#and that's going to carry through the whole arc

[chipthekeeper]

Today I had the displeasure of reading the words “we get it vel is sad and gay can we move on” and several other similarly ridiculous things on twitter a website not to be named, so I spent my whole 45 minute drive home just absolutely fuming with the need to defend my girl. Most of you know I've already done this in a broad sense before (defending her as a character and as half of a complicated relationship on her appreciation Friday), but let me focus in on what we’ve gotten from Vel so far in season two for now. Because yeah, it might not have been exactly what I was hoping to see, but it’s meaningful as hell and Faye is doing a fucking incredible job and deserves to be applauded for it.

Look. Even if all she was doing was being sad and gay, I would be here for that. You know this. Those are two of my most favorite qualities of her. But let’s not pretend that all she’s doing is “mourning her gay situationship” and forget why we’re seeing her in this arc in the first place. She’s Mon’s cousin and closest confidant, and she’s Chandrilan. Stuck between these two facts is a conflict for Vel. She HAS to be at this three-day-long heteronormative child wedding from hell because someone she loves needs her support, but she hates every second of it. She hates this place, these people, this culture, probably even the clothes on her back. She looks uncomfortable just about every second she’s on screen in this arc, ESPECIALLY in the third episode.

See?

Something you may or may not have noticed – even I didn’t really register it until I started thinking about all of this because watching three fucking episodes all in one night made them all blur together – but Vel DOESN’T ACTUALLY SAY A WORD IN THE THIRD EPISODE. She has no lines. Vel’s extreme stress and discomfort are conveyed only through Faye’s body language and facial expressions. To complain about this and cry about her only being “sad and gay” is a huge discredit to the performance and I simply won’t stand for it.

Like yes, she’s sad and gay but why can’t we take a second to think about what that means? Look at her circumstances, even leaving out the Cinta of it all for a second. This is a person who must have realized at a very young age that she was not only different but very likely going to either live a completely miserable life or be a disappointment to her very wealthy family and her society at large, and being back here in the middle of it all for an occasion like this hurts fucking deeply even if it’s a weird tradition and she wants no part in it. I can tell you this for a fact because I have fucking lived it. As a gay person, I have no desire whatsoever to take part in a traditional religious marriage or wedding ceremony like the one my sister had a couple years ago, but being at her wedding and the party that followed was overwhelming and painful because I spent so much time thinking something along the lines of “even if I had someone in my life to do this with, these same people – my family – would never celebrate my love this way.”

Now, is that what Vel’s thinking about as she stands next to the other unmarried women (i.e. teenage children) watching her niece’s first dance with her new husband? Perhaps not. But the way she breaks down after seeing Cinta sure looked an awful lot like how I looked sitting outside in the dark and the rain, drunk as I’ve ever been, while my sister’s reception carried on behind me.

And this, to me in particular, is what’s so great about Vel as a character – as a STAR WARS character – and why I will never ever complain about seeing her be “sad and gay.” For the first time ever in my favorite franchise, I get to see myself so clearly. She’s sad and gay, yes, but she’s also fiercely supportive of her family (the part she likes, anyway) – she takes Mon’s hand in support when she needs it, and she seems ready to snap at Kleya for even being around and creating the possibility of trouble at this function. She’s sad and gay, yes, but she’s on the front line of a fucking rebellion. Just because you don’t see it in this arc because that’s not where the story is focused doesn’t mean that’s not still true, and we’ll see that again come next week I’m sure.

I don’t really know how to wrap this up, but the point is if you’re tired of what’s happening with Vel in this show, you’re probably not paying enough attention. I want more of her and more for her to do as much as anybody (that’s a lie, I want it SO MUCH FUCKING MORE THAN ANYBODY, fucking try me), but there’s already a whole ocean of her character to explore with just what we have, if you only bother to stop and consider it.

[formulaonecrumbs]

hey junie!! hope you’re doing well!! past couple of days have been rough. maybe osc and reader go watch planes and she excuses herself due to pain, but osc gets worried and goes to find her but she’s just curled in a ball crying (real story. happened couple of hours ago)

-🧸

ps i miss you and love you !!

you don’t have to hide 🫣

Oscar Piastri x PCOS!reader

summary: reader and oscar go plane-watching, but pain hits hard.

warnings: pcos pain, cramps, emotional distress, public setting

A/N: i’m sorry that this can be a norm for u even when things are supposed to be hoing good or ure ’supposed’ to be having fun but i love u, 🧸. makes me happy that u find some comfort in what i write :) enjoy, u beautiful sweet thing.

⚘ ⚘ ⚘ ⚘

it was supposed to be a good day.

you’d even put on a cute outfit—something comfy, airy, perfect for lying in the grass and watching planes arc across the sky. oscar had been so excited when he found the spot, practically bouncing around the flat that morning like a little kid.

“we’ll bring snacks,” he’d said, “and a blanket, and we’ll stay ’til sunset. promise.”

and you’d smiled. said okay. because you wanted to see him happy. you wanted to have a good day.

but your body had other plans.

you try to ignore it at first. the tight pull in your lower belly, the familiar ache crawling up your spine. sharp cramps that come in waves. you press a hand to your stomach when oscar isn’t looking. breathe through the sting.

but it doesn’t stop.

you’re lying beside him on the blanket, his hand brushing your knee, your head on his shoulder—and you know the moment it shifts from manageable to not. a hot flash rushes through you, your limbs go heavy, and you feel the tears build in your throat out of nowhere.

“gonna run to the bathroom,” you whisper, voice way too shaky.

oscar glances over, concerned. “you okay?”

you nod. lie. “just need a minute.”

you don’t make it far.

the public restrooms are too far, your legs too unsteady. so you duck behind a small slope near the lot, sit down, and then curl into yourself. hands fisted in your hoodie, jaw clenched, eyes burning.

you don’t even know what hurts more—your stomach or the part of you that feels like you’re ruining everything again.

so you cry.

quietly at first. then not so quietly. the pain keeps hitting in waves, and the shame with it, and the deep, dull disappointment that today was supposed to be good and now it’s not.

you don’t hear oscar coming.

you only know he’s there when he says your name—soft and scared.

“baby?”

you lift your head slowly, eyes swollen, nose red. “hi.”

he drops to his knees in front of you, wide-eyed. “jesus, i’ve been looking everywhere. what—what happened?”

you shake your head. “it just got bad.”

“how bad?”

you don’t even answer. you just look at him, watery and broken, and he understands.

“okay,” he whispers. “c’mere.”

he doesn’t care about the grass or dirt or the fact that people could walk by any second. he just pulls you right into his lap, tucks your head under his chin, wraps his arms around you so tight you can’t feel the pain for a second.

“you should’ve told me,” he says gently. “i would’ve brought you straight home.”

“i didn’t want to ruin it.”

he leans back to look at you, brushing hair from your face. “you never ruin anything. ever.”

you sniff, laugh a little through it. “you were so happy.”

“i am happy,” he says. “but only if you’re okay. and you’re not right now. so let’s go take care of you, yeah?”

you nod.

he helps you stand, carries the blanket over one arm and keeps you tucked into his side the whole way back to the car. when he settles you in the passenger seat, he presses a kiss to your forehead.

“we’ll come back another day,” he says. “you and me and the planes. but next time—pain or no pain—we do it on your terms.”

and for the first time that day, you smile.

THE END :>

[pigtailedgirl]

Fantastic!

Burning Down The House is such a changeling take to me. Of both Ray replace and Fraser re-positioning and replacing himself and his purpose. As the show does when it can no longer be fish out of element or buddy cops. In continuity both of those things need to be acknowledged changed right?

But the show, and Fraser, are refusing.

Fraser even in beginning is imo spiralling, and repeating patterns like his Pilot chase, but with more absurd, before we even get to the Ray leaving and switch.

And everything spiralling out in his inability or cope with new realities as they come in feeling.

In others doing the same and tilting him and them further in their denial.

In Ray Kowalski, through brief intro being the most sane, but by his trying too hard to mimic and his dislike having to do so, not fitting in. Which is wild as he picked this assignment in universe. He had choice in escapism but resents it's not proving easy. Which duh, how did you think emotionally that was going to go my guy? And he's right away set against the Vecchio ghost as example.

It's very show meta lol.

He should understand Fraser's loss perspective, so alike are they really in defining themselves into a role or in their previous partner, but to do so would admit the ruse of himself here. That he has to commit to being someone new or seen anew. Therefore he refuses and wildly right from jump is looking to Fraser for the self fix.

Like he wants to be Vecchio in terms of the validation, but without understanding the acts or steps to, even as he repeats stuff like the save by jump in front of the gun. He's got the safety net or vest on as it were. Making the acts tonally different.

And how that slots into the Fraser and Ray K dynamic as the whole thing settles back into Fraser both making him friend and like the crazy of Fraser trying to figure the out. The desperation with which Fraser seeks to figure him out. To make Ray K fit into the missing piece of Fraser's loss, Fraser must say okay let's go along. To fix and befriend this stranger as Ray once did for him, he's also trying to inverse and fix the world tilt it seems. So I keep coming back to is he actually seeing Ray K at all? I think he goes between trying and pretending not to.

What I keep coming back to or had saved is this scene.

That the episode is about angrily not grieving. It's about buying into the new. By force. Self convincing.

That Fraser is a person who makes his own reality far too often, has dealt with loss far too often, and this...This is his way of doing so. So he makes himself believe in a new reality, the new Ray in front of him, and carries on to keep the plot or ball rolling. Survival.

Just like this. Actually right damn here.

Sure he acknowledges and will be interacting through differences. Somewhat. In that way that could be both his and Ray Kowalski's arcs of growth through pretend and finding. But this is how he makes peace with going through it. Resolves how to see things going forward.

as i near the end of the show, gonna chew on going back and doing some episode-by-episode dissections of the progression of fraser's and ray kowalski's dynamic, because I think it's really interesting that s3-4 (s3pt1-s3pt2) are structured quite differently to s1-2, that is, the order of the episodes really do matter, as there's a lot of emotional continuity (which, there was in s1-2, but with a lot more filler episodes in between that you can watch relatively out of order if you want)

and at the heart of that is fraser and ray getting to know one another and working through some various things, and i think it's interesting to. poke at. s3 has a very clear arc, with the final scene of mountie on the bounty mirroring the scene in which fraser and ray met in bdth, but s4 is more a continuation of where that leaves off than its own contained thing, so i'll do s3 episode-by-episode and then hold off on s4 until, perhaps, ive finished the show entirely

[muffinlance]

The point where you, uh. You definitely put a note with the wrong story. Because what does this mean

Which was the point Zuko realized trees didn’t really understand people. At all. That was okay, Zuko didn’t, either.

[starheirxero]

Genuine thoughts tho are that I think I'm starting to like how this is panning out a bit more!!! Its starting to feel the same way that Ruin's whole situation did a few months back, where I was terribly nervous Ruin's big secret was that he was actually secretly a horrible evil villain who's trigger happy etc etc but it turned out to actually be a really interesting and refreshing situation of grey morality and character complexities n such, yk?

Like, this is going in an interesting direction!! Moon, now Nexus, is 100% being taken advantage of during his moment of weakness and besides my obvious delight in such a fucked dynamic, I'm genuinely hopeful and curious to see how this will pan out!! I'm still not totally sure if the lead-up was just messy grief, Dark Sun influences, or both, or maybe even a secret third thing, but it really does feel like things are starting to fall a little more into place now and I'm liking it :]

[squirrelno2]

some proof of life for Nightingale:

It wasn’t supposed to be a big, dramatic fight. The idea was to destroy the killer robots before it reached that point.

“They’re down this way,” Nick said. “Two guards. The problem is if we go for them, we have to make sure nobody else comes running. The doors all along this hall have more guards on the other side.”

“I can clear it out,” Flynn said.

“No, you can’t!” Carrie said. “What are you talking about? You have no powers.”

They glared at each other.

“Uh,” Nick said. He looked at Willie, who was picking nervously at his own nails. “That’s never stopped her before, but the Queen’s right. It’s not a good idea.”

“Maybe you could trust me when I say what I can handle?” Flynn said, still glaring at Carrie.

“Is this about me or –“ Nick began, but Carrie cut him off.

“Maybe you could stop putting us all at risk by trying to do things that everyone knows you shouldn’t do?”

“What?” Willie asked, jerking his head up.

“Stay out of this!” Carrie and Flynn said together.

“I wasn’t in it,” Willie said.

[proveagain]

no bc there's Something abt which episodes he wears that hoodie in and the fact that yellow symbolizes hope and optimism and positivity hear me out

[gracie-eilish]

Could you please do something where reader is like super introverted but comfortable around billie (cuz they're dating 😛) and one day reader is just yapping so much like ranting, but then she realizes she's talking a lot and gets embarrassed and starts to apologize a bunch but billie finds it absolutely adorable when she gets passionate about things since its not too often she does it?

an: thanks for the requestttt babyyyyy:) i hope u like itttt🧡🧡🧡

Heart Eyes😍

It wasn’t often that you talked this much.

Billie knew that.

She knew you were quiet, introverted—the kind of person who preferred listening over speaking, who felt more at home in the background rather than the spotlight. She never minded. If anything, she loved it, loved the way you opened up just enough for her, how you never felt the need to fill the silence when you were together.

But sometimes… sometimes when you two were alone, you got carried away.

Like right now.

You weren’t even sure what had started it. One moment, you and Billie were curled up on the couch, her fingers lazily tracing patterns against your thigh, the two of you basking in that warm, easy silence you always fell into. And then—you started talking.

It was something small at first. Maybe a comment about a show you had been watching, something that had been bothering you about a certain character.

“I just don’t get it,” you huffed, shifting against the cushions as Billie let out a small hum of acknowledgment. “Like—why would they build up this whole storyline just to throw it away? Do they not understand how character arcs work?”

Billie smirked, eyes flicking up from where her head rested against your shoulder. “Oh no,” she teased. “Here we go.”

You shot her a playful glare, but that only encouraged her grin.

“I’m serious, Billie!” You sat up a little straighter, suddenly feeling the need to gesture as you spoke. “They spent three seasons setting this up! And then what? They just—throw it away like it’s nothing?” You scoffed, hands flying in frustration. “What was even the point? It’s lazy writing, that’s what it is. They had so much potential, and they ruined it!”

Billie watched you with an amused glint in her eyes, her lips twitching like she was holding back a smile.

“I mean, tell me I’m wrong,” you pressed, turning to her expectantly. “You know it was bad. Like, objectively bad.”

Billie finally let out a soft laugh, shaking her head. “Oh, babe, I’m not about to argue with you. You’re on a roll right now.”

That only fueled you more.

“Exactly! And it’s not even just this show—writers always do this! It’s like they don’t trust the audience to appreciate a slow-burn arc anymore.” You sighed dramatically, running a hand through your hair. “Like, God forbid they actually develop their characters instead of just rushing to wrap things up in the most unsatisfying way possible.”

Billie let out another hum, her fingers absentmindedly tracing circles against your knee. “Mm, sounds like someone should just write their own show.”

You paused, considering. “Honestly? I could do a better job than half these people.”

Billie snorted. “No doubt.”

“I’m serious!” You shifted to face her more fully, your expression animated. “If I ever wrote a show, I’d actually respect my characters. I wouldn’t just throw out their development for shock value.”

Billie’s grin widened. “Oh, I believe you, baby.”

You went on, too caught up in your thoughts to notice the way she was looking at you.

“And another thing,” you continued, “it’s like they don’t even watch their own show. How do you write for characters you clearly don’t understand? How do you spend years creating something just to betray the entire foundation of what made it good?”

Billie bit her lip, watching as your hands gestured wildly, your eyes practically glowing with passion.

You barely stopped to breathe, completely wrapped up in your rant. “And don’t even get me started on how they completely sidelined the best character. Like, hello? They deserved way more screentime—”

Then, suddenly, mid-sentence—

You froze.

Your face went hot, your stomach flipping as you realized just how much you had been saying.

“Oh my god,” you breathed, your hands immediately retreating to your lap. “I’m so sorry, I didn’t mean to—”

You turned to Billie, half-expecting her to look overwhelmed, or maybe even a little annoyed.

Instead—

She was staring at you.

Like, full-on staring.

Her blue eyes were impossibly soft, lips slightly parted, and if you weren’t mistaken—her cheeks were a little pink.

She looked completely entranced.

“Billie?” You blinked, suddenly very aware of how quiet the room had gotten. You shifted under her gaze, ducking your head as embarrassment settled in your chest. “I was totally rambling, I—I didn’t even let you say anything. I’ll stop now.”

But then Billie melted.

Like, literally melted.

She let out the softest little sigh, her entire body going warm against you as she reached forward, cupping your face with both hands. Her thumbs brushed over your cheeks, her expression so stupidly in love that you felt even more flustered.

“Are you kidding?” she whispered, her voice dipping into something soft, something almost dazed.

You swallowed, blinking rapidly. “W-What?”

Billie’s smile was slow, her lips curling at the edges like she couldn’t contain it.

“That was adorable.”

Your stomach flipped.

Your lips parted, but before you could even think of what to say, she was already leaning in, pressing the softest, most lingering kiss to your forehead.

“Baby,” she murmured, her nose brushing against your skin as she pulled back just enough to meet your eyes. “You never talk that much, and I swear I have actual heart eyes watching you right now.”

You made a noise in protest, your face burning. “Billie—”

“No, seriously,” she insisted, grinning now, her fingers sliding down to gently cradle your jaw. “You were so passionate, I could feel how much you cared, and—ugh, you’re just so cute.”

You groaned, burying your face in your hands. “Stop.”

Billie giggled—an actual, breathless little giggle.

She pried your hands away from your face with ease, tugging them into her lap before lacing your fingers together.

“Why are you embarrassed?” she teased, tilting her head. “I loved it. Love when you talk like that.”

You chewed on your lip, still trying to process the ridiculous amount of fondness in her eyes. “…You do?”

Billie sighed dramatically, squeezing your hands. “Baby. I love everything about you.”

You exhaled slowly, the warmth in your chest growing until it was almost unbearable.

Billie beamed, looking entirely too pleased with herself. “Now—go on.”

You blinked. “What?”

She grinned. “Keep talking. I wanna hear more.”

Your heart stuttered.

You hesitated, but the way she was looking at you—the way she was practically soaking up your every word—it made the nerves melt away just enough.

So you did.

You kept talking.

And Billie listened.

She held onto your every word like it mattered, like you mattered.

And maybe, just maybe—

You’d let yourself get carried away more often.

[calocreek]

OK here it is, a ton of 'production' stuff for the Hot Guy Comic Zine! I've never been part of a project like this. Even though I was working on my comic mostly solo (shout-out to my editor Violet!), the world-building and story arc planning was completely collaborative. For example:

We started out on the world-building by voting on character's superpowers! Plenty of powers were almost unanimously agreed on, but Cuteguy was a HUGE campaign. We were pretty much 50/50 split between can fly/can't fly. Propaganda was exchanged LOL, like this piece where I campaigned for limited flying capabilities 😂 And thats what we ended up settling on!

From there we worked on a ton of brainstorming/world-building that I mostly spectated with an occasional doodle like these haha. I'm new to such elaborate AUs!

Pitch time!! I had pitches for each era and they were all pretty light and banter-y, so my year 1 pitch ended up fitting the vibe the best. My original pitch was 'HG + CG learn some key things about each other and plan to set up a base they can use together.' But when I started my script, I got really caught up in how they were navigating a partnership without knowing each others identities. The more I wrote through that, the more I wanted my story to be ABOUT that! So thats where my script started coming together.

Designs! I'm definitely not a confident costume designer. I was trying to go for low-tech + practical since it was early in their careers, and of course, easy to draw 😂

Process went more or less like this! Full color comics take a LONG TIME but it was a total labor of love. I had the graffiti bgs in mind from the very start since I knew it was dialogue heavy, I wanted to make sure the art was interesting and worth spending time looking at. Oh lord did I get carried away. I'm OBSESSED with the symbolism the fandom has put to the life series and so I tried to sneak in as much meaningful symbolism as possible. AND THE RESULT:

Guess I did pretty well! 😂😂😂

Anyway, I can't overstate how proud I feel to have gotten to work on this project. My whole goal as a hobbyist is to get to work with other artists I look up to and respect so this was a dream come true! Thank you everyone for reading, for 15k downloads (!!!), and for just being an awesomely creative fandom space to make art in! I hope to do more stuff like this again some day 💕

[llamagoddessofficial]

LLAMAAAAAAAA

WRITE MORE ABT FARMER (when you get the chance ofc)

AND MY LIFE IS YOURS!!!!

Your life. Hand it over

---

It was the thickest rain you’d ever seen. It didn't fall like normal rain, it fell in layers, great arcs of water that thrashed the ground one after the other, stormy waves hitting a shoreline. The roar of it landing on the world around you was almost deafening - a problem, considering it was three in the morning, and you were walking in almost pitch black. Any other night you would’ve been guided through the seemingly-endless farmland by recognising the hedges and hearing the animals... right now, you were guided only by the weakened blueish light of your headlamp, and the best that your memory had to offer.

You spotted it, in the near distance. The tiny light of another lamp was flickering back and forth in the rain, moving with the speed and efficiency of a hard-at-work man who couldn’t wait to get out of the terrible weather and go back to bed. You quickened the pace, marching down the field, your waterproof pants were coated in cold mud up to the calves; you were glad you couldn’t feel it. The only wet part of you was your face, and hands - you needed the latter out to hold the big metal flask you were carrying.

You didn’t mind the wet and cold. You stomped on regardless. All you cared about was the sight of that head lamp, getting closer and closer in the relentless wind and rain. You could just about make out the things he was looking at, illuminated by his lamp... the part of the fence he was doing his best to repair.

Before you knew it, you were within shouting distance. But there was no point, he wouldn't hear you. A particularly strong gust rushed across the field, you felt a carpet of rain hit you in the back, and the wind shoved you ungracefully forward. You let out a little yelp but managed to stop yourself from falling over.

... You heard your name over the rain. He had noticed you. You looked up - his headlamp was angled slightly downward, rather than straight ahead, so it didn’t dazzle you like you expected it to. Sans was dressed in his usual farm gear, his heavy boots and thick waterproof pants, and the rain had washed his green jacket cleaner than you’d ever seen it before. His hood was pulled securely up over his skull and he had a fence post the size of you in one hand like it was nothing.

... And he was looking at like he’d seen a ghost. It was rather comical.

“There you are!” You picked up the pace for the last few steps, jogging over to him, before you finally came to a stop. Phew, you’d been walking for almost five minutes in the storm. It felt good to finally see him. Despite the cold, you were pretty flushed from the exercise, hot under the combination of your sweater and coat.

“what the hell are you doing out here?” His green eyelights glowed under his hood, like two soft fireflies, a much more pleasant colour than the cold lamplight both of you were bathed in. It was as if only the two of you existed in the whole world... two headlamps in an endless sea of dark and wind and water. “it’s two in the morning,”

“Three, actually,” you chirped. It was somewhat hard to hear him over the rain hitting your hood, but you just stood a little closer to him. Your hurried breaths formed clouds, you could see them in the combined lamp glow.

He put down the fence post. It dropped with an heavy thunk. “did papyrus send you?”

You just held the big metal flask out to him. It had a black strap attached to the side of it that was sodden by now. He accepted it, seemingly out of instinct, staring down at it before glancing back up to you.

“... uh... thanks. what is it?”

“Soup!”

He blinked. “soup?”

“Yeah. I woke up to the rain, and I figured you’d be out here, because you’d mentioned the fence needed fixing properly before the storm hit." You pulled your coat sleeves over your now-free hands. "Though I did ask Papyrus if you’d actually headed out before I left. I’m not that crazy.”

He was still staring. The rain continued to roar, you had really hoped it would've eased up by now. But it seemed to be only getting worse. Probably for the best Sans was repairing the fence now, before everything completely flooded come morning.

“I know, I know," you continued when he didn't reply. "I’m dumb for going out in the rain, I’ll get wet. But I’m fine, see? I put the waterproof pants on over my boots, like you said. It’s been raining like hell and the only part of me that’s wet is my hands!”

“you... came out all this way, to bring me soup?” he said, softly. You almost didn't hear him.

“Yeah. Pumpkin soup. Knowing you, you didn’t eat anything before you left.”

He had gone quiet. That wasn’t like him. He was looking at you very intently, with great big eylights. Another gust of wind sent a wall of rain into the two of you. You visibly swayed, but Sans didn't seem affected by it.

Was he upset that you might get cold? He didn't look upset, his eyelights were so round, almost sparkly.

“I promise I’m not cold," you pressed. "This is the coat you lent me. See? It’s - ” 

Sans moved forward a step. It was all he really needed to close the gap between you. He put an arm around you, despite the flask in hand, and swept you in against him; you were too startled by the sudden movement and proximity to move or do anything. His free hand came up, sliding between your coat hood and the side of your cheek, cupping your face.

He leant in and kissed you.

...

For a moment, you couldn’t hear the rain. You couldn’t hear anything at all. All you could think about was how smooth his hand was, how nice he smelled, how hard your heart was beating, and how warm he was. After so long walking around in the rain, being pulled in close to him felt incredible.

He felt so strong, too. All night, you'd been pushed around by any breath of wind, no matter the direction. In his arms? Nothing moved you. Nothing could shake you.

... Your eyes closed. Maybe it was the dark and gale and rain, maybe it was how early it was in the morning. But you just didn’t want him to let you go.

...

Sans pulled back. Your eyelids fluttered open again. There were raindrops on his skull, and the lamplight was dancing over his bones. His eyelights are such a pretty colour. He was looking at you like he wanted to pick you up and walk home with you.

...

Then, in an instant, the reality of what he just did appeared to hit him. So close to him, you could watch in real time as his eyelights shrank into pins in his sockets, and his smile twitched in what you could only describe as total internal panic.

... You, too, started to do the worst possible thing - think.

Sans just... kissed me. Sans just kissed me.

... You both just stared at each other, he was still holding you. You had no idea for how long. Sans’ eyelights kept flickering between your eyes and your nose, and you kept staring blankly at him, dazed and suddenly very confused.

...

“I-I should, head back,” you started, nervously.

“yeah. uh... yeah.” His hand came off your face, and he let go of your waist, stepping back again. You immediately missed the warmth. “thank you for the soup."

You nodded.

"i’ll..." He sounded shaky. He held onto the flask with both hands, maybe to stop himself from fidgeting. "see you later?”

"You too," you stammered.

... Wait. Shit.

No idea what else to say or do, you stood there like an idiot for a few seconds, trying to formulate something to say or some interesting witty way to turn that fuck-up into a joke and end the conversation - but you had absolutely nothing. Your head was spinning, your heart was still beating a mile a minute, you couldn’t believe that had really just happened. So you just turned right around and started walking.

...

Holy fuck, you thought, pulling your hood tight over your head. What the hell am I going to tell Papyrus?

[lover-of-mine]

Hi, welcome to blue and red and parenting in 911.

Let's start with the easy to track stuff. For me that usually means looking at madney, mostly because we watched every step of the relationship unfold, so a lot of the patterns go back to them or are established with them. But the combo is present when they talk about wanting kids someday in 301, and when they find out they are pregnant in 318 and 806.

But the combo is explicitly established at the beginning of s3. 301 with the madney conversation and the bathena conversation at the hospital about not wanting more kids. 303 with buddie and the "we already have a kid" conversation. And 304 with Henren and the "having more kids will affect our family in more ways we expected"

But as with any color metas I write, every element of the scene matters, so we can go back a little bit more to 218 when Henren decide they want more kids.

The blue and red ends up attached to henren's journey into fostering and eventually getting Mara. For instance, being the color in 311 when they get Nia and 705 when they are trying to get through to Mara.

So, we established this is used with outfits and with other elements of the scene, right? So let's get into the fun stuff.

I was watching 313 yesterday and I was very 👀 about Michael and Bobby and the whole thing with Harry and the trip. Because Michael is in this reddish color and Bobby is in a neutral green. BUT when they are talking in the end about how Michael wants Bobby to be a father to Harry if he ends up unable to, Bobby suddenly has a bunch of blue around him. It's also the moment Michael's shirt looks the most red.

Another key thing with Bobby is during 516. That episode is the episode May says Bobby is her dad too. And she starts the episode in this sweater. Yes, there are other colors in it, but the bag, the belt, all add to May herself being the blue and red. Mostly blue since above we put Bobby as the blue parent.

And May is wearing the blue uniform in that episode and that leads to the scene where she calls Bobby her dad.

Something 911 occasionally does is put the sirens in one color when convenient, this is one of those moments. The sirens in this scene only flash red. So we have both of them in blue uniforms bathed in red light.

Something else that happens in that episode is the way Bobby's suspenders are clearly setup in a way to add red to him.

But Anna how do you know that's on purpose?

Well, everyone else who is wearing the suspenders has the yellow part showing. And we have a lot of people with the suspenders walking around that scene, so Bobby's being mostly red is fully on purpose.

So the combo is present when Bobby promises to do his best to be a father to Harry and when May explicitly acknowledges Bobby as her father.

So now let's talk Buck and Christopher. I made a post about this the other day but let's remake my point.

The tsunami is the event that turns Buck into a father, right? I feel like we can all agree that the thing there is to show Buck that he does in fact love Chris as if Chris is his.

So, they start out with Buck in pink.

Then the tsunami hits effectively making Buck's shirt red.

The tsunami literally turns Buck red. Honestly, this blows my mind every time I think about it. But there's more attached to this arc.

When Buck is searching for Chris, he is white. But he is carrying a piece of Chris that happens to add red to him, in a similar way that the show did with Bobby in 516.

Eddie has been blue the whole time this is happening because of the uniform, so the red ends up being a bit more symbolic, because Buck was killing himself trying to find Chris, and when he finds Eddie he needs to accept the fact that he failed. And he hands the glasses back to Eddie almost in a defeated fashion, because at this point Buck is basically putting them both in the worst scenario a parent can be in. In his mind, he doesn't deserve that piece of Chris.

But that's when Chris shows up. In red.

At this point, Chris himself ends up being that symbol.

Eddie is also holding blue gloves throughout this whole interaction.

And all of this leads us to the introduction of buddie's parenting maroon. This arc has Buck moving in shades of red until the moment Eddie tells him there's nobody else he trusts with Chris more. Clearly in blue and red.

The buddie parenting maroon shows up a few more times, on Eddie at the end of 318 when Chris is going to camp even though he was conflicted.

On Buck during 414 when he steps in to take care of Chris.

On Eddie again in 710 when Chris leaves, again both of them are blue and red here.

So yeah, personally, I think this is a very well established color combo lol.

Also, final addition. Eddie's panic attack about someone assuming Ana is Chris' mother? Same combo. But then the idea is instantly shut down by making it a trigger for Eddie.

Anyway, that's all for today, if you read this I love you 💜

[gold-onthe-inside]

coffee for two

summary: spencer picks you up for coffee after a lecture. that's the whole fic. who? dad!spencer reid (s9/10) x history prof!reader content warning: references to undiagnosed neurodivergence and bullying, benji's arm fracture. word count: 3.2k author's note: opening event for spring-fest, hope y'all enjoy. thanks to @esote-rika for the margary kempe info

Spencer checked his hair for the umpteenth time in his reflection on the window, waiting by your lecture hall, debating whether to catch the end of your lecture or not. Before he can decide whether his desire to see you in action again trumped his aversion of distracting you at work, students spilled out of the door, carrying bags and laptops and fat chunks of reading material.

With class clearly over, Spencer managed to make his way into the hall to get a look at you… wearing a graphic blue t-shirt of Joan of Arc, holding a sword high with the words, ‘I am not afraid, I was born to do this,’ written underneath and tucked into formal slacks and a black and silver belt completing your look.

His grin is irrepressible as he comes down the ramp to join you as you collected your laptop and papers from the desk, taking off your mic and wrapping the cord around the transmitter when you looked up. “Hi.” Your voice is pleasantly surprised, smile matching his at his breathlessness. “Were you running?”

“You have a lot of stairs,” he explained, his gaze returning to the soldier on your torso. “Nice shirt.”

“Thanks, and they’re not my stairs,” you quipped back, gathering your things and walking with him through another set of doors. Another thing he likes about you — the way you can keep up with him. Not that he’s got a list in his head.

“Any chance going on a date with you gets me a pass to use the elevators?” Spencer asked, unabashedly cheeky, his hands stuffed in his pockets while yours are busy with everything — your laptop containing your life’s work, printed reading material including your copy and the students who hadn’t attended your lecture today, your blazer folding over your arm, the shoulder sporting a satchel less worn out than his.

“Ha, I knew it. There was an ulterior motive all along,” you cried, grinning at him as you walked him to your office.

“Yes, everything in my life has been leading up to this point,” Spencer replied, quite matter-of-factly. “To gain entry to the elevators of GWU.” You huffed with a smile, hands fumbling to retrieve your keys. “You have your own office?”

“Shared office,” you corrected, closing one eye as you dug through your bag for the key. “All the Depth and Comparative Studies profs share one office,” you explained, “and Devlin’s on sabbatical, which means I have to cover his syllabus along with mine- ha!” You pulled out the key triumphantly, moving to unlock the door.

“You never did tell me what it is you specifically teach,” Spencer pointed out, leaning against the doorframe as you get the lock to click free and pull the door open, Spencer’s hand replacing yours to hold it back for you, fingers briefly grazing yours. You don’t catch the brief swallow and bob of his throat, leading him inside.

“No, I was planning on leaving that for the small talk on our date,” you replied, setting your things down on your desk while Spencer took a moment to appreciate your office.

The things he’d do to make the BAU bullpen look like this. Old maps covered the walls, more rolled up maps lining the wooden cabinets underneath, literature lined up on the shelves attached to each cubicle. Organised chaos, he presumed, turning his attention back to your desk. You set your computer in the middle, organising notebooks hastily, leaving bookmarks in textbooks before putting them away, pens clattering in their cup, and then grabbed your bag, hanging the strap over your shoulder.

“Shall we?” you asked, looking up at Spencer who nodded, smiling ruefully. He couldn’t seem to stop doing that around you. “Did you have a cafe in mind?” you asked as you step out with him, locking the door behind you both and dropping the keys in your satchel.

“There’s one on M Street I like,” he answered, strolling with you instead of his usual brisk march. “They have great pastries.”

“Good, I don’t settle for anything less than great,” you remarked, and though he appeared cool on the outside, inside Spencer was jumping for joy.

“Is it true you have to go through a background check to date a federal agent?” you asked, tearing off a piece of your croissant, fingers coming away with buttery flaky pastry and warm, gooey chocolate that you have to lick off of your thumb.

“What? No, where’d you get that from?” Spencer asked, his voice jumping an octave as he asked, laughing quietly with his brow slightly furrowed. You shrugged, taking a sip of your coffee, frowning when it tasted bitter than you’d had it first. Spencer had taken the smarter move — coffee first, then his chocolate and sprinkle coated donut.

“Saw it on a show once, I think,” you explained, smacking your lips lightly, eyeing your croissant again. Spencer can’t help but think that you’d fail the marshmallow test when your hand moves to tear another piece off. “The guy was a con-man and he fell for a CIA agent, but neither of them knew what the other did, and he was kidnapped by ‘The Company’—” you use air-quotes, dramatist that you are, “— and submitted to a lie detector test. It’s how he finds out his girlfriend is a CIA agent.”

Spencer snickered quietly. “You think the FBI is gonna abduct you and submit you to a lie detector test?”

“The Bureau’s gotten away with a lot worse,” you quipped, tapping your nose, accidentally dabbing a light smear of chocolate that widens his smile. His cheeks are gonna start hurting any second now.

“Hold on, you got a little—” He does his best to gesture, but you miss, making it worse and he sighs. He’s a walking cliche, pulling out his handkerchief to wipe away the tip of your nose for you.

“Thanks,” you murmured, leaning back in your seat, a faint colour rising to your cheeks. “I’m clumsier than Benji today.”

“Is that how he broke his arm?” Spencer asked, watching your gaze drop to your coffee for a moment before looking up again.

“That’s what he says anyway. I’m not so sure I believe him,” you confessed, sipping your coffee, tsking at the taste again. “He said he fell off the jungle gym wrong.”

Spencer’s brow furrowed slightly in concern. “Do you have a reason not to?” He watched you let out a sigh.

“He’s… not exactly like everyone else in class,” you explained hesitantly. “He’s smart, but he gets distracted easily. Has niche interests, doesn’t have a lot of friends… He’s a vulnerable kid.”

“Ian’s mean to everyone,” Benji said, “I wouldn’t take it personally.”

Spencer pursed his lips. “Has Benji ever said anything about Ian?” he asked, a hunch starting to form in the back of his mind.

“Uh… not often,” you remembered. “Near the start of the year. Said that Ian didn’t like him much.”

“Did you talk to the teachers?”

You just tsked. “They weren’t much help either. Benji denied any of it happening and without his admission, their hands are tied. They promised they’d keep an eye on him, though.” You scrunched your nose a little. “Sorry, that was a downer.”

“No, no, it’s fine,” Spencer rushed to say, “I mean, it’s not fine, it’s awful, but that’s not on you and… I’m gonna stop talking now.” His gaze darted down to his almost-empty coffee.

“What about your kid? Emma, was it?” you asked, changing the conversation. “She seems bright.”

“Maya,” Spencer corrected, a fond smile spreading to his face. “And yeah, she is. We read together every night.” You rested your chin in your palm, sipping coffee, admiring him as he spoke. “In fact, studies show that parent-child joint reading is related to vocabulary aquisition and academic success, as well as motivation to read later in life, and that reading fiction books are really important in developing a child’s reading ability—” He cuts himself off, wincing at himself, even though all he sees in your eyes is warmth and an amused smile. “Sorry, I’m rambling again.”

You shrugged, absently spinning your cup of coffee. “I don’t mind,” you replied nonchalantly. “I get paid to ramble, so I get it. What did you grow up reading?”

Spencer sighed, shaking his head a little. “You’ll think I’m just trying to impress you.”

“No, come on, tell me,” you insisted, nudging his foot with your ankle, your smile dimpling your cheeks.

He let out a relenting sigh. “My mom used to teach medieval literature. So, naturally—”

“You grew up on medieval literature?” You raised a brow at him delicately. “Like Chaucer?”

“Chaucer. Margery Kempe. Interestingly enough, she was actually illiterate,” Spencer started explaining, unable to help himself. “She actually dictated it to two clerks from 1432 to 1436. It’s considered the first English autobiography.”

“Yeah?” you asked, smiling as you listened to him talk.

“Yeah, it’s focused on her spiritual journey, and how after her first child was born, she suffered a lot of pain, including visions of demons and how she was cured by a vision of Jesus Christ.”

Your gaze softened a little in surprise, a little touched by the passion on his face. You’d never met anyone who talked about something the way Spencer did; with such unabashed dedication. “And you read that as you were growing up?” you asked, your voice a little softer.

The change in your demeanour, the attention in your gaze, was not lost on Spencer, and he found himself unconsciously straightening his spine, his shoulders relaxing as he spoke. “Yeah,” he said, a hint of pride in his voice. “I was always pretty advanced, reading above my grade level, so my mom encouraged it, and she’d read with me, and…”Spencer trailed off, realising suddenly that he was getting carried away, and he flushed a little pink, clearing his throat embarrassedly. “Anyway, enough talking about me.” He smiled sheepishly at you. “What about you? What did you read as a kid?”

“Not nearly as impressive as yours. I grew up on a lot of Roald Dahl books,” you replied, shrugging, with your leg swinging a little.

“There’s nothing wrong with that,” Spencer assured, tilting his head, thinking you looked very cute at the moment, with your chin resting in your hand. “In fact, studies have shown that the imagery used in Roald Dahl’s works is actually very stimulating and can help—” He stopped himself again, taking a breath. “Sorry, there I go, again. My point is, Roald Dahl is good.”

You chuckled quietly, sipping your coffee. "Are a lot of people bothered when you talk about studies?" you asked him, setting your empty cup back down.

Spencer paused, surprised that you’d asked. Usually, people just cut him off, and he’d never met someone who asked about him like that. “I… yeah, sometimes,” he confessed, a little sheepish. “I just… get carried away when I’m talking about something I’m interested in, and sometimes other people…” He trailed off, realising that he was rambling again and flushed, awkwardly scratching at the back of his neck.

"You don't have to cut yourself off with me," you told him, shrugging again.

Spencer was taken aback for a few seconds before he could gather his thoughts. You were… you were asking him to keep talking, to keep going. A smile pulled at the corner of his mouth, and he relaxed a little in his seat. “Are you sure? I can get a little carried away.”

"Can I tell you a secret?" you asked, leaning in closer.

Spencer was surprised by your closeness, and by the conspiratorial glint in your eye. “Um, sure?” he said, shifting in his seat, his gaze darting between your eyes and your mouth as you leaned closer to him.

"So do I," you whispered, grinning at him.

Spencer’s brows shot up, and he stared at you for a few seconds in surprise. “You… you do?” he repeated, almost disbelievingly, his brain stuttering.

"You should see my lectures," you huffed, leaning back in your chair. "I never seem to finish them in the allotted time. I have to set timers for myself to keep track of how long each segment should take."

Spencer’s eyes softened as he took in your words. You were like him, he realised, in this way, at least. A warm smile curved at his mouth. “I’ll have to sit in on one sometime,” he said, only half-joking, his voice a little quieter that time.

You shrugged. "Why not? Bring Maya if you want. She seemed pretty interested in the career day talk I gave. And you clearly know enough to fill in the gaps.”

It took Spencer a moment to realise that you were actually offering. He’d been half kidding when he said he’d sit in on a lecture of yours, but to know you were open to the idea of him and his daughter being there… well, it was a little surprising, but certainly not unwelcome. “Yeah,” he nodded, his smile growing a little. “Maya would love that.”

"And if she likes libraries, she's free to go ham on the Georgetown campus. I mean, she won't be able to check out anything, but if you want to make a day of it," you added, just spitballing.

You had no way of knowing it, but every word out of your mouth was making the expression on Spencer’s face grow more and more fond. He was just a little in awe; nobody had been as willing to incorporate his daughter into their life like this, so quickly. “Honestly?” he said. “That sounds great. She’d have a blast.”

"Plus, the campus looks so pretty this time of year, with the cherry trees in bloom," you continued.

Spencer could only agree. There was a particular scenic area around the quad where the cherry blossoms grew along pathways. He’d taken Maya there before with Alex, and they’d taken photos together among the blossoms. “Yeah, they’re beautiful,” he agreed, trying to keep his voice casual.

"Anyway, let me know and we can set it up," you said, shrugging. Cool and casual. He'd never met someone so easy going, someone who could unwind him like you.

He liked you. A lot. Spencer realised that with a jolt. It had been a long time since he’d met someone who he felt comfortable with and who made him feel so… at ease. It was a little scary. “Yeah,” Spencer nodded after a few moments, trying to control his emotions, which were beginning to run a little wild. “I will.”

His phone buzzed, a text from Penelope calling him into work and he sighed. “That… would be work, I… I have to go in. I’m sorry, I really thought I’d have time off today.”

“It’s okay. Work is work,” you said, grabbing your coat and bag. “I can walk you to the station.”

Spencer was a little surprised by your offer, but not in a bad way. He was quickly learning that you were just an unusually kind and accepting person, and his admiration for you grew with every interaction. “Sure,” he said, grabbing his own belongings before the two of you walked out of the door.

"So, you just get a text on your phone, and you get whisked away on a case just like that?" you asked, blazer folded over your arm as you walked down the street with him, tucking hair behind your ear.

Spencer hummed, nodding as he walked next to you, his long legs matching your pace. You didn’t even have to walk that fast to keep up with him, and that made him feel oddly pleased. “Pretty much,” he replied. “Sometimes it’s a call, sometimes a text. But yeah. We have to be ready to drop what we’re doing and go where we’re needed.”

"Huh, like Batman," you commented, grinning at him.

Spencer couldn’t help but let out a quiet huff of laughter at that. You kept surprising him somehow, with the way you spoke to him, with how you thought about things. “Yeah, I guess,” he mused, glancing over at you. “We’re like the B-team, though. I don’t think they’d let me wear a cape.”

"No, I think the cardigans suit you better anyway," you said, bumping his shoulder.

Spencer’s eyes darted to you, a surprised expression on his face. He’d been poked fun at for his cardigans before, but you seemed to actually like them, and it was a little jarring. He was a little embarrassed at how pleased it made him that you like his cardigans. “You think so?” he asked, his voice taking on a slightly teasing tone.

You nodded, repressing a smile badly. "Yeah, plus, you know, people like warm fuzzy things, so..."

The image of you cuddling into one of his cardigans was not one Spencer ever thought would have crossed his mind, but you put it there, and it was all he could think about for a few moments. He cleared his throat, shaking the image from his head. “Warm and fuzzy? Like me?”

"Is that not an accurate descriptor?" you asked, smirking as you reached the entry tunnel to the subway, leaning against the wall.

If Spencer was being honest, you were describing him with startling accuracy. He’d always prided himself on his intelligence, but had never gone so far as to label himself as warm and fuzzy. When it came from you, though… it didn’t feel like an insult. He shrugged, standing in front of you. “I don’t know if I’ve ever had my character described like that before,” he mused, contemplative.

"Well, I think it's accurate," you said, with a nonchalance that made his stomach flip. Why was that so attractive?

Spencer’s breath hitched at your casual confidence. There was no hesitation in your words, you just said whatever was on your mind, and it made him wish he possessed even an ounce of the self-assuredness you did. He swallowed, trying (failing) to keep himself from feeling flustered. “You do?” he asked, his voice a little hoarse.

"Yeah," you said, nodding with a smile.

Spencer’s gaze lingered on your mouth a little longer than it should have, and he felt a sudden and uncontrollable urge to step closer to you, to press you up against the wall— He caught himself, and he let out a long breath, looking anywhere but your face. He really needed to get to work.

"You have to go," you reminded him, still smirking at how flustered he seemed.

Spencer huffed a small laugh, embarrassed at how obvious he’d been. He stepped away from you, shoving his hands into his pockets. “Yeah,” he said, his neck warm. He paused for a few moments, debating internally whether he should say what he was about to say. He took a chance. “I’ll text you later?” he asked, his voice soft and tentative.

"You have my number," you agreed, unable to stop yourself from smiling at him.

The corner of Spencer’s mouth pulled up at the sight of your smile. His heart was thudding hard in his chest, but he tried to act outwardly cool. “Yes, I do,” he agreed, nodding at you. “I’ll use it, though.”

And with that, he made himself turn around and descend the stairs into the subway station before he did something ridiculous. Like kiss you.

comments and reblogs appreciated, xoxo

[bokettochild]

Linked Universe Enterence p.3

Okay! So I have thoughts!!!!

First off, does anyone remember when JoJo shared those first snippets? How there was a fun little detail that suddenly disappeared when the comic actually became more than doodles?

Yeah, I'm talking about this guy

(Not the grouchy old man being offended, the owl LOL)

I know there's a chance I'm wrong, a big one at that, but I think it would be really cool if, if only for a short while, JoJo brought him back, even if it's just for this era of Hyrule. Let Time have his owl buddy!

Anyways, to the actual comic!

I noticed that the boys are all still together, so I'm guessing they're waiting until they come to a cross-roads to actually split up like Four advised last time. So we have that to look forwards to in the coming updates!

I love that she's really highlighting the similarities and differences in this arc, showing us who knows what and what they've done, but also the little things; both with owls and the antifairy!

I adore the Owlan reference/appearance!

And Time immediately agreeing about the "long, drawn out lectures part" made me laugh. (His expression, my Hylia!!!)

That is the face of a man who kept accidentally asking to "hear it again" and regrets it with every bone of his being LOL

It's good to see more call backs to the last comics too! Having Hyrule be wary of the statue because he remembers seeing it before, and Warriors agreeing, but also reminding that it didn't cause harm. The fact that Hyrule keeps his sword pointed at it though, wary, does say a lot about how cautious he's being all the same (Wild ought to take notes)

And of course this whole panel

Twilight's awkwardly trying to assure the rest without spilling the secret, Sky laughing and turning to look at Legend, and the fact that the vet is just so entirely done with even just the thought of being a rabbit. (I love his face, omgosh).

Te way I screamed "anti-fairy!" when I saw this, and then was so, so delighted that Legend and I had the same thought (I am unwell about this man).

I'm equally unwell about the fact that Legend just has to say "ouch" (which you only say at inconveniences and not real, actual hurts) and immediately everyone's turning, weapons out and ready to help him face...whatever. Like, he's fine, guys, but it's sweet you care (now Legend, please take note and realize you belong, you idiot)

Love that Time hears "fairy" and immediately is all ears. All the more so at the "anti" part. Man was raised by fairies and he absolutely doesn't like the idea of something that would hurt them.

Meanwhile Legend is just being freaking Haku (Spirited Away) over here!

Tell me you don't see it!!!!!!

Also, his casual use of magic to purify something, to just make it no longer a threat, rather than hurting it. That need to save EVERYONE is really showing through here, huh?

And immediately, everyone is shocked that he did that, but also what it means about fairies. About dark magic. But Time and Wars especially!

Gosh, just Legend's little worried face and Time's offense at the idea of fairies being corrupted and harmed. Shows a bit about them here too I think. Time is maybe slightly obsessed with fairies (reasonably so) and hates them being harmed, but he shows his worry on the matter in anger. legend, meanwhile, becomes more sombre, quieter: it bothers him too (maybe reminds him of a certain predecessor?)

Get this man a tiara, he's a freaking Disney Princess over here, good grief!!!! He's carrying fairy food on what? The slim chance he has time to stop and feed them? Honestly, i know he's probably as attached to fairies as Time (although with a healthier relationship with them), but this is just too cute. this man is going to be the death of me!!!

Anyways, here's the bonuses!!!!

SUN APPEARANCE!!!!!!!! We have a canon Sun appearance!!!!! Like, sure, sleepy student Sky, but it's SUN!!!!

This smile. Oh my gosh I adore him. He's just so glad he got to help the corrupted little one become normal again.

JoJo was having fun with Four I see LOL

Man really said "hang on, let me check my purse, I think I have snacks in here"

Freaking Mom Coded

[revelboo]

YOU CAN'T JUST LEAVE IT LIKE THAT FOR METROPLEX WHAT IS THE PROBLEM WHY IS RATCHET RUNNING TELLL ME PLSSS

No, but fr it so good the fic I'm invested 🤧 let our big boy be okay

Alright, alright! 😂

I Can Feel You Pt 16

Metroplex x Reader

• You're so used to being seen by Metroplex, treated like an equal by him that you'd forgotten that to most of the Autobots, you're so small you're an afterthought if even that. Trying to figure out what's going on, what's wrong as you're ignored. Or outright grabbed and moved out of the way as they rush about. Catching bits and pieces of their worried conversations. A malfunctioning, secret space bridge hidden within Metroplex that's tearing him apart from the inside out. Back hitting a wall in medbay, you slide down to sit as the Autobots grab things and run off and fear claws at you. Returning for more supplies and running back to their work. Ignoring you as you come apart in their rush to contain and repair the damage to their home. Their city. Your friend. Legs drawn up against yourself, you wrap your arms around your legs and hate how small you are. How useless, because you can't help. All you can do is get in the way. No matter what you do, it's never enough is it?

• Where are you? Aware of the Autobots working inside him to stabilize that bridge, he can't find you among them. And part of him is thankful, because he wants you nowhere near the danger, but hates not knowing where you are. Attention stretched so thin, he can't search the way he'd like. Trying to do everything in his power to help them in their efforts to save him. Time becomes a confusing haze to him, not that it was ever that easy for him to grasp anyway, moving so much slower for him than everyone else. But finally, it's over. His space bridge stabilizing, no longer killing him. Sinking deeper into himself, he finds Scamper, sinks a thought into the drone and then dives through his systems, freed from the pain and the constant division of having to keep half his attention focused on not being torn apart. Searching for Six-Gun and Slammer and hooking thoughts into them. Rerouting systems to repair the other two drones. For the first time in so long feeling whole and it's all because of you. Where are you, little one?

• Big hands cup your cheek, and you make a soft sound, half-awake as arms slide under you and you're lifted against a warm frame. Ratchet moving you out of the way? Not sure how long you'd been waiting for news, but you'd fallen into an exhausted sleep. Eyes opening, you look up and see the now familiar face of the drone. See that head tip to stare at you. "Rest now. All's well." And you're struggling in his arms, hooking your own arms around his neck and holding on. Feel his arms tighten around you in return, holding you as you hide your face against him. Feeling all that fear and worry just ebbing away as his cheek brushes your own and then he's walking again. Not even surprised when he carries you down inside him. Though your head turns when two more mass displaced bots drift out of the shadows and fall in just behind the drone carrying you. The other drones? Watching the way they move, you're almost positive. "Slammer and Six-Gun," the one carrying you says.

• Do they make you nervous? Knows the drones are unsettling to the other Autobots, but you just turn to watch them with open curiosity. Accepting this part of him as easily as you accept the rest of him and it spreads warm through him. He carries you to that hidden node bathed in the light of his spark and watches your face tip up toward his spark, lit by the glow as tendrils arc toward you, but not quite able to reach. Wanting to make that connection, but he's already asked so much more of you than he should have. Can't ask for everything else as he lowers you to your feet in front of the node and the tendrils at the base uncoil as the panels protecting the node unfurl. "You're okay now, right? Whole?" You look from the node to his spark suspended above you pulsing, then to Slammer. And you reach out, trusting yourself to him.

• One minute your fingers are brushing that warmth, the next you're swimming in light and weightless. Don't see Metroplex until his arms come around you, palms sliding against your arms as you're gathered into him. Wrapping himself around you as you relax. "Because of you, I'm whole," he murmurs, lips brushing your cheek and like before you're not sure how real this is when you can feel him against you, the warmth of his frame, the pulse of his spark. "My precious, little one." Big hands slide against yours and you press your palms against his smiling at how little your hands are in his as you interlace your fingers with his servos. And a fragile part of yourself you hate had been afraid that once he was no longer hurt, was whole, he'd lose interest in you. That he'd only needed someone to hear him and help him and that he wouldn't care anymore. That you'd be alone again. Feeling his lips brush your neck, it's a struggle to not start crying because he still needs you here. Wants you.

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[bigcats-birds-and-books]

Books of 2025: OVERGROWTH by Mira Grant.

Plant-astically delighted to report that I received an ARC via Tor (Nightfire) and Goodreads! I love Seanan McGuire's writing, and my first foray into her work as Mira Grant was INTO THE DROWNING DEEP, which was phenomenal (think all the best parts of Michael Crichton--the Science, the Speculation, the Consequences--but women and queer people are Entire Characters)(we love a good sci-fi horror paced like a thriller in this house).

The premise of OVERGROWTH is basically "the pod people are coming, they've been warning you about it for decades, and no one has been listening." Stasia, our main character and (first person, past tense) narrator, has spent her whole life telling people that she's "the vanguard of an invading species of intelligent alien plants," which is confirmed via a broadcast from space.

And the chapters are time-stamped "X days pre-invasion."

Yeah.

This book was an absolute delight and all around a lot of fun--the tone was the perfect balance of funny and heartfelt and relatable and dread-inducing, and it very much read like a love letter to the genre with lots of cross-pollinated references (Seymour? Little Shop of Horrors? War of the Worlds? Jurassic Park? Hello????).

It was also very much a book about the distinction between being human and being a person, and about alienation and belief and trust and friendship, and about queerness and neurodivergence and belonging. And, y'know, mimetic plant aliens, in myriad shades of green.

I was initially surprised by the choice to tell this story in past tense and first person (because DROWNING DEEP was patently not that, and most of what I've read of McGuire hasn't been either), but it turns out that was The Only Correct Way To Do It: For most of the book, Stasia didn't have the full picture of what was going on, but her partial understanding + our readerly perspective from inside her head carried both the relatability and the horror. It was a really interesting and cool way to do an alien invasion book (from the perspective of the invader's plant)(ahaha, botanical pun). Also, the narrative frame made me pterodactyl Hunter shriek my way through the last two pages, which. OOF. WHAT A RIDE!!! I'll be rotisserie-ing over the late-game twist (page 396/465 in my copy) and the ending for a long time.

I loved that the aliens felt alien and all too much like people; I loved Toni and Hunter; I loved the biology and worldbuilding; I loved the botanical quips ("salad bar" is, in fact, the best possible term of address to an alien invader, no notes); I loved the shady government agencies and unethical experimentation; I loved the "we are the monsters you have made". I stayed up way past my bedtime several times for this, and it was worth every second. Do recommend, check this out in May!!

Half-assed spoilery content warnings under the cut (I'm not good at these because I have a weird concept of what necessitates a warning, so please do NOT consider these complete in any way shape or form):

on-page toddler death (graphic, in prologue, signposted with "look away"); transphobia (toward beloved trans character); spider (alien); bug-adjacent (alien); vampirism/blood drinking; other usual horror/alien invasion type tropes etc. (body horror? do people tag body horror?? i was an animorphs kid i'm sorry i don't know what a normal amount of body horror is but i love it all)

[fire-of-the-sun]

Noctis and The 'Black Moment' That Never Was

Given the recent discovery of an earlier version of a Final Fantasy XV scene featuring Noctis being imprisoned by Bahamut in Angelgard instead of the Crystal and him showing genuine fear about his destiny (here), I'm reminded of how unfortunate it is that the final game didn't explore the reaction to his fate as well as it deserved and how it could have been one of the most significant scenes in the game. In light of this new scene, I want to use it as an opportunity to address this vital plot point, how it affects Noctis' arc and the story as a whole and why what we got just didn't quite hit the mark.

THE 'BLACK MOMENT'

In typical story structure, this plot point would represent the "The Black Moment" or "The Dark Night of the Soul" among other titles. Taking place before the climax of a story, this pivotal moment is intended to feel like all hope is now lost and showcase the protagonist at their lowest and, in many cases, physically alone. To overcome this, these scenes demand that they gain new insight and understanding - essentially to realize the lesson meant to be learned that defines the thematic core of the story - to pull them out of their despair and carry them across the threshold to the final act. In the above image, you can see that this event precedes the "Road Back" which, in the case of this story, is obviously represented by Noctis returning to the world and regrouping with his allies before entering the climax to face Ardyn and fulfill his calling. Of course, everything leading to the end hinges on the 'Black Moment' beat, so let's explore how each version of this scene tried to tackle this and how they could have been improved:

SCENE COMPARISON

In the original version of the scene, Noctis is physically imprisoned in a dark and gloomy cell in Angelgard - a fitting choice that helps to highlight the tragedy of his circumstances and reflect how he feels trapped by his destiny as well as parallel Ardyn's own imprisonment. Noctis verbally lashes out at Bahamut and expresses genuine anger and fear towards the newly discovered truth of his impending demise.

"'Returned to naught'? I just... fade away? Wait - no! Lemme out of here! - Noctis

Though this missing scene does a better job portraying a stronger reaction from Noctis than the final game, it does still fail to give credible evidence to validate his decision to accept his fate beyond the player simply selecting an option to continue. As such, Noctis and the player may feel more coerced into saying 'yes' here without actually going through the time and processing necessary to truly accept it. Though I'm sure this scene doesn't fully represent the developer's initial intentions and there could have been far more to it, as it stands, it's still not enough to create a successful 'Black Moment".

"Only at the throne can the Chosen receive [the power] and only at the cost of a life: his own. The King of Kings shall be granted the power to banish the darkness, but the blood price must be paid. To cast out the Usurper and usher in Dawn's light will cost the life of the Chosen. Many sacrificed all for the King so must the King sacrifice himself for all. Now enter into Reflection, that the Light of Providence shine within." - Bahamut

In the final version of the game, the essential elements needed for this scene to work are... present to a degree but could have been greatly improved as these aspects are implied rather than explored. After being told the news of his impending death, Noctis does make a distressed expression, but he never gets to voice or process his feelings about it and the moment quickly moves away to show him being forced into slumber.

This is supposed to be a huge turning point. A gut punch to the character and audience and it deserved a stronger reaction - one more akin to the panic and anger that is showcased in the original scene. On the heels of this devastating news, discovering Ardyn's true identity and nefarious intentions and finding himself utterly alone without his friends, Noctis is understandably at his lowest and we need to feel that. Light shines brightest in the dark and the darker we allow this scene the be, the brighter hope can shine after and the more satisfying it will be.

By way of processing, we see a brief montage of footage from previous moments in the game to show Noctis reflecting on them and then he awakens 10 years later having completely worked through all of his trauma, grief and guilt and the sudden transformation naturally feels a bit jarring. Progress is assumed through the passage of time and the natural maturation that comes from age, but this simply isn't enough. There is a lot to unpack here and it deserves to be. The game can't simply rely on a time skip to produce a grudging acceptance. It needs to be a choice - one that he makes wholeheartedly and that the audience fully understands.

I will say, I do like physically seeing the power entering Noctis via the Ring of the Lucii in this version rather than implying he's powering up off-screen, but it's something he should earn after accepting his fate rather than it being forced on him without his consent. Gaining the power he needs to save the world needs to act as the reward for choosing to do so.

DIGGING DEEPER

So, what is necessary for him to grow here? What is the thing that truly awakens the inner King in Noctis and brings him out of the depths of his despair? What makes him choose to willingly sacrifice his life? Though it's an amalgam of a number of things, above all, it is love. Love for his father, love for Luna, love for his friends, love for the people he's met and the world he lives in. Love that counteracts his fear. He has to remember what and who he's doing this for. Though the cost is steep, he has to determine it's worth it to fulfill his duty and save the world.

Of course, Noctis' opinion about his calling changes throughout the story. After Luna first introduces him to the reality that he is the Chosen one as a child, he's hesitant at first, but promises he won't let her down. He has no real idea of what his task will truly be but shows enthusiasm anyway most likely because it was Luna herself who showed such belief in him. As an adult, Noctis begins to struggle with his new reality after the death of his father and shows great anxiety about the mounting responsibilities thrust upon him including his kingly duties, upcoming marriage and the growing burden of his calling. After the loss of Luna, his dedication to continue feels largely driven by immense guilt and need for revenge. In Episode Ignis, after Ignis suggests they end their quest due to suffering so much loss (and now knowing about Noctis' fate), he responds:

"Are you kidding me? That's exactly why I have to keep going - because if I give up now, their sacrifices would have been for nothing!" - Noctis

Though not wanting their sacrifices to be in vain is noble, this should not be his main driving force, especially if his desire to press forward comes from a place of pain and contrition more than anything else. He even refuses to put on the Ring - the symbol of his Kingship and destiny - which shows his lack of true commitment to what is expected of him. At this point, he still has a lot to process and understand before he can fully accept the reality of a fate he is still largely unaware of and truly let go of the fears and anxieties surrounding it.

Noctis has had little time to process his emotions on his journey thus far and the respite afforded by the 'Black Moment' now allows him the opportunity to do so. Whether through playable content that permits Noctis and the audience to tangibly explore his past and current emotions or a prolonged cutscene in either the prison or Crystal, we definitely needed to see him confront what's happened thus far - the good and the bad - and grow from it.

In the Dawn of the Future version of the story, we learn more about what Noctis was dreaming about in the Crystal which included witnessing some of the history of the world, seeing insightful pieces of the lives of characters such as Ardyn and Luna and even getting to interact with his father again. Given this was added to the book and therefore indicative of the developer's intention to feature it in Episode Noctis, I wonder if it had always been their desire to explore his time in the Crystal this way but never got the time to realize in the final game. Noctis actually getting to see and interact with the past and other significant figures would have made for a far more effective 'Black Moment' given its prolonged introspective and revelatory nature.

THE LIGHT IN THE DARKNESS

To help guide and comfort him as she always has, I believe that somehow seeing or hearing Luna's spirit again in some way during the 'Black Moment' would have been essential given her narrative purpose and provide a satisfying reference back to her dying promise to him:

"When the world falls down around you and hope is lost. When you find yourself alone amid a lightless place. Look to the distance, know that I am there and that I watch over you always." - Lunafreya

Like the moon shining in his dark prison cell in the old version - the literal light in the night sky - she is the reminder of love and hope to cling to when the darkness threatens to swallow him. This dialogue is so accurate to this scene that I feel it was foreshadowing it specifically to payoff here. Also, if they had gone with the idea of Noctis drawing his power from the moon instead of the Crystal, her presence would be even more significant here and it certainly seems like the original version in Angelgard attempted to spotlight her to a degree as the translated dialogue after he accepts his charge reveals:

"No one tells me anything. I'm always late accepting. Luna, I'm sorry. I will fulfill my duty." - Noctis (Translated by K as in Kei)

This situation creates an even deeper connection between them as, to save the world together like they were destined to do, both Noctis and Luna have to die and surrender their personal desires for a future. As in life, Noctis has to continue to follow her lead and example to become the man she always knew he could be. If she could be dutiful and walk boldly to her fate, so can he and that knowledge would be paramount in helping to encourage him to complete his journey as he remembers his promise not to let her down.

Of course, to truly accept his death, Noctis would naturally have to mourn the life he won't get to live. So many aspects of his life have been derailed already and, after the loss of his father, his home and his fiancé, he now has to face that he has no future beyond being a sacrifice. This is a reality that Luna had to face as well, which would help him better understand what she had to go through and even come to terms with her death as he comes to terms with his own. By letting go of the guilt he feels and truly recognizing that it was an inevitable and accepted part of her calling and not a product of his own mistakes, can he start to forgive himself for everything else, too.

"[...] That may be but it's my choice. If only... if only I could hear his voice once more. If we could laugh together as we did as children. If we could live out our days together as we once dreamed. [...] Forgive me, I vowed to only cry where prying eyes could not see the tears in mine. [...] No, she is no different at all. She wants exactly what they do: to be with the one she loves. But want though she may, it is not to be." - Lunafreya

In a moving flashback, we see Luna grieve the life she wanted and knew she would never have but emphasize that, despite her sorrow, it was still her choice to "throw her life away" and one that she accepted fully with humility and grace. We see her persist to the end due to her strong sense of duty and, most importantly, her love and dedication to Noctis and the people of the world which is what he must use to guide him as well.

To me, this moment feels reminiscent of the campfire scene where Noctis also tearfully voices his acceptance of his fate while allowing himself to uncharacteristically reveal the pain of it, too. Though Noctis has had a decade to process these feelings by this point and fully come to terms with them, he's still a person mourning the sudden finality of his life and the now fleeting moments he'll get to spend with his remaining loved ones. The emotional strength of this scene could act as a reflection of his initial despair as the pain becomes fresh once more but, this time, Noctis is more readily able to tame it. As he stands and looks to each of his friends in turn, reflecting on their friendship and his love for them, he allows that love to outweigh fear and grief. As we watch his tears turn into a smile, it is a perfect display of how he's grown from the 'Black Moment' and a fitting final scene to the game.

"So, I... I've made my peace. Still, knowing this is it and seeing you here, now, it's... more than I can take. Well, what can I say? You guys are the best." - Noctis

All of this emotional progress would also lead him to simply start believing in himself and his worth. He has to remember that he has the support of so many who truly have faith in his ability to fulfill his duty and it's something he needs to accept in himself, too. If they had gone with the Angelgard prison version, a place once defined by punishment would herald Noctis' liberation and, instead of succumbing to darkness like Ardyn, he found light.

METAMORPHOSIS

By reflecting on and embracing his past and remembering what drives him, Noctis would then be ready to finally accept the reality of his calling and begin his metamorphosis, both physically and emotionally, into the King of Light. The man that emerges 10 years later is wise, mature and at peace with his fate. Though the sudden change may not feel as congruent in the final game without taking the time and necessary steps to get there, there are still many moments depicting just how far Noctis has come after the time skip that leave an impact regardless. Beyond the campfire scene, another great example that comes to mind is his conversation with Ignis, showcasing that he can now look back on his life fondly and doesn't hold onto negative emotions:

"You know, looking back, it wasn't all bad. [...] And our fair share of trouble too... but I don't have any regrets. Luna and you guys brought me this far and now I'm on my own." - Noctis

We can also see how much he's grown in his final battle with Ardyn. Not only is he physically stronger, but he's also gained the mental and emotional fortitude to withstand Ardyn's denigrations regarding his efficacy as the Chosen One and his guilt about his father and Luna. Though these barbs would have hit their mark in the past, Noctis is now resistant to them as he's fully processed those emotions and no longer gives them credence. Noctis has tasted the darkness Ardyn once knew but come out of it intact due to the strength of his relationships that ushered him through it. Unlike Ardyn, he is not alone and he fights for love instead of revenge and that is why he succeeds.

"Yet when your father died, you were off playing with your friends! When your beloved died, you lay watching powerless to stop it! You think 10 years is a long time? It is nothing to me! I have lived in darkness for ages!" - Ardyn

Despite what some might think, defeating Ardyn in the physical world is not the Climax. It's in the throne room that Noctis must face the true test of his calling and finally allow himself to be sacrificed. This is where the themes and the lessons he's embraced from the 'Black Moment' rise to the forefront and lead to Ardyn's ultimate demise. It is here that Noctis walks to his death without visible fear, summoning his own executioners with steeled resolve. There are no tears. No second thoughts. Just an unwavering determination to fulfill his calling and save the world once and for all as he assures his father to trust in his ability to do so.

"I'm home. I walked tall and though it took me a while, I'm ready now. I love you all. Luna, guys, dad. The time we had together, I cherish." - Noctis

Through dialogue, the scene reminds us that Noctis' relationships are his driving force and, in what could have been an even more moving parallel to the 'Black Moment', the flashback footage of his loved ones that he remembers at his lowest once more is what helps him endure the agony of his sacrifice and is enough to sustain his strength to continue to the end.

"It's finally over." - Noctis

As Noctis utters these final words at the culmination of years spent in turmoil facing the obstacles of his unjust fate, Noctis dies with a small smile on his face, relieved that his struggles are finally over. He has restored light and hope to the world, fulfilled his calling and can now rest with his lost love knowing he succeeded in safeguarding his remaining loved ones and provided a future for generations to come. It's a bittersweet conclusion to his life - one filled with great strife and heartache but also great love - love that was essential to save the world.

In another parallel between them, Noctis' end reminds me of Ravus' words regarding the death of his sister, Luna, in Episode Ignis and further showcases how much Noctis succeeded in following her footsteps:

"I always knew that [Luna] would face [her] fate without fear, fulfill [her] duty without regret. But part of me always hoped... she would get the chance to live and love as she pleased. [...] And, as in life, I know she will confront that challenge with a smile on her face." - Ravus

CONCLUSION

In conclusion, allowing Noctis to have a stronger reaction to the devastating news of his fate and exploring his passage to acceptance to provide necessary character growth would have been a huge improvement and further embodied and enhanced the heart of this story, one that, though touched upon to a degree, is lacking the immense impact it could have had. Though this game is full of powerful, moving moments, a more successful 'Black Moment' could have been one of the strongest and added more weight to an already emotionally resonant conclusion.

Thanks for reading! If you enjoyed this meta, please like and reblog to help spread it around and check out my #ffmeta and #ffedit tag for more!