.

A small tendril of worry curls around Eddie’s ribs.

BTHB: locked up & left behind

Diagnosis: Dumbass by snarkymuch

Rated T, 2,7K

Christopher scrunched his face, then stopped rummaging through his pack to grab something from the ground—something that turned out to be his phone.

“No, nope—who do you think you’re calling?” he asked, trying to reach for it, but Christopher had already hit the button, dialing someone—whom he’d bet anything was his father.

Christopher pulled away, out of reach, phone to his ear, then a moment later saying, “Yeah, I’m okay, dad—yeah, I know—no, but he fell out of a tree—”

“He is fine, though!” Buck yelled, hoping to stop the inevitable freakout from Eddie. “Eddie, do you hear me? I’m fine!”

--or--

Buck takes Chris out for a light hike, somehow ends up falling out of a tree, and Chris patches him up while waiting for his dad to arrive.

Presumed Dead by inkonmyheartandonthepage

Rated G, 4,4K

The fresh air was supposed to have been good for Buck. A small hike that he had done a million times. A nice hike that gave him a workout and at the same time allowed him to sift through his thoughts and feelings and to focus on what he really wanted.

Instead, he’s stuck in the middle of nowhere at a rest stop watching some asshole drive away in his jeep.

The 118 crew arrive a fender bender only to find it's Buck's jeep on fire and the body inside dead and burning.

The monsters turned out to be just trees by Ink_Dancer

Rated T, 8,4k

Buck and Eddie are searching for a missing person, and they're already lost in the woods when Buck gets injured and makes their situation a lot more complicated. With the sun going down, they're forced to spend the night outside, with only each other for warmth and shelter.

(set post-buck's recovery from the firetruck, but no other specific time markers. nebulously within the show's canon.)

It's what my rotting bones will sing when the rest of me is dead by heartbeatdiaz

Rated T, 12,4k

"Eddie? Eds, can you hear me?” Buck rubs his knuckles against Eddie's sternum, a little too harsh, a little too desperate. "Eddie!"

Eddie croaks out a weak, barely there, whine as Buck's knuckles do the trick and his eyes open in slits.

"Evan?" He chokes out, his voice so hoarse and raspy that it must have been hurting his throat. "You're real?" He whispers in awe, his hand twitching as his side like he wants to reach up to Buck— touch his face— but he's too weak to do that. Eddie's brow furrowed but a small smile graces his lips, barely there. "I didn't give up. I made it home to you."

or;

the one where a call goes wrong and leaves everyone thinking eddie was dead, buck finds about the will through a letter and comes to some other revelations in the process.

and in which eddie finds his way back home and finally gets to be happy with the love of his life.

BTHB Prompt: Missing and Presumed Dead

Let me go by tawaifeddiediaz

Rated T, 8,1K

For the first time since he met him, he wasn’t sure where Buck was, and it was driving him insane. His shift ended three hours later than Eddie on Tuesdays, and today, he had texted saying that he was going to pick up groceries.

After that, he hadn’t returned back home.

Kindness: What Connects Us by FandomLife54

Rated T, 9,6k

Still off balance, Buck slams his left heel onto the roof, heaving forward to catch the collar of that yellow shirt. And there’s no conscious decision making here. It’s all instinct, and he’s grateful for it. If he’d given his overzealous mind the chance to consider another way, he would have missed his shot. Instead, his arms hurl the boy into the hands of another survivor...

And his right foot misses the edge.

Buck catches Chris before he rolls off the firetruck, and it's him who falls back into the retreating waters of the tsunami. Unconscious and seriously injured, he's unaware that his team has been searching for him, never giving up as the days pass.

A leaf falls on loneliness by iimpossible_things

Not rated, 11,1k

Buck doesn’t think that if he were to say, “I’m in a bad place”, that anyone would turn him away. Really, he doesn’t. The 118 has too many good, kind people for that.

But every time he wants to open his mouth, to say something, to reach out to Eddie or Bobby or Hen or Chim, he hears Eddie yelling, “you’re exhausting.”

—you’re exhausting, you’re exhausting, you’re exhausting—

So each day he does his job and he laughs and he jokes and he pretends he’s the care-free goofball he’s always been. And each day he packs away his bruises and his worries, takes them home to his empty loft with its quiet rooms, and licks his wounds in silence.

And I watched a part of myself die 'cause no amount of freedom gets you clean by himbobuckley

WARNING: rape/non-con. Rated T, 10,2K

Buck goes out drinking after a particularly tragic call and the night takes a turn for the worse when he's targeted and assaulted. Struggling in the aftermath and unsure how to handle it, Buck tries to distance himself from his friends and family, believing that with time he can simply move past it on his own. Eddie notices something is wrong with Buck and desperately tries to get through to his friend, fearing the worst.

or:

Buck goes through the fucking ringer. eddie notices something's horribly wrong. you can contact my lawyer for emotional damages.

or:

“I heard about what happened yesterday,” Eddie says softly. “I’m sorry I wasn’t there. And that I didn’t know. I should’ve gone out with you, or made you come over, or-”

“Eddie,” Buck interrupts. “It’s- it’s okay. I just went out drinking. It’s fine.”

“Drinking alone?”

“Yeah,” he stammers. “Yeah, alone.”

“Hey listen, why don’t you come over tonight? We can do a movie night. And… I have something to tell you.”

“I’m sorry, Eddie,” Buck murmurs, feeling the tears welling up again. “I don’t think I can tonight.”

“Hey, wait Buck-”

“I’ll see you tomorrow.”

Blue skies by spaceprincessem

36,7k, rated T

“Most babies are born as accidents,” She says suddenly, like she’s decided that Buck has passed, that she can trust him with this.

Buck doesn’t really have an answer because that question hits way to fucking close to home. A year or so ago he would have said, yes, I was an accident, so I know how that goes, but Buck knows better now. Knows that he would almost give anything for that answer to still be yes. Evie’s finger works under the seal to rip it open, a stack of important looking papers dumping out onto the table in front of her.

“Not me,” she says without looking up as she organizes them into a neat stack, “I was engineered.”

And.

And Buck’s pretty fucking sure a giant, cataclysmic hole has ripped right open, dragging him down to the earth’s core where he vaporizes into dust.

{or Buck meets another savior baby and everything comes crashing down}

Leave The Light On (I'll Be Coming Home) by HMSLusitania

Rated M, 44,4k, fandom classic

“We’re here for our grandson,” Helena says.

“Chris is still sleeping,” Buck says.

“I meant, we’re here to take him back to Texas,” Helena clarifies.

“Yeah,” Buck says. He’s too tired, way too tired to be tactful. “Over my dead body.”

An accident on a call leaves Buck with custody of Chris after Eddie is... missing presumed.

While they navigate their new family circumstances -- and fight to stay together, despite Eddie's parents' best efforts -- a John Doe wakes up in a coma ward with no memory of his own life beyond the knowledge he has a son named Christopher and, somehow, he needs to get home.

Over The Age, Over Again by mintedwitcher

Rated E, 16,5k

EXCERPT:

He would’ve fallen down the cliffside if it hadn’t been for Bobby on the winch. Because that… that’s Buck’s jeep. There’s no denying it, no mistaking it. That is Buck’s jeep. Hanging almost sideways off a ledge, the driver’s side doors flung open with the force of the fall. And further down… no. No it can’t be… a man, smashed against the rocks. A massive pool of blood. But Eddie can see the familiar white sneakers against the dirt.

No Sight For Heart Eyes by znks

Rated E, 20,5k

“Buck, Karen, and Eddie stayed on the couch and talked while the kids settled on the floor to draw. It all felt so wonderfully normal that Eddie found himself forgetting that he hadn’t just closed his eyes in serenity as he leaned against Buck.

That’s what made the spell breaking so painful.

“Dad! Look! I drew the firetru- Oh, wait, it’s okay you can see it when you’re all better!” Christopher said it so cheerfully, not even hesitating before going back to swapping out pens with Denny.

But Eddie felt it like a shot to the chest.

He couldn’t see his son’s drawings.

Buck and Karen had barely paused in the conversation, but Eddie could hear how strained it became, both of them obviously knowing exactly how heartbreaking the moment had been. Buck’s arm wrapped more tightly around Eddie’s waist, chin resting on his shoulder.”

losing your sight for a week sucks but at least eddie has buck to guide him through his healing or at least through his own house

This has inspired me to go read more recent hurt/comfort Buddie fics! I haven't been super active on this account but hopefully I can update this soon :)

#911 #buddie #911 on abc #buddie fanfiction #911 buddie #911 fanfiction #911 abc #buddie fanfic #evan buckley #eddie diaz #hurt/comfort #buddie fic rec #buddie fanfic rec

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