#and not just twist it to suit their own narrative

[matt0044]

This is something I've often experienced with other shows be they stuff I have it bad for or stuff that I acknowledge is good but isn't for me. It's gotten to the point where when I see something getting dunked yet see that it's a fairly thriving series or even a full-on franchise, I start to scrutinize the scrutiny.

Especially when a lot of the popular talking points are either memes or passed around so often, they may as well be meme.

A while back, Netflix's 13 Reasons Why was bandied about Tumblr and YouTube as this most offensive thing for it's portrayal of suicide. I was aware of how this wasn't the sort of subject to take lightly lest I be eating my foot for a full course meal. As such, I took the outrage's word for it and steered clear.

I did start to get curious with a lot of specific scenes from Season 1 being passed around for the afformentioned dunking. Such as Hannah calling Clay a nerd for referencing Star Wars only for said post to show how much The Force Awakens grossed.

Said curiosity grew when I saw many video essays tackling 13 Reasons Why. Most were negative but what I footage saw didn't seem bad. Some of it was pretty... nice actually. But still, this was the show that gave suicide and poor mental health a bad name with how the female lead took her own life seemingly out of revenge.

So... I stayed away. That is, until I saw a billboard for Season 2 in NYC. Now this got me seeing that this show had a legit audience. Not just hatewatchers but those invested in the story of Hannah Baker and Clay Jensen. That's when I decided to add it to my watch list.

At best, it would be bad but maybe a fascinating kind of bad. The kind that RiffTrax would sink their teeth into. At worst, it would be a bore and I'd turn the other way. Then I started to watch it.

Twenty Six episodes later... I loved it. I felt that it... spoke to me emotionally on how life can be so messed up. I loved how no character was totally good or bad. How even Number 12 on the tapes had his depths despite being, well, the worst really.

When Hannah reached the end of her rope, I found myself begging her to not do what I knew she'd do. When Tyler Down tried to take matters into his own hands, I wished I could be there to talk him down. It takes a very special kind of story to invoke that kind of visceral dread.

Now if you've heard me out, how it relates to RWBY is that a lot of the dismissal and derision relies on a specific kind of media illiteracy: the active lack of curiosity.

Rather than be curious about people pitching a fit about "X show" and seeing for themselves what all the hubbub is about, they just stay away. They go with the crowd essentially.

And why wouldn't they? It's like how school bullies get away with picking on their victims even in front of others. Anyone else who doesn't want to play hero would keep their head down and not even be associated with the targeted kid.

I mean, we've got clickbait titles called "We Watch 'X' So You Don't Have To." That is literally ripping off the Nostalgia Critic AKA baby's first Angry Geek. It's not that looking into a show so you'd know if it's worth your time or not is bad. It's when it's from second hand sources like very leading Video Essays.

So many act autoritative and present themselves with the kind of confidence we so wish we had in ourselves. We trust that they're editing isn't being coy and that their assessment is legitimate or, if more emotionally, honest at the very least.

But what about the show itself? Why not find any clips online that highlight certain moments? Why not at least view some of the trailers? Why not go onto subreddits or Socials to ask, "Hey, why do some many seem to like this show?"

Because between James Somerton and Lily Orchard, it's become abundantly clear that there are many who are willing to abuse this this trust. And they are not isolated incidents. Even those who maybe are just giving their opinion may be twisting facts to suit their narrative. They also may be not.

But you won't know unless we let ourselves be curious. Is the show trash? Or is it just another punching bag for YouTubers to hit so money will fall out if they make a hard enough blow?

Is the show truly offensive? Or did it mishandled pre-warning those of its subject content?

Is the show bad... or just not for you?

Be curious. Find the answers for yourself. Nobody is ever immune from mob mentality.

@tumblingxelian @citadelofmythoughts @galaxy98

it is wild to me that the word of mouth on RWB/Y being 'bad' is like, secondhand

almost every time it's someone saying they've never watched the show but they got their opinion from a youtuber or reddit

the casual admittance that they outsource their thinking to other people, who they don't know, and they can't know are telling the truth, because they refuse to engage with the source material, and then proceed to go about their lives on pure confirmation bias, everyone who validates that opinion (regardless of whether they actually watched the show or are also regurgitating someone else's opinion as fact) is truthful and anyone who disagrees and says that the show is good, actually, is dismissed as either being a liar or stupid (because it's definitely smart and mature to make a mass value judgment on people you don't know, about a topic you know very little about)

and that's the thing, when you've got one group of people saying a piece of media is bad and the worst thing ever, and you've got another group who are saying it's good and fun, then a) it's clear there's some level of subjectivity involved here, which means the "objectively bad" claims you've been consuming should have immediate doubt cast on them (though really if anyone says anything is 'objectively bad' then they're conflating their opinion as fact and that's a red flag) and b) the smart thing to do would be to actually try to consume the media to see what it is that has appealed to people enough to contribute to its enduring popularity, even if it doesn't end up appealing to you, and not dismiss it out of hand

[writergirl2011]

Public Service Announcement

To all of the following:

1) Reddit Dudebros

2) Idiots who think that Jaime and Brienne should stay “just friends, because a romance would ruin the refreshing story of a man and a woman who don’t have those kind of feelings for each other"

3) Idiots who think that Jaime and Brienne “will share a Arthurian, courtly love but won’t even think of consummating their relationship”

4) Idiots who think that Brienne deserves better than Jaime, but somehow think that “better” is being a glorified bodyguard for one of the Stark siblings and forget that she's the only heir to an entire island and title

5) Idiots who think that Jaime will always be obsessed by Cersei and couldn’t possibly love another woman

6) BNFs who think They Know Better Than You because they spend waaaaay too much time analyzing the books, picking them apart for every tiny detail, yet still somehow miss the obvious--then spend hours on end telling us silly shippers on their podcasts why they're right and we're wrong

7) g: all of the above--

George R.R. Martin has based Jaime and Brienne on “Beauty and the Beast.”    Please pay attention to this next part:

Beauty and the Beast is not a tale of courtly, platonic love between two “bros” who respect each other.  It is a story of two people who start out as enemies, grow to like and respect each other, and then fall in love.  There has never been a published or filmed version of the story that has had an ending where they don’t fall in love, even if the story doesn’t end happily.  It doesn’t end with Beauty returning to his former girlfriend saying, “thanks, Beast, it was fun and all, but better luck next time.”  Nor does it end with Beast saying, “Beauty is dead and gone, so I think I’ll spend the rest of my life in the celibate organization that he derided for the joke it was even though I’m my father’s sole remaining heir.”

Reading comprehension is a thing, people.  Look into it.

Thank you for reading this public service announcement.

[quff]

you can't convince many christians with logic

tell them trump is the antichrist. do anything you can to make it sound like he's the antichrist and that they're voting for the son of satan. ex christian people who were forced to quickly lie to your parents about what media you were enjoying; use that same logic with trump. it works.

i once convinced my southern baptist mom that the devil will get her if she drove me to school when i was a little kid because she was super late that day and thought it was a sign. I convinced her skyrim was a christian game because I told her "you kill demonic cults in this game." shit like this just works. trust me. pull out any biblical scripture you know out of your ass for this, you'll need it.

[thejurassicparty]

"They took everything from us, and then they called me a monster?... This ends when I grant them my forgiveness, not the other way around."

This particular quote - honestly, this whole scene - has the nauseating force of a sucker punch directly to the gut

[too-much-tma-stuff]

Finally getting help (prt 4)

Masterpost

The bats worked through the night, coordinating and researching everything that needed to be done. Distortion showed up on the camera which they assumed was Vlad trying to get in but he didn’t manage it. After he finished trying from multiple angels including somehow from directly above (well Zatana did say invisibility, intangibility, and flight were the minimal powers they should expect from creatures of the infinite realms.) He turned human again and spent a long time banging on their front door.

He tried to call the cops but commissioner Gordon called Bruce directly to get the full story then told Vlad it could be dealt with in the morning. Zatana was also coordinating people heading to Amity, a full on raid of the GIW, and the Fentons.

Batman and Superman were collecting all the information that the raid team was sending out and workshopping public statements they could sent out to the public and the government about the unacceptable things they had found and the steps the JL was taking to fix it. The government was not going to be happy they knew, with the JL ‘over-stepping’ into their business and actually getting the word out about the atrocities a branch of their government and their pet scientists had been planning. The JL needed to get out ahead of it before the narrative could be twisted against them.

It was first thing in the morning when they did a live broadcast from the watchtower with Batman, Superman, and Zatana telling the world about the parallel world existing harmlessly along side their own, and the way the government tried to exploit it. The atrocities committed under the name of the Anti-Ecto acts with the ignorance of the public as a cover.

It was at the same time that Constantine, Dick, and Cas were raiding the Fenton’s home. Of course they were armed, but so were the bats, and they were used to fighting people who were armed. It wasn’t a particularly hard fight.

A redhead was sitting wide eyed at the kitchen table. “Can’t we just have one normal day!” She suddenly snapped but she was glaring at her parents, standing up and slamming her hands on the table.  “First you send Danny away with Vlad even though you KNOW they hate each other and it’s a school day and now this! What did you do to bring the heroes down on us!?”

“I don’t know Jazzybear!” Jack half whined as he was forced into power supressing cuffs to neutralize his minor super strength and sat down in the living room.

“I’m sure this is just a misunderstanding, don’t worry sweetie,” Maddie added, both of them were dressed in jump suits which did not help their supervillain vibes.

“it’s not a mistake mate, you’ve been messing with shit you really shouldn’t. And that portal in your basement is a fucking beacon welcoming a war. You’ve gone unchecked for too god damn long, we’re taking over things now.” Constantine told them before stalking down into the basement with Tim on his heels, Batman would be joining them as soon as they were done their press conference.

Cas stayed to watch the parents and Dick approached Jazz gently. “Hey can I talk to you in private please? It’s about your brother,” He said gently and she stiffened immediately. Looking at him in a way that made him feel like she could see straight into his soul and froze him to the spot. After a moment though she just sighed and nodded, beckoning to him to follow her upstairs, to a room that was probably Danny’s not her own. She sat on his bed and grabbed a bear that had been sitting on the edge, waving for him to sit at the desk.

“So, what do you know?” She asked with a sigh.

“Well, last night Vlad took Danny to a Wayne Gala, one of Bruce’s daughter Cas is really good with body language and clocked that something was wrong so she and one of the other kids got him away from Vlad and out of the party. I guess he really needed some adult support because he broke down and told them a lot, about the Phantom thing, the ghosts and… something you’re not going to like. But first I want you to know he’s safe, Bruce Wayne is a licensed foster parent and he’s taking good care of Danny, you can come live with them too if you want.

“We’re going to deal with the ghosts and the GIW and everything else now, I can’t promise by the end of this you won’t need somewhere else to go. I have a feeling if Batman and the Martian family have anything to say about this your parents will end up in prison for their unethical experiments.”

“As long as Danny is okay,” Jazz said firmly. “I was only staying to take care of him anyway, just get me emancipated and a scholarship for Gotham U so I can study while still being close to him I’ll be fine. I’m almost 18 as it is.”

Dick nodded, she was a smart and driven girl, she knew what she wanted, he could respect that. “Now, the thing you won’t like…” he trailed off and took a deep breath. “Danny is pregnant.”

“What!?“ Jazz blanched, gaping at him for a long minute. “That can’t be right! I mean I knew he was trans but he’s usually only interested in girls, how would he even-“ She cut off her eyes widening. “It was Vlad wasn’t it?” She gritted out with an expression the promised excruciating violence.

“Yes,” Dick said shifting awkwardly in his chair.

“Right.” Jazz said and got up, coldly calm. “If you’ll excuse me, I’ll be right back.” She grabbed a baseball bat from next to Danny’s bed that seemed to be glowing slightly then marched to the other side of the room, opened a cabinet and pulled out two odd looking guns. Before Dick could say much of anything she had vaulted out of the window and taking off down the street.

“Oh dear,” Dick muttered faintly before heading back downstairs. “Hey Cas can we turn on the news, some sort of local station?” He asked. Cas nodded and searched around for the remote, turning it on to find the channel was already on local news.

Vlad was already on there, talking about how it was awful Bruce Wayne had Kidnapped a local child Danial Fenton, and he could not be allowed to get away with this just because he was rich! But that didn’t last long, they watched for a few minutes before a blur of red hair and blue rushed past the camera.

“YOU TOUCHED MY BROTHER YOU CREEP!” Jazz said as she came out swinging and she must have quite the arm because her first swing sent him nearly flying off the stage. He scrambled to get up as she lunged at him again.

“Now Jasmine you’ve clearly been misinformed, I didn’t do anything-“ His muffled voice was cut off as she swung the bat again and he yelped as she hit him in the stomach.

“YOU GOT HIM PREGNANT! YOU DID THIS! YOU SHOULD BEHIND BARS NOT BEHIND A PODIUM YOU FROOTLOOP!” She shrieked as she swung again and this time he managed to dodge. The cameras following them as Jazz chased him down the street, the sound of his supplications and her shrieking fading out as they became more and more distant.

It took a frantic moment for the camera angle to switch to something else, maybe a drone, which was able to follow them down the street.

“You Don’t UNDERSTAND! I didn’t want to hurt him! I just wanted a perfect son! If he had just agreed to be my son none of this would have happened! When I knew it failed I told him to let them die!” Vlad yelled at her, though that did NOT seem to comfort Jazz at all. She had devolved into shrieking book titles like curses as she chased him with the bat and shot at him with the guns though her aim didn’t seem very good.

Well they had him admitting to it on camera now. As he watched a new actor joined the fray, a girl in a red jumpsuit holding a blaster.

“You did what to Danny!?” She demanded as she pointed the blaster at Vlad.

“Oh cheespuffs!” Vlad breathed, his eyes widening as Jazz trailed off letting who must be Red Huntress take over the chase as Vlad shouted about how he had made her! He had given her her weapons she couldn’t use them against him! Which did not seem to be stopping her.

The camera fuzzed out for just a second and then Valery was chasing a ghost with red eyes and a white outfit. Cas was laughing silently at the show and both of the Fenton parents seemed to be in shock. A few minutes later Jazz walked back in through the front door looking tired.

“Turn that off please,” she sighed as she put the bat down.

“Of course,” Cas agreed and picked up the remote again, turning off the tv. 

“Vlad didn’t actually do that, did he Jazzy?” Jack asked softly, he sounded so hurt, as if he had any fucking right!

Jazz looked at him blankly. “How many times have we tried to warn you about him? How many times has Danny told you he didn’t feel safe with Vlad? But as usual you couldn’t see past your own desires. I’m going to go see if the trenchcoat guy needs any help getting into your files,” She sighed before vanishing downstairs. 

Dick glanced at Cas, and then followed them, she would have no trouble watching the Fentons and staying quiet whereas Dick felt like he was about to explode. Batman joined them before long and between the three of them they shut the bulkheads on the portal and locked them, secured dangerous chemicals and devices, and downloaded everything they could. There were plenty of prototypes and blueprints, and stuff that could generously be called research.

It was obvious these people were geniuses but it was even more obvious that at some point they had become careless and obsessive. Half of the writing on the blueprints wasn’t legible, dangerous chemicals were not in proper containment, and the weapons were not locked up. Looking at all of this it wasn’t surprising that two of the people they had been involving in their research suffered exposure, it was a surprise more hadn’t. It was easy to tell when Bruce came down he was horrified, it was in the way he froze when he saw the lab, as if his brain was struggling to process just how irresponsible the Fenton parents had been.

“You must be Jazz, it’s nice to meet you. Danny speaks highly of you,” He finally rebooted to say when she waved at him. 

“I love my little brother, I always did the best I could to keep him safe from… all this,” Jazz said gesturing at the lab with a sigh. “I wish it had done any good.”

“You did plenty of good,” Dick put in. “Trust me, to a kid having someone care about them can make all the difference. 

“All those nights I patched him up after he came back from fighting ghosts. He healed fast but still. I can’t believe… he’s already been through so much and we knew Vlad was up to something! Ellie said she was our cousin but she looked just like him, I should have kept a closer eye on-” She cut off and shook her head. “He’s a good kid, of course if he couldn’t give the babies up, even if it would be better for them if he did. I hope he knows I’d support him either way, I hope he didn’t not tell me because he thought I’d be upset at Him.”

“I’m sure he didn’t,” Dick assured her gently. “Being a big sibling is hard, I know. But trust me you’re doing a great job, better than I did with my brothers,” he said, patting her shoulder. “You can ask him yourself later though. We have a lot to get done today to make sure he’s safe.”

She nodded stubbornly and doubled down on her work, directing them occasionally to where she knew they’d find more weapons or logs. She knew her way around the lab to a disturbing extent. 

Bruce and Dick both got a notification from Agent A saying that after a substantial sleep in Danny had woken up and was having breakfast. He seemed worried about the family but he was taking it alright, especially since he knew they were busy people. It did motivate Dick to clear things up as soon as they could so that they could get back to Danny though. The last thing he needed was More stress!

They had plenty of evidence of the Fenton parents breaking the law to call the police and have them taken away which gave them all the time they needed to strip the house. They got everything they could and decided to leave Constantine at the house to watch the portal until they could figure out how to shut it down completely without causing any damage. It seemed unstable so they didn’t want to risk it just now, especially without Danny’s input because according to Jazz Danny had made genuine connections in the Infinite Realms. 

They wrapped up this stage of the investigation before dinner after being up for about 36 hours. Of course they weren’t Done, there was still plenty to do investigating the government, how they’d gotten away with this and if they had any other nasty tricks up their sleeve. They’d have to manage any backlash from this unilateral move, and they’d have to figure out what to tell the public about Danny since Bruce would be fostering him. But all that could be done after having a family dinner with their new brother and a nap. 

part 5

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[lizardkingeliot]

I took a ton of notes during my rewatch of 2x07 just now but the thing I kept coming back to again and again was Armand's framing of the entire narrative and how it plays with truth vs lies in such an insidious way it's honestly brilliant in its cruelty. Truth being used as a cudgel not only against Louis, but against Lestat as well. And against, us, the viewers at home.

We obviously all know Armand is a very powerful 500 year old vampire who is not going to be held back by an infant of a vampire like Santiago. Like… Armand. Babe. Let’s get real. But that’s the narrative set-up. The coven, now being led by Santiago, has Armand captive behind his little rickety baby gate with Sam and his prop weapon not letting the puppy come out to play. He cannot prevent it! Poor baby. Someone get him a juice box and a snack.

Enter Lestat. The vengeful lover come to make Louis and Claudia pay for what they did to him. What's interesting here is that everyone—Daniel, Louis, Armand—acknowledges in Dubai that the trial IS a sham from the beginning. A tool to allow Lestat his revenge. But the truth of why it's actually a sham is being hidden behind a thousand layers of gaslighting and deceit by Armand. Lestat is merely another prop on the stage. Being forced to use the TRUTH of his love story with Louis—and to twist essential elements of their beginning as a couple—as a weapon to drive the final wedge between them so that Armand might have Louis all to himself. That's what this is about. A farce so that Armand might have what he wants more than anything in the world. Someone who will be with him always. Without Claudia, without Lestat... who else is there for Louis to run to?

The trial as we see it is told mostly through Louis' POV. It seems to be a true picture of how it all happened but the cognitive dissonance watching him try to reconcile what Lestat was doing on the stage with the framing provided by Armand (who cuts in frequently to assure us that Lestat shapes things to suit HIS narrative) is painful. Louis sees and feels and hears the sincerity of Lestat. A Lestat who is defiant from the jump and refuses to paint the story as butchery. It's about LOVE. It is always always always about the love. An entire sham trial about vengeance and murder framed around... love.

Everyone who's familiar with the books already knows Lestat didn't want to be there. I won't go into that too much but the show did a good job of showing us just how unwell Lestat was during the entire process. But there are also some really interesting moments where we are TOLD explicitly through Louis' recounting of the events that Lestat was not actually there for revenge. Namely, the moment when Lestat says HE deserves to be punished alongside them. These are not the words of someone who is seeking vengeance. These are the words of someone desperately rattling the bars of his own cage trying everything he can to prevent what's happening. Because unlike a certain someone, in that moment Lestat is quite literally unable to prevent it!

The entire episode is Louis trying to reconcile the conflicting truths that exist inside him: that Lestat was there for revenge, that Armand couldn't prevent the coven from exacting their cruelty, and that the Lestat who was on stage WAS sincere and emotional and fighting with everything he had to let the truth ring as true as it was when he was able. He refused to refer to Louis as the accused every time Santiago insisted on it. He would only refer to Louis by name. He would NOT allow the narrative to frame him as someone who didn't also do monstrous things to his lover. He was weeping and flooded with shame. Sincerely, genuinely remorseful for the awful thing he had done to Louis.

There's also something else here about Lestat acknowledging he tried to crush what he could not own vs Armand deceiving Louis into the false sense of control that is the entire basis for their relationship. Owning something he does not crush, merely confines. He's not crushing Louis with insanity, he's locking him inside his prison of empathy. He quite literally has Louis locked in a cage while allowing him to believe he's truly free. Free from the insanity of Lestat. Evil, vengeful, gaslighting Lestat who only uses the truth to shape the narrative for himself.

There's a lot more going on here. I can't possibly get it all out of my brain right now and I imagine I'm going to be picking apart the nuances for a while. There are so many layers. The truth vs lies vs intentional reshaping of the truth of it all. But if you rewatch, pay attention to Armand's face, the score that accompanies his recounting of events, the passive way in which he holds his body in both Paris and Dubai. He's locking Louis in a dream world where the truth is present in such a way it only serves to amplify its own distortion. I don't even think he's fucking with Louis' memory all that much, just framing it in such a way that Louis cannot see past what is right there in front of him. What he already knows. If only he had just a few more tiny pieces of the puzzle...

But he's trying to get there. He is getting there. The truth of Lestat is breaking though. Lestat is still present there with him in Dubai, as real as if he were really in the room. After 74 years, Louis can still recall every detail of his face, still smile at him recalling the truth of his memories. The truth he wouldn't allow himself to look at all the way. The truth he himself had to distort for his own sake because it hurt too much. He's allowing himself to see not only the truth of himself and his own actions, but the truth of Lestat. All the complicated, sincere truth of him. The truth of the one who truly could not prevent it.

[ssa-dado]

7 - Cogito, ergo Sum

Aaron Hotchner x bau!fem!reader

Genre: slow burn, sad just sad stuff, angst

Summary: On a train to Riverhead, you confront buried memories of your father’s death and the complex emotions stirred by Peter’s welcome back party, where Hotch’s past with Haley left you feeling like an outsider. Hotch, haunted by memories of his abusive father and first love with Haley, grapples with his choices and regrets. Meanwhile, Hotch and Peter clash over your safety and personal boundaries on the job, discovering the next target of a series of poisonings. Warnings: Grief, domestic violence, emotional abuse, anxiety, CM case. This is quite sad

Word Count: 4.5k

Dado's Corner: Not me sobbing like a kid while writing this haha. Poor Aaron you deserve a hug. That said, I experimented a bit with the style of this chapter - it's quite cinematic. I drew inspiration from Suits' 2×08 where Harvey goes to visit his father's grave and the narrative interlaces flashbacks, present and the characters' point of view so beautifully. Also - this has a sister chapter coming up next so don't worry.

previous chapter ; masterlist

The train rattled gently as it made its way toward your hometown, Riverhead, each passing mile pulling you deeper into a past you had long avoided. The rhythmic clatter of the wheels against the tracks was a steady, relentless metronome, marking each second that brought you closer to face your father’s grave.

You glanced up to see a little girl holding her father’s hand, her tiny fingers wrapped tightly around his as they made their way to a seat just past yours. The sight was simple, ordinary - something that happened every day - but today, it felt like a punch to the chest.

Watching them, you felt the train become a catalyst for everything you’d been trying to bury; the pain surged, raw and unfiltered, hitting you all at once. The easy affection between them, was a reminder of what you could never have again. Your throat tightened, and tears pricked at your eyes, threatening to spill as you stared at the floor, trying to swallow the ache of everything you’d lost. In that fleeting moment, the emptiness of your own hands felt unbearable, as if the absence of your father’s presence echoed a thousand times harder in the quiet hum of the train.

You stared out of the window, but the passing trees and fading buildings blurred into the background, their muted colors mingling with the fog of your thoughts. You’d taken the rare step of taking a day off to make this journey, a day that was supposed to be about finding some semblance of closure, or at least confronting the loss you’d tucked away behind your work.

But you hadn’t been able to think only of your father. Your mind kept drifting back to Peter’s welcome back party the previous week. Where you sat at the table, Gideon’s words lingering in the air, the concept of thesis, antithesis, and synthesis feeling painfully apt in that moment.

“Everyone, this is Haley,” Hotch said, his voice carefully controlled. “We… we go way back.”

Only now you could clearly see at how Haley smiled, but her eyes were constantly on Hotch, her presence radiating a sense of ease that only came from years of knowing someone deeply. “It’s been a long time, Aaron,” she said, her tone gentle but layered with unspoken memories. “I didn’t expect to see you here.”

You watched the interaction with a heavy heart, feeling like an outsider in your own team. The connection between them was undeniable, and for a moment, you felt a pang of jealousy, a sharp twist in your chest that you hadn’t prepared for.

You had just started to let your guard down with Hotch, to allow yourself to see him not just as your stoic coworker who would crack a joke every once in a while - but as someone you could trust, someone who understood you. And now, here was a piece of his past that you hadn’t been privy to, thrown in your face without warning.

As the evening wore on, you tried to engage, to laugh at Rossi’s jokes and nod along with Gideon’s stories, but your mind kept drifting back to Hotch and Haley. You couldn’t help but feel the sting of not knowing this part of him, of realizing that no matter how close you’d gotten, there were still walls between you.

At one point, Hotch caught your eye from across the table. His expression softened, a silent question in his gaze, as if he could sense your discomfort. But before he could say anything, Haley leaned in, pulling his attention back to her, and the moment passed.

Gideon, ever observant, leaned closer to you, breaking the awkward silence that had settled over you.

“You know, Y/N,” he said thoughtfully, tapping the cover of the book you’d bought for Hotch, “Hegel’s all about finding balance. Sometimes, the only way forward is to let go of what you thought you knew and embrace the contradictions.”

You nodded, but the words felt too close to home. You weren’t sure how to find balance in this moment, how to reconcile the sudden wave of emotions crashing over you. All you could do was hold on and hope that, somehow, things would make sense again.

Now your mind was buzzing with a mix of emotions: shock, confusion, and a sinking feeling of being completely blindsided. It was in the way Hotch and Haley exchanged glances, the comfortable proximity, the shared history etched in every small gesture. It hurt more than you’d ever thought it would, making everything sounded distant, muffled, like you were underwater.

The gathering had been a lively affair, full of laughter and shared stories, but a specific moment kept replaying in your mind: Haley’s warm smile as she said goodbye to Hotch, “It was really good to see you, Aaron, I’m glad you’re doing well. Maybe we’ll run into each other again sometime.”

Hotch nodded, his expression warm yet tinged with a hint of sadness. “Yeah, Haley. Take care of yourself. See you around.”

With that, she gave a small wave to the table and headed back to her group of friends, leaving Hotch standing there, momentarily lost in the past. As he returned to his seat, you could see the way he was grappling with the emotions stirred up by the unexpected reunion. He caught your gaze briefly, offering a small, almost apologetic smile that only deepened your sense of uncertainty.

As she walked away, Rossi had thrown a smirk Hotch’s way, raising an eyebrow as he quipped, “So, old flames burning bright again?”

Hotch rolled his eyes, though there was a faint, embarrassed flush to his cheeks. “Rossi, don’t start,” he warned, though his tone was more amused than annoyed.

“Oh, come on, Aaron,” Rossi continued, clearly enjoying himself. “Haley’s quite a catch. If I didn’t know better, I’d say you were a little lovestruck.”

Hotch sighed, but there was a softness to his demeanor that hadn’t been there before. “It’s not like that, Dave. We… had our time. It just didn’t work out. She wanted a family, a stable life. I was too caught up in my career, trying to make it into the Bureau. We were just… heading in different directions.”

There was a pause as the table absorbed his words, the rare glimpse into Hotch’s personal life catching everyone a little off guard. You could see the flicker of understanding in his eyes, the acknowledgment of choices made and paths taken, and it resonated deeply with you. It wasn’t just about Haley; it was about the sacrifices, the regrets, and the constant pull between duty and desire.

You had stood on the sidelines, listening, and telling yourself it wasn’t jealousy you felt, but something else entirely. Hotch and Haley’s history was full of things you couldn’t touch, memories you couldn’t rewrite.

The ease between them that felt unreachable, at least for you. It highlighted your own struggles, the way you and Hotch danced around each other’s guarded edges, each too closed off and too stubborn for way too much to admit the walls you’d built were anything but necessary. You had worked hard to break through those barriers, inching closer to something that resembled real friendship with Hotch, but seeing him with Haley made it clear how far you still had to go.

One of your coworkers, ever the instigator, smirked and raised their glass, turning the conversation light again. “Ah, first loves. We’ve all been there, right? High school sweethearts, college crushes, and then… life happens.”

They nudged Peter playfully, their grin widening. “I bet you’ve got some stories, too. You and Y/N? Seems like you two have your own history.”

The comment, though playful, struck a chord. You could feel all eyes momentarily on you and Peter, the unspoken insinuations hanging in the air. Peter chuckled, leaning back in his chair with a casual ease that belied the tension simmering beneath the surface. “Oh, come on, let’s not dig up the past. Y/N and I? We were just kids. We studied, we got into trouble, and then we grew up.”

Rossi, always enjoying a chance to stir the pot, raised an eyebrow. “Oh, really? ‘Just kids,’ huh? I’ve seen the way you two look at each other. Seems like more than just studying to me.”

Peter shot you a sideways glance, his smile both teasing and sincere. “Well, you know me, Dave. Always mixing business with pleasure.”

You forced a laugh, though it sounded hollow even to your ears. “Please, don’t encourage him. Peter was more like the annoying older brother I never asked for.”

The table erupted in laughter, and for a moment, the awkwardness eased. But underneath it all, there was a thread of unspoken tension, a reminder that you and Peter’s relationship, much like Hotch and Haley’s, was layered with complexities that no amount of jokes could untangle.

Hotch watched the exchange quietly, his gaze lingering on you longer than necessary. There was a flicker of something in his eyes—was it understanding? Regret? You couldn’t quite tell, but it was clear he was processing his own thoughts amidst the lighthearted teasing. The parallels between his past and what was unfolding now weren’t lost on him.

Then memories shifted, drawing you deeper into the party’s ambiance: the clinking of glasses, the chatter of old friends reuniting, and Peter’s infectious laugh as he moved through the crowd.

You remembered the moment he found you in the corner of the room, handing you a glass of wine with a casual, “So, are you ever going to let me take you out on that date?”

You had laughed it off, deflecting with a joke. “You’d have to catch me when I’m not buried in case files.”

Peter’s smile had softened, and he leaned against the wall beside you, his eyes searching yours in that disarming way he had. “I’m patient. You know that.”

There it was, an offer that seemed perfect on paper. Peter was kind, funny, and someone you could talk to for hours without feeling the need to perform or pretend. He had always been a constant, someone who understood your messy family dynamics and never judged you for them. Yet, for reasons you couldn’t quite name, you had hesitated.

It wasn’t just fear that a relationship might ruin your friendship, though that was part of it. No, this hesitation was something deeper, something that had started to shift within you over the months you’d been at the BAU.

The job had changed you, had made you see the world differently, and maybe that change had rippled into the way you saw Peter, too. He was familiar, a comfort you could rely on, but when he looked at you with that earnestness, you felt a strange dissonance, like you were two notes that no longer harmonized as they once did.

You shook off the thought and turned back to the scenery, trying to refocus. The landscape outside shifted, becoming a blur of rolling hills and scattered houses, but all you could see were memories of the afternoons you’d spent with Peter.

He was a piece of your past that felt safe, steady, and uncomplicated. You remembered the day he’d chosen your mother as his thesis supervisor, the excitement in his eyes as he explained why.

“She’s brilliant,” he had told you, sitting at your kitchen table, his hands animated as he spoke. “I mean, I’ve read everything she’s published. Working with her is like… I don’t know, getting to play with a master.”

Your mother had smirked from the kitchen, where she was brewing tea. “I’m not sure if ‘play’ is the word I’d use,” she said, raising an eyebrow. “But I’m glad you’re eager. I could use someone with your enthusiasm.”

Those afternoons felt like moments frozen in time, filled with academic debates that stretched into the evening. You would sit with Peter, surrounded by books and papers, discussing everything from human behavior to obscure psychological theories. Your mother would occasionally join in, her sharp insights cutting through Peter’s eager optimism, and you would feel an odd sense of belonging, of being seen and understood in a way that was rare. You and Peter fit so easily then, like two pieces of a puzzle that made sense together.

So why now, when Peter had finally asked, did you feel that familiar comfort turn into something that almost felt suffocating? It wasn’t fear, not exactly. It was something more complex, more tangled.

You couldn’t quite put your finger on it, but whatever it was, it had kept you from saying yes. Part of you wondered if it had to do with the person you’d become at the BAU, the person who had learned to live in the shadows, to thrive on the unspoken and the unsolved. There was a distance between the you that Peter knew and the you that existed now, and you weren’t sure how to bridge that gap.

As the train chugged closer to Riverhead, you let out a slow breath, feeling the weight of your own thoughts settle in your chest. This trip was supposed to be about your father, about facing the memories you’d buried along with him. But as the scenery continued to blur outside your window, you realized it wasn’t just him you were here to confront. It was yourself, and all the tangled, unresolved things you’d left behind.

.

Back in his apartment, Hotch stood motionless in front of his closet, the faint hum of the city outside barely reaching his ears. It was supposed to be a simple, mindless task: changing out of his work clothes, slipping into something comfortable to signal the end of another long case. But that morning, the weight of the past lingered in the air, heavy and suffocating, refusing to be ignored. Seeing Haley again had shaken something loose inside him, memories that he had tried to bury beneath layers of duty, responsibility, and the unyielding armor of his carefully crafted stoicism.

He stared at the closet door as if it were a portal to another time, a past version of himself that he had spent years trying to forget. His hand hovered over a hanger, hesitating before he finally pulled the door open. He reached for a pair of sweatpants, the movement automatic, but his fingers brushed against something unexpected, something soft and familiar. He pulled it out, holding it up to the dim light of the room. It was an old pirate hat, worn and faded, buried at the back of the closet like a forgotten relic.

The sight of it was enough to send a rush of emotion coursing through him, his heart tightening with the weight of memories long left untouched. It was a small, silly thing - a costume piece from a high school play - but it held the echoes of a time when life had felt simpler, when love had been a lifeline rather than a distant, unattainable dream.

Hotch turned the hat over in his hands, his thumb tracing the worn edges. It felt lighter than he remembered, the fabric frayed but still holding the shape that had once made him feel like someone else - someone braver, someone who didn’t wake up every day terrified of what the morning might bring.

Holding it now, he was transported back to those days in high school, when he had first met Haley during their school’s production of The Pirates of Penzance. He could still remember the nerves that twisted his stomach into knots as he stepped onto the stage, feeling every bit the awkward, shy boy who never quite knew how to fit in.

His father’s presence loomed over every aspect of his life, a dark, volatile force that made every day feel like a minefield. Mornings were the worst; he’d wake up before dawn, his heart pounding with the dread that his father would already be up, the stale stench of whiskey on his breath and anger simmering just below the surface.

Every morning, Hotch would lie still in his bed, his ears straining to hear the slightest sound - a creaking floorboard, the clink of a bottle, the unmistakable thud of something heavy being thrown against the wall. He’d close his eyes tightly, his breath catching in his throat as he braced himself for the inevitable: the harsh sound of his father’s voice, slurred and laced with venom, cutting through the stillness of the house like a knife.

“You worthless piece of shit,” his father would sneer, eyes bloodshot, fists clenched. The insults were always the same, a relentless barrage of contempt that felt like punches to the gut. And sometimes, they were. The bruises left behind were easy to hide, but the fear lingered, seeping into every corner of his mind.

But then there was Haley.

Haley, with her bright smile and infectious laugh, had entered his life like a beam of light piercing through the darkness. She was everything his world was not: warm, kind, and unafraid to be herself. He could still see her as she had been that first day, standing backstage with an easy confidence that seemed to light up the entire room. He had been fumbling through his lines, tripping over words as he tried to keep his hands from shaking, feeling the familiar grip of anxiety clawing at his throat. But then she had turned to him, her eyes sparkling with mischief.

“Not bad, Hotchner,” she teased, her voice light and teasing, breaking through the wall of his self-doubt.

She nudged him playfully with her shoulder, her touch gentle but grounding. “But if you’re going to be a pirate, you’ve got to look the part.” She reached up and tilted the hat on his head, adjusting it with a flourish. “There. Much better.”

He had laughed then, a rare, unguarded sound that felt almost foreign to his own ears. It was a laugh born of something deeper than humor - it was relief, joy, and a sense of being seen in a way he never had been before. That moment had been the start of everything: the stolen glances, the whispered secrets shared between classes, the way she’d lean in close, her eyes bright with something that made the whole world seem less terrifying.

Haley became his first thought in the morning, replacing the dread that had once greeted him when he opened his eyes. Instead of the anxiety that his father would be there, ready to strike, his mind was filled with thoughts of her: the way she smiled, the sound of her voice, the softness of her lips whenever they kissed, the easy way she’d tease him about his nervousness on stage. She was his anchor, the one person who made him feel like he wasn’t drowning in his own fears.

Every morning, instead of waking up with his heart racing at the thought of his father’s rage, he’d wake up thinking of Haley. He’d think of their rehearsals, of the way she’d roll her eyes when he messed up a line but would always follow it with a grin that told him she was proud of him anyway. She had made him feel safe, like maybe, there was more to life than the fear that had defined his every waking moment.

Hotch hadn’t just fallen in love with Haley; he had clung to her like a lifeline. She was the first person who had shown him what it felt like to be cared for, to be valued for who he was, not for what he could endure. She was his sanctuary from the storm that raged inside his home, and for a while, she had made him believe that he could have something good, something real.

But as he stood there now, holding the hat, those memories were tinged with the bittersweet realization of what he had lost. The love that had once saved him had crumbled under the relentless weight of his ambition and the demands of his career.

He had chosen the Bureau, chosen to bury himself in the pursuit of justice, thinking that if he worked hard enough, if he dedicated himself to the job, he could finally be free of the shadows that haunted him.

But in the process, he had lost Haley. He had lost the last piece of innocence that had made him believe he could balance it all: love, career, and a future untangled from the pain of his past. Now, the hat felt like a symbol of everything he had tried to bury, a reminder of the boy he used to be and the love that had once made him feel whole.

Hotch closed his eyes, a wave of grief and regret washing over him as he placed the hat gently back in the closet. The memories of Haley, of the warmth she had brought into his life, were still there, but they were shrouded in the painful truth that he had let her slip away. He had spent so long running from the fear of his father, trying to replace it with something brighter, but in the end, he had pushed away the very thing that had saved him

The shrill ring of his phone cut through his thoughts, jolting him back to the present. “Hotchner,” he said, masking the turmoil beneath his usual calm.

Gideon’s voice came through the line, urgent and clipped. “We’ve got a situation. A series of poisonings in Long Island, targeting public spaces. Libraries, parks, shopping centers. It’s escalating, and the unsub’s leaving messages. We need you here, now.”

Hotch glanced back at the pirate hat before slamming the closet shut. “I’ll be there in twenty,” he replied, shoving the memories aside as he grabbed his coat and headed out the door. There was no time to dwell on the past; the present demanded his full attention.

At the BAU, the team gathered around the conference table as Gideon outlined the details of the case. The poisonings were strategic, each attack aimed at places where people gathered, spreading panic through the community. The unsub’s taunts came in the form of cryptic messages, each one hinting at the next target.

Hotch’s jaw tightened as he scanned the crime scene photos, feeling the familiar pull of duty override everything else.

“We’re splitting up,” Gideon said, his gaze sweeping across the room. “Hotch, you and Peter will head to the latest crime scene. Rossi and I will cover the first.”

Hotch nodded, his face impassive as he gathered his things. He was already mentally mapping out the approach, compartmentalizing the emotional weight of the morning. But as they drove, Peter, clearly uncomfortable with the silence, tried to break the tension.

“You know, about that bet I won,” Peter began, glancing over at Hotch with a hint of a smile. “The date… with her. I’ve been trying to figure out how to make it special.”

Hotch’s eyes stayed fixed on the road, his expression tightening at Peter’s words. The mention of you - the team member who had started to break through the cracks in his own carefully guarded exterior - sent a surge of conflicting emotions through him. His grip on the steering wheel tightened.

“Have you really thought this through?” Hotch asked, his voice low, almost a growl. “You and her, both in the field, both seeing the worst of what people are capable of… it’s not as easy as you think.”

Peter shrugged, trying to maintain his casual demeanor, but there was a defensive edge creeping in. “We’ve always been good at separating things. She gets it - she’s smart, one of the smartest people I know. We can handle it.”

Hotch’s frustration boiled over, his tone sharpening. “It’s not about being smart, Peter. This job… it changes you. It gets into your head, your heart. And you’re fooling yourself if you think it won’t affect you both. What happens when you’re forced to make a choice - her safety or the job? How do you keep that from clouding your judgment?”

Peter’s smile faltered, and his eyes flicked toward Hotch, the beginnings of anger flashing across his face. “You don’t think I know that? You think I haven’t thought about it every damn day since I realized I wanted more with her? At least I’m honest about where I stand. I’m not hiding behind this job like it’s the only thing that matters.”

The tension between them was palpable, the car’s interior charged with unspoken words and unresolved conflicts. Hotch’s gaze remained fixed on the road, but his mind was racing. Peter’s words hit closer to home than he cared to admit, scraping against wounds that had never fully healed. Peter’s willingness to embrace his feelings, to take the leap Hotch had always hesitated to make, stung in a way that was hard to articulate.

“You don’t get it, Peter,” Hotch said finally, his voice quieter, more resigned. “You have no idea what it’s like to live with the consequences of those choices. I’ve seen what it does to people, how it tears them apart. This job… it doesn’t let you have a normal life, no matter how hard you try.”

Peter stared at him, searching for something in Hotch’s expression that he couldn’t quite find. “Maybe not. But I’d rather take the risk than spend my life wondering what could have been.”

They lapsed into silence, the argument left hanging between them, unresolved. Hotch felt the weight of Peter’s words settle heavily on his shoulders, mingling with the guilt and regret that had been simmering beneath the surface since seeing Haley again.

He didn’t know how to respond, didn’t know if he even had the right to. Peter’s defiance, his willingness to fight for what he wanted, was a painful reminder of the choices Hotch had made and the things he had lost in the process.

When they arrived at the crime scene, Hotch pushed all of it down, shoving the emotions into that familiar place he rarely let himself go. The crime scene was chaotic, with officers milling about, evidence markers scattered across the library floor.

Hotch’s keen eyes scanned the room, piecing together the unsub’s method, the subtle clues left behind. But something caught his attention: a bulletin board crowded with flyers and notes, too chaotic at first glance, but hiding something.

He moved closer, pulling back layers of paper until he found it: a cryptic message, written in neat, deliberate script. As he read the words, his blood ran cold, the implications settling like lead in his stomach.

The riddle painted a clear picture of the next target. Hotch’s hands trembled slightly as he stepped back, the reality sinking in.

Riverhead.

The place you were right now.

Without a word, Hotch turned and sprinted out of the building, his heart pounding with a fear that went far beyond the professional. This wasn’t just another case. It was personal, and every second mattered.

[charismabee]

I like STP swap aus in theory but I find how I've seen people do them a little strange (not bad tho they're still cool n stuff and I like them very much)

Like they're just... making the princess bird shaped without actually examining what swapping the Shifting Mound and Long Quiet's role in the narrative would mean. (Not meant to be negative)

Let's take the Narrator for example. In Slay the Princess he wants to kill the Princess because he wants to stop death forever. But the Long Quiet isn't death, he's stillness, lack of change. This completely changes the Narrator's core motivation. It can work though. Maybe he's in a world that has stagnated, no change, no innovation. It feels like rot, so he decided he had to find a way to be rid of it. Or maybe some other explanation. This would change his core world view, what he might consider a good end, how he acts a bit, lots of things.

Speaking of the good end, that's definitely not going to be an eternity of stagnant bliss, we literally just killed the personanification of stagnation. You could think around that too. Remember I the stranger route when everything was happening at once and it was the same as nothing happening? Maybe that happens. Without stillness the Princess is met with a barrage of constant change and stimulation, everything happening at once. The Princess could realise it is Nothing as much as it is Everything and that gets her out of it.

The Long quiet would be interesting too, because he doesn't change, it isn't in his nature to. Instead, he fractures. Perhaps instead of finding his multitudes you are shattering him. Breaking off parts of him so he can see them from the outside and know them. Once enough pieces of him have been broken off he will shatter completely and finally be able to see all of him, would talons pick up his broken pieces, would wings made of textured nothingness wrap around them and embrace them tightly? Would he reside on a hill of squirming hands or bodies, lost in the centre of the shifting mound?

Perhaps without a need for agency, or someone to make a decision the Voices would just exist as their own thing. First one that claims to be a Hero, who claims to have agency in their story (a part of reflected in her, the Long Quiet does not need to shatter to be able to see him), quickly joined by a Paranoid and terrified victim, an Opportunist Scammer, a Stubborn opponent. Different, but not changed. Not the one person molded into another.

Even the construct itself would be changed by who it is created to kill. Perhaps when the Princess first arrives on the path in the woods it is autumn, a sign of the seasons changing, there is life and death and nature and cycles, but on that 3rd Chapter, it is summer. The leaves are green and waxy, everything is preserved in a completely silent stillness. Maybe there is a horror in that no matter how you get there those silent woods are always the same, unchanging.

Unlike the Long Quiet, the Shifting Mound does change. She is naturally malleable. She has no need for voices because whatever action you take becomes what she would have always done. Perhaps her body changes, giving her new advantages, the body of a vicious Beast stalks towards the cabin, hunger tinting your choices through a cabin twisted to suit her needs. A goddess glides towards her temple, willing it to be large enough to fit her. A dainty Princess hurries to find her Prince charming in a fairytale cabin. The land twists under her will, whether she realises that or not, only giving resistance when too close to the 'monster' kept down there. She is change, it is only natural she causes it.

Even stuff like how to get rid of him would change, because can you actually kill the absence of something? The natural state of things before they shift? The shifting mound is motion and for everything to be in motion all the time means nothing can ever really happen at all. There is no fulfilment in anything you do if your opinion on what to do changes every moment you exist. Perhaps to truly 'kill' him she needs to make him smaller, change what cannot be changed to make the stillness that will be broken, the things to be changed. Perhaps he will break them out of there and thank her. Perhaps without a way to know himself he slowly fades into a nothingness, trapped in an eternity of stagnation that change herself refused to save him from.

It is still a love story, he is naturally inclined to help her, she will always love him, but things have changed.

Anyway this is just a dumb little ramble because I was thinking and it's nearly 3am so this is probably nonsense anyway. I do really like swap ideas they're interesting and stuff <3

[piratecaptainscaptainpirates]

Given all the really excellent and interesting talk about this recently, I wanted to write up a quick list of ways we see Izzy being consistently abusive to Ed in season 1, just so I have a handy post to link to the next time someone asks me "wait, how is Izzy abusive?"

(Again, I genuinely like Izzy. I think he's a great character, but dismissing how he behaves in s1 defangs him as a character, cheapens his s2 arc, and decontextualizes a lot of Ed's behavior.)

Izzy is shown as being emotionally abusive to Ed throughout season 1, because he:

Controls the information Ed has access to. In s1e3, we see Izzy tell Ed his own version of events, twisting them to suit his purposes. He does this so easily and cleanly it's clear he's probably been lying to Ed to manipulate his perception of events for a long time.

Isolates Ed from others. We do not see Ed talk to any crew members before s1e4, and even then, Izzy cuts the conversation short. He also prevents anyone from seeing Ed in s1e10 until Ed makes him ask for Lucius. In s2 Ed tells us that he knew very little about Fang despite having worked with him for 20 years - Izzy seems to make a habit of making Ed unapproachable.

On that note, Izzy insults and demeans Ed to other crew members, creating his own narrative around Ed's actions. He says he "massages" the crew when they're worried about Ed's judgment, but what he actually does is tell them Ed's "half-insane." He is creating a situation where Ed is reliant on Izzy for information and the crew feel like they need Izzy to interpret what he presents as the irrational demands of an insane man, even though we as the audience know Ed's behavior is never as erratic or irrational as Izzy makes it out to be.

Insults and demeans Ed to his face. Izzy is not shy about calling Ed insane and unpleasant to his face, and Ed doesn't seem surprised to hear it. I don't think it's a coincidence that Ed admits while he's in the gravy basket in s2 that he's scared he's insane - that's one of Izzy's favorite insults to apply to him and he's clearly internalized it.

Ignores Ed's feelings and wants when he's not acting the way Izzy believes is appropriate. We see Ed constantly reaching out to Izzy in s1e4 to share his thoughts and excitement, and Izzy shuts him down every time. Izzy's created a situation where Ed can only really talk to Izzy, and Ed is clearly desperate for human connection.

Pushes Ed to harm someone Ed loves, even when Izzy knows that Ed "adores" Stede and Stede makes him genuinely happy. Izzy is very insistant about getting Ed to kill Stede, even once it's obvious Ed has already deeply bonded with Stede.

Literally "buys" Ed in return for selling Stede out. This is just gross and unacceptable, not to mention wildly racist. Frankly I think Ed showed remarkable restraint for only punching him once.

Tries to get Stede killed in front of Ed, multiple times.

Obviously, threatens and mocks Ed when Ed isn't behaving "appropriately." When Ed is starting to feel better in s1e10, and is reaching out to the crew and connecting with them, and is painting his nails and singing and generally behaving in a much more feminine and emotionally available way than Izzy would prefer, Izzy threatens him to force him back into the hyper-masculine Blackbeard persona he knows Ed hates and Ed has said he wants to move past.

Goads Ed into violent behavior and is delighted when Ed is visibly upset. When Ed chokes Izzy, Izzy is laughing and grinning and generally having a very nice time while Ed's standing there with tears in his eyes and visibly terrified. He's very happy to have gotten the reaction he was trying to provoke and doesn't care about Ed's feelings.

So, take it all together, and we can see that Izzy has created an atmosphere where he has put himself in control of Ed and has further manipulated the crew so they look to Izzy as a filter for Ed's behavior so Izzy can completely control the narrative. When he thinks he's losing control of Ed, that's when Izzy tries to get Stede killed, without regard for Ed's emotions. Izzy consistently insults Ed, ignores his desires and feelings, and prioritizes his control over Ed's feelings.

Have I missed anything?

[superectojazzmage]

Watched the Nimona movie last night. Review I guess. It was pretty damn good. Definitely would’ve probably been regarded as Blue Sky’s magnum opus if they’d gotten to release it instead of being fucked over by Disney. Very cute, very funny, very powerful in the right moments. A thing that stuck out to me is that it’s really only an adaptation in the loosest sense of the word. It takes the core premise and beats of the comic but is functionally an entirely different kind of story that does its own thing. And given that ND Stevenson was heavily involved in production, I suspect that was intentional.

The comic was much darker and more downbeat in a lot of ways, plus it was significantly longer and thus could afford to be slower paced. But more than that, it was a lot more meaty in terms of themes and scope. The whole “LGBT allegory” element was there, but it wasn’t the sole focus, the comic was a story about a lot of different things; not just an LGBT experience, but also discussion of fantasy genre tropes and clichés, criticism of other fantasy deconstructions, character study, exploring what it means to be a hero or villain, critique of the glorification of crime and cruelty in underprivileged communities, corruption in governments, peer pressure, the senseless and self-perpetuating nature of violence, the worthlessness of revenge, etc.. And above all that, it was a story about trauma and people’s responses to it, with Ballister representing people who actually deal with their problems and move on while Nimona represented people who let their mistakes and suffering and grief consume their identity, or worse, use it as an excuse to indulge their worst qualities and take out their feelings on everyone around them.

The movie, by contrast, has a much more narrow focus. The LGBT allegory is front and center and basically the entire focal point of the movie, aside from a spattering of themes about the danger of zealotry and rigid fundamentalist thinking. This gives the movie a much tighter narrative and pacing that suits its inherently shorter runtime, but also leads to a ton of changes to the story either to convey a different kind of message or just work better in a different medium. Most obviously in how Nimona is vastly more sympathetic in the movie and essentially really is the silly gremlin the comic fakes you out into thinking she is, scrapping the comic’s twist that she was a genuinely bad person who was completely serious about wanting to be a villain, caring nothing for the lives she destroyed with her behavior and idolizing Ballister because she thought he was the same as her and would thus tell her what she wanted to hear (i.e., that she was justified in killing and destroying everything around her in the name of getting even). And in the changes to the Institution’s history and nature. And all sorts of other things.

All in all, I feel if you go in comparing and contrasting the movie and the comic, arguing which changes are for the better or worse, you’ll be setting yourself up for disappointment in either direction because they’re two different beasts and it’s like comparing apples and oranges. So keep that in mind if you’re a fan of the comic watching the movie or a fan of the movie wanting to look into the comic. I think ultimately I still like the comic better, but that’s purely my personal opinion and there’s plenty that I think the movie did better.

Some other observations:

Riz Ahmed my beloved, thank you Mr. Stevenson for this perfect casting. Literally perfect for Ballister.

Acting in general was very good. You can tell this was a passion project for a lot of people, not just Stevenson.

Only two changes that are objectively bad are Ambrosius losing his awesome Van Halen hairdo and changing Ballister’s last name — Blackheart is a way cooler name than Boldheart and it’s a pointless change, one that I’d argue even hurts the narrative since it makes it too obvious that Ballister isn’t actually a bad guy.

The animation is really great with fantastic expressions, stylish movement, and wonderful aesthetics that perfectly suit the story, but there’s times where it feels a little off. But there are parts where it looks less “movie” and more “cheap mid-2000s CGI-and-Flash cartoon show from France”.

The humor can be a hit and miss, in a “going through the motions of a Hollywood animated comedy for kids” way. The movie excels when it’s either imitating the comic’s Old Internet sense of humor or going hard on the drama, but there’s bits where it seemingly slams on the brakes to do Illumination-esque Twitter humor and those bits definitely throw off the vibe.

Having an actual straight up attempted suicide in the climax was shockingly ballsy. I genuinely can’t believe they went there, but I’m glad they did because the film wouldn’t have felt nearly as raw without it.

I don’t know how they managed to make the Director even more of an asshole than in the comics, but they did.

[wordsrequired]

now let me speak for a second, there’s some moments, lines you can twist to fit your narrative and there’s some moments you can’t.

yes cassian offered elain a knife but azriel didn’t just offer her a knife. now lemme explain it for dummies.

we’re in a battle, you need a weapon to defend yourself and I offer you:

1. one of my knifes, we’re in a battle and you need to defend yourself, here take this random knife and be safe.

2. my most prized possession, in 500 hundred years, all my life I haven’t let anyone touch this knife, NEVER gave it to anyone. you’re the first person in my whole life I ever gave it too, that has ever touched it. my friends, my brothers people I was raised with were gawking from this action.

now you’re gonna admit you can’t actually tell the difference between these two situations? the first one is an action you can do for everyone, people you don’t know, your friends. you’re gonna lend them a weapon to defend themselves in a battle. the second one is an action you never did for anyone before this X person, it has MEANING.

“Cassian gawked at Azriel, and I wondered how often Azriel had lent out that blade. Never, Rhys said from where he finished buckling on his own weapons against the side of the wagon. I have never once seen Azriel let another person touch that knife.

Elain looked up at Azriel, their eyes meeting, his hand still lingering on the hilt of the blade.

I saw the painting in my mind: the lovely fawn, blooming spring vibrant behind her. Standing before Death, shadows and terrors lurking over his shoulder. Light and dark, the space between their bodies a blend of the two. The only bridge of connection … that knife.”

the author included that part with a motive, with purpose, to make that moment more special than just handing someone a weapon. and then she poetically described that moment between them. “light and dark” something you use as inspiration for the fanfiction you have built in your head. light and dark? that’s elriel, in the actual book. there’s no room left for interpretation on that scene. if you want to pretend to be stupid, to be in denial then you do you. but that happened and that’s a canon elriel moment. damn it sjm even put it in a coloring book for people who can’t read, she gave you some fanart of that, stop embarrassing yourselves. just theorize on some other argument like a black dress doesn’t look good on her or she can’t have a baby with wings, that suits you better. no need to give your two cents on iconic moments. discuss the two lines y’all have in the book smh. are your ships that boring that you have to spend day and night, invested and theorizing on another couple. like y’all think more about nitpicking any elriel moment then saying anything about your faves. i mean I get it they actually have scenes and the others are nonexistent in the canon material but y’all are fans at this point.

[literaryvein-reblogs]

do you have any tips for writing and creating creatures for a fantasy setting? (something similar to the monster hunter franchise)

Writing Notes: Fantasy Creatures

BELIEVABLE

Special character types are abundant in fantasies. Some examples are fairies, giants, ogres, dragons, witches, unicorns and centaurs. We love these characters because they are so different from what we find in our daily lives. However, a good author can shape the character in such a way that the reader has no problem believing that such a being could exist.

PURPOSE

Before creating your fantasy creature, ask yourself: What is the purpose of including this fantasy creature? The reason this is an important distinction is that it will determine how much information about your creature you’ll need. If they’re only in your story for the plot, you don’t need a lot of information on them—just what you need to move your story forward. However, if they’re in the story for a longer, more intimate reason, you’ll need to know things like how they move, what they like, etc.

SELECTING YOUR CREATURE

Selecting a creature may mean borrowing a previously-created animal from myths or stories that are familiar to your reader. Here are sample articles describing common fantasy species and mythical creatures.

Read widely: There are a lot of really interesting myths and stories out there with creatures that might fit your narrative.

Do the unexpected: If you’re going to go with a widely-recognized creature, don’t be afraid to put your own twist on it. This will help your story stand out among the crowd and put your own mark on the genre.

DEFINE THE BASICS

Name: Choose names that suit the world you are building. Consider the culture, language, and history of the fantasy realm the character is from. If you’re finding that you’re a little stuck with what to name the creature you created, it’s okay to turn to other sources. If you already have a fictional language in your story, you might want to create a new word for your creature. If not, you may use this site: www.fantasynamegenerators.com. They also have a generator specifically on Monster Hunter.

Age: Determine the age of your character and how it influences their perspective and experiences.

Race/Species: In a fantasy setting, characters can belong to various races or species. Consider the unique traits and abilities associated with each.

Here is a general checklist for character building, but it might also aid you in making your fantasy creature.

PHYSICAL TRAITS

Appearance: Describe your character's physical features, from their hair/eye colour, height, build, etc. Is it large or small? Can your protagonist ride it? Eat it? How is it killed? All of these will be useful when you describe the creature to your readers. Consider how these aspects tie into their background or culture. You do not have to completely describe your character. Allow the reader to establish a view of the character or use other characters to describe how your characters might look.

Clothing/Armour: The attire of the character can reflect their personality, status, or the realm they come from.

PERSONALITY

Personality Traits: Create a list of personality traits. Is your character brave, shy, sarcastic, optimistic, or reserved? Think about how these traits influence their actions and interactions.

Motivations and Goals: What does your character want? Their goals and motivations drive the plot and reveal deeper aspects of their personality.

BACKSTORY

Origin: Where is your character from? What is their cultural background? How do these factors shape who they are? Backstory is essential, however take note of where and what you introduce throughout the story development.

Significant Events: Highlight key events in your character's past that have shaped them. Traumas, triumphs, and experiences all contribute to their development.

INTELLIGENCE

This is important because it will define how other characters interacts with the creature.

If it’s a minor character, will your protagonist constantly need to be checking in with it and giving it direction?

Or is it able to function on its own with little maintenance?

SKILLS & ABILITIES

Magic or Special Abilities: In a fantasy setting, characters often have unique powers or skills. Is this creature tied to the magic of your world somehow? If so, what kind of magic? How can it use magic? What does this mean for the protagonist and their journey? Define the limits and rules governing these abilities. Set some limitation or something that can prevent the magic to be limitless – even superman has a limitation.

Skills and Talents: What is your character good at? Are they a skilled warrior, a talented musician, or a cunning strategist?

FLAWS & WEAKNESSES

Imperfections: No one is perfect. Give your character flaws or weaknesses that they must overcome or learn to live with. This is part of their growth and development throughout the story. The character growth need not always be positive, they can also become bitter through experiences.

Internal Conflicts: Explore the inner conflicts. These can add great depth to your character and the reader can get to experience the inner workings of the character’s thoughts. Internal conflicts can be moral dilemmas, unresolved issues, or fears.

RELATIONSHIPS

Family and Friends: Define your character's relationships. How do they interact with family and friends? Do they have allies or enemies?

Romantic Interests: If this is relevant, consider the romantic aspects of your character's life. How do they approach love and relationships?

CHARACTER ARC

Growth and Change: Plan the trajectory of your character's development throughout the story. What challenges will they face, and how will these experiences change them?

QUIRKS OR HABITS

Mannerisms: Give your character unique habits, gestures, or ways of speaking that make them memorable. This will help create differences in your characters.

Hobbies: What does your character enjoy doing in their free time? Hobbies can add depth and relatability.

TITLE

Titles or Roles: If your character holds a specific title or role in their world, define it. Perhaps it is a royal title, a knight, or a librarian. Titles can reveal a lot about a character, their traits and personality.

ENVIRONMENT

This is where your creature will be found in the wild.

An creature's environment is reflected in their bodies: moles without sight (unnecessary in the pitch-black underground) have excellent senses of smell and hearing.

Mammals that live in the ocean have blowholes and animals that live in trees have prehensile tails, long, curved claws, or sticky pads on their feet.

What your animal looks like will be informed by where they live.

Here's an article on The Psychology of World Building

AVAILABILITY

Is this creature widely found, like deer, or are they rarer?

What’s caused the abundance or scarcity in their population?

This will affect how your fantasy world sees the creature and how your reader sees the protagonist for interacting with it.

RELATIONSHIP TO HUMANS

Is your creature revered? A nuisance? An almost-forgotten legend? A vital part of the local people’s diet?

Knowing these things will help you to navigate your story.

If your protagonist wanders into a town and they’re tasked with taking care of a local pest problem, that’s one thing. But if they kill a creature in the woods and then wander into town with it, only to find out that this town worshipped the creature, that’s a whole other plotline.

Try to create characters with depth and complexity, allowing readers to connect with them emotionally. The more thought and detail you put into building your characters, the more vivid and engaging your fantasy world will become.

Sources: 1 2 3

Hope this helps! If you find it useful in your writing, do tag me or send me a link. I'd love to read your work.

[anotheranonymousquill]

I keep hearing theories that we'll get a capital/gammaker/non-distrct 12 tribute POV for sunrise on the reaping, which is supposed to show the propaganda and how the capital twist things to suit their narrative.

While that might be interesting, I don't see how we'd get a view of what exactly Haymitch does to make them alter his footage like that when the narrator is so removed from his perspective. If we are watching from the outside wouldn't we just be seeing what the capital tells us?

The same likely altered story Katniss watched a tape of?

Sure we could watch a gamemaker and get more of the broadcasting picture.

But we have the option of a cocky young Haymitch who grew up in the seam, seeing the effects of the capital's work, who has now been reaped and has the chance to go down fighting. Wouldn't it make more sense to follow him or one of the tributes that gave the Capital a reason to alter the footage, then watch as no one believes them after the games due to being fed lies that distort all the tributes fought for while trying to survive?

Besides, if Suzanne wanted to show an outside perspective of what propaganda can do to objectify and dehumanize the tributes, I think we'd be getting Finnick's story. Think about it, the 14 year old people are already invested in, who's life was shaped forever by how the gamemakers and Snow presented him to the world. The one who's story and impact can come across easily from an outside perspective because everyone knows how old his is, regardless of if they want to forget.

Not the guy who won then disappeared into a tiny district away from sight and became a laughing stock of a drunk.

Haymitch knows what he did, and why it was warped to the point all evidence of his work beyond that final kill was eraised. He knows why all this happened, and would have to deal with the frustration of not being believed or understood while all his family and girlfriend were killed.

Haymitch is what happens when Snow uses propaganda to get rid of his problems and uphold his control over the districts - AKA the masses. It's best seen from the inside.

Haymitch is a tale of using propaganda to control the masses regardless of what actually happened.

Finnick is what happens when Snow uses propaganda to obectify tributes to distract the capital from the fact a child they got attached to is in a fight to the death with other children. It's done to control the capital AKA the few, and doesn't quite have the same effect on district people who see their own children in his situation year after year. It's easily seen from anyone anywhere, but it's effectiveness is best seen from those who let it brainwash them.

Finnick is a tale of using propaganda to dehumanize/objectify people to keep the audience invested in watching something.

In short, while a capital viewer POV might be interesting, I don't think the 50th games are the ones best suited for it. That's just my 2 cents on this.

[thr0wnawayy]

A Thought, A Theory

I'll probably make a more indepth post or may just update this one once the offical translations get dumped (which means pictures!), but I have a bit of a crack theory that chapter 430 isn't as real as we've been led to believe.

(As for when this actually takes place, that's up to you but I like to imagine the start of his third year marks the beginning of his mental decline)

This mostly comes from some inconsistencies in regards to the hero rankings and some other stuff

Its stated that Best Jeanist and Endeavor are still active. With the exception of Jeanist, this should not be possible for obvious reasons.

2. Something feels off visually and narrative-wise, I don't know how to describe this other than everything looks too ideallic. Like it feels too sanitized and sterile, this probably because Hori ripped the last bits of life this story had away. But hush. Also Aoyama is there didn't he leave UA? (and Japan)

3. Apparently people forgot the connection between Endeavor and Shoto. Normally this would be a good thing as Shoto would be able to become his own person.

This falls flat when you remember that also includes people forgetting the reason and happenings behind Shoto's existence, it just feels to good to be true. Everyone overlooks the bad and gets tunnel vision over any semblance of good.

Now you may be wondering, so what's going on.

Well, Midoriya's having a breakdown fantasy to cope with the fact that he won't be becoming a hero due to the loss of his quirk.

It sounds crazy but consider the following.

Midoriya subconsciously knows the way he's been treated was wrong. This manifests within the escapists fantasy in Bakugo's drop in the rankings + the attitude surrounding him (as well as his damaged hand never fully healing)

He meets a kid who just so happens to be in a near exact same position as he once* was (and still is to an extent). One could take this as his mind's way of trying to cope and heal itself, by having Midoriya do what he does best and help others, henceforth working though his trauma by using the kid as a stand in.

*Even the kid's "bully" seems to be a warped version of Bakugo (perhaps this is how Midoriya tries to fool himself into believing how it was)

We see Kota. I believe that here, Kota serves as what Midoriya thinks he could have been had he not failed. Kota is the idealized version of Midoriya here, the unobtainable.

I believe the abandonment/limited contact from his classmates to be based in reality, unfortunately. Whether it was by choice or forced by their PR to preserve their images (can't be seen around the "freaks" for too long, now can we?). The lie may come in the form of busy schedules.

(either it's what Midoriya tells himself or he's been told, you can't tell me they can't just make a group chat or video call. At least a High School Reunion)

The Mech Suit is a massive cope, it's the dying whimper of Midoriya's childish hope that All Might will save the day. This time there's no magic quirk, no garrish mech suit, no plot twist.

No. There's only Midoriya and the consequences of his, his classmates and hero societies actions. It doesn't matter how shiny and seamless the illusion, how sweet the lie.

You can't hide the blood.

[londondungeon2]

Im going visceral /pos

What are your thoughts on Floyd? Any kind

But if that's too vague, maybe what kinds of dynamics do you like writing with Floyd? (ex. visceral/toxic yaoi, tall/short, tall/tall, "i can make him worse", "i can fix him", etc)

any kind of thoughts work, tho! ex. I think he'd be killer at jazz (I'm thinking jazz drums, because it's the most "feel" out of all of them, and is the most "rhythm" out of all of them, too)

No need to respond if you don't feel like it, as always!! Have a great day, either way!!!

hi hi icarus!! was so excited to see you in my inbox!! hello!!

any time i want to think floyd thoughts 💭 i just listen to ‘the pillows’; a lot of their songs put me into the headspace i envision when writing floyd!

i’m going to ramble under the cut because i got carried away (it’s even got a table of contents)!!

because of the cake event, i’ve got a couple of requests for floyd … more so than jade which is fine, i’m fine (ʘдʘ╬) …. & i’ve been thinking of a concept of floyd as living armor! i won’t be able to write it because the two medieval AU requests are fluff and the concept is anything but fluffy (well, it is sweet and cute to me but my vision is warped)!

just a preface: whenever i solidify an AU in mind, i always divide into what are both jade and floyd doing. i like narrative foils.

— it’d be fun to get around to what jade is getting up to via mafia AU one day ….

medieval concept:

floyd and jade are both knights in this AU. floyd’s path is actually much sweeter than jade’s, despite how horrific it is.

as young knights, appointed to the front lines, floyd and jade were an invincible force. they slip through the grim reaper’s claws like water, finding themselves persevering no matter what. the grim reaper only catches up to one of them when he stumbles upon a suit of armor left in the ruin of a kingdom they just bested.

floyd is entranced. the material is studier than his own; it is exactly his shape and build; and the visor, shining the brightest silver, is shaped like a set of fangs enclosed. it is the finest piece of blacksmithing and forge work he has ever laid his eyes on — and jade, wiping red rain off his face and content with his kills, does not fight floyd when he declares he will take it for himself.

it is a descent into madness plot.

the more floyd wears the armor, the less he wants to take it off. he is starting to see twisted shadows out the castle’s windows. it only gets to the point of no return when he tries to remove one of the gauntlet and his skin peels off with the removal.

after that, floyd swears to never put it back on, resolute in his decision, as his brother smashes their room apart in a terrible rage over his arranged engagement to the king’s daughter.

however, he does put it back on. it keeps shining in kaleidoscope stars and beckoning him with honeyed whispers.

when he puts back on the helmet, it is last time he sees the sun with his own eyes.

the kingdom goes to ruin. jade has killed the royal family. there is nothing left for floyd, because try as he might, the suit of armor will not come off. he tries to push his own sword through the helmet and shoulder-plate, only to hit his neck and realize it is metal rather than flesh.

floyd rots at the bottom of the castle. alone for a decade. until one day, a scavenger from a neighboring building comes and raids whatever is left from the castle’s innards.

one last time, floyd decides he will serve his dead king one last time and kill this scavenger, hungry and desperate you. it is a wild chase around the hallways, him at 6’2”, face full of carnivore teeth, swinging a claymore that is intent on cutting you clean in half. he has you cowering in a corner, about to add another body to the ghosts that float in his ruined kingdom, his ruined home, only to stop when a loud yip ripples your tattered coat.

you have a puppy. a puppy you were trying to feed with the leftovers.

it is not bigger than a kitten and yet it barks at floyd like it is the size of the bear.

floyd’s sword slowly drops.

it is an unsteady friendship from then on. he still dislikes you roaming around in the castle; you are still afraid of this man in the armor. but, eventually, you do come to a truce.

floyd finds himself becoming more endeared to your company. you bring a light back into the court that has been extinguished by his own brother.

and for the first time in a decade, floyd gets to feel the sun on his armor (his skin will never be the same) as you slowly take his clawed, metal hand and bring him out the catacomb of his home.

“can i finally see your face?” you will ask him one day.

and silent, he will shake his head. no.

that’s okay. the company of each other is enough for the both of you.

tall/tall dynamic:

i really really enjoy the dynamic of tall/tall for floyd!!

like absolutely adore it with my whole heart!!! 🖤they’re slowly morphing into the height and relationship dynamic of okuyusau and josuke for me!!!

picture for reference, mc and floyd are almost always the same height in my head.

i always have chess piece ocs in mind when writing /readers. its subtle but in narc, mc is the same size for shirts as floyd and is around the same height too. there is no part of standing on their tippy-toes for kisses & the eye contact is on equal footing.

i’m workshopping the scene where mc and azul meet in arnolfini portrait again & have to slap myself on the wrist every time i write ‘you glared down at azul’ or any variation of azul moving his neck to look up at mc.

idkw i feel so strongly about tall/tall dynamic with floyd. but i ADORE floyd with a tall shrimpy!!!

drummer! floyd:

from what i’ve seen from reading canon information on floyd, he did in fact play drums in a jazz band w/ azul and jade during middle school!! which i took to incorporating in ‘got you (where i want you)’ bc it’s largely a oneshot revolving around pop music club:

i want to explore a bit of the difference between how kalim plays drums and how floyd plays drum in it. it is going to be a big piece, about three chapters!

i only play piano and drums so we’ll see how i can handle talking about guitars (but like every single guy involved in my life plays guitar — brothers, bf, friends, co workers — so i got people to ask about it)

also was going to have floyd keep knives in his drum sticks during narc but scrapped it.

cake event:

the lineup for floyd that will come out nov 5 is:

royalty AU — jester x princess smut

NRC — viscera part 2 smut, 69 position

Arranged Marriage AU — hurt/comfort (FINALLY some angst from my request list б（＞ε＜ ）∂!!!)

royalty AU — mutual pining (no plot outlined yet but i’ll figure out a dynamic)

time loop AU — requester was very specific so the outline is already there!

arnolfini portrait:

HERE, is a snippet from that long Floyd work I’m going to release next year, some fluff (i think idk fluff) in a pool of angst;

Jade looks down at the both of you, a moue on his face. “I told you to watch him; not join him.”

Bleary, tear-soaked eyes blink seven times before you finally can fix all the puzzle pieces of Jade’s visage clearly in your vision. Above you, he stands, tutting in disappointment with a single teacup in hand. Steam curls out of the ceramic, reminding you of the absolute flaming heat on your cheeks. In response to his serene anger, you mumble, “Hmmm what?” into the pillowcase.

“Really, what am I going to do with the two of you?” Jade sets the teacup on Floyd’s desk.

“Leave us alone,” Floyd grumbles, nasally and exhausted. He takes to rub his forehead in your neck, impossibly hot as well.

See, Jade told you to watch over his brother for the afternoon. It is the weekend; you had no classes so you sought Floyd’s company. Said company happens to be suffering from a high fever he developed Friday night. Fretful, Jade told you he would return during his break at Mostro Lounge with tea for Floyd. Which must be now; not that you are keeping track of time. With little convincing, you fell in bed with Floyd due to his clogged and snotty siren call, snuggling up into the tempting warmth and accepting his infectious kisses.

Now contaminated, you wake up from your nap to face off the enemy of Jade’s frowning discontentment. Your attack move is to shimmy yourself down until the comforter is up to your chin. Floyd’s arms wrap around you tighter, thinking you are trying to leave. You cast the verbal spell of, “Yeah, what he said.” and close your eyes to get more sleep.

A subtle, amused laugh is Jade’s counterspell. “I hope you two will accept the responsibility of holding each other’s hair back when this virus wants to make its exit.”

Cheek to cheek, Floyd mumbles back, “Of course, I’d do anythin’ for (Name).”

The atmosphere in the room suddenly shifts. The fluidity of your limbs that were melting into the cuddle hardens into stone. Even Jade seems to stand a bit straighter despite his already perfect posture. Slowly, you pull your upper body out of the hug, bleary eyes wide as saucers.

“Did you just –?”

It is hard to tell: is the blush on Floyd’s face from his ridiculously high fever or is it because of his embarrassment? He looks at you like you are the one who has grown two heads. He has no reason to be looking so shocked when you are one who has whiplash!

“I – um –”

“Oh my God, you just did!” The fact of the matter – Floyd using your real name – has put your world on such an axis that you worry Floyd is going to have to hold your hair back like Jade suggested; you are about ready to throw up from nerves. Nerves exit your mouth through laughter instead. “Oh my God! Hahaha! You – hahaha!”

“Shrimpyyy,” Floyd whines before erupting into a coughing fit.

“It’s cute! I promise, it’s super cute! Hahaha!”

Floyd, who hates being called cute, fixes you with a glare that is lackluster due to the sweat glistening on his forehead and the chagrin that has sunburnt itself on his skin. He pulls his hand off your stomach and pinches your nose. You let out a honking laugh that is more geese than human.

anyways,,, always holding floyd like this. i do enjoy his character (but never more than his brother)!!!!

[velvetvexations]

just wanted to drop in and say how much i appreciate you speaking out about socialization, and I’m sorry that people are so committed to misinterpreting everything you say in the most negative light possible. I’m sick and fucking tired of the trans community ceding ground to TERFs by acting like every concept they touch is automatically poisoned. like why are we letting transphobic assholes twist genuinely useful terms and concepts to suit their own agenda? we can’t combat TERF ideas about “male/female socialization” by just pretending that socialization doesn’t exist, or that there’s never a gender or sex based component to how socialization is enacted; imo the only way to effectively fight it is to talk about what socialization *actually* is and how it *actually* functions wrt gendered expectations being forced upon trans/intersex/gnc/etc. people. it fucking sucks that we’ve given them so much power already to the point where trans people can’t even talk about how being treated as their assigned gender affected their development/transition without being called a TERF or being accused of misgendering themselves by “playing up their AGAB” or some other bullshit. are we seriously so afraid of TERFs that we’re going to deny trans people the language to communicate about their experiences, just because transphobes bastardize and weaponize those concepts against us? they do that with literally everything, and refusing to acknowledge a part of many trans people’s experiences just because TERFs got their cooties on some of the language is playing directly into their hands and allowing them to control the narrative.

peace and love to you velvet, praying that other people on this website learn to use their brain cells soon 🙏

They're allergic and hyper-defensive to having any sort of connection with their AGAB because they have no significant barriers to living their life as who they are so "how dare you imply trans women are raised with the expectation they aren't trans" is peak transphobia to them.

Trans women are being murdered, Karen.