#and would not like to be implicated LOL

[imlikethebluerose]

Starting the Magnus Protocol I really thought Lena would be like an Elias character. It is much more fun to learn she's basically a Gertrude, which is going to make Gwen trying (and failing) to do her job really entertaining

[mintjeru]

"but there is nothing more beautiful and terrifying than innocence."

open for better quality | no reposts

[teabagtoaster]

trg as pokemon trainers for this year's D20 zine jam!

this was part of I Choose You! - A D20 x Pokemon Zine, which you can find as part of this bundle (featuring every zine made from this year's jam!) all proceeds go to the oPt Humanitarian Fund :-)

[zevranunderstander]

number #1 tactic that people use to not sound as racist as they are when they talk to black people: 'uhh so you AMERICANS need to stop pretending everything is about YOU. why should i know this im not from the us :/' (= is talking about like. a phenomenally internationally well-known black artist)

[kyonshi-8610]

trying sometin out // id in alt // unrelated babblings in tags

[puppetmaster13u]

As voted on, have a Tim from @phoenixcatch7 's Possessed Doll Au

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[fmet]

[lightbulb-warning]

i used to freehand comics all the time as a child and since the part i liked was the drawing part i would just draw panel after panel because i didn't want to stop drawing to think about icky icky words, plus the story TOTALLY still made perfect sense! to me! and noone else, but 'whoooo caaaaares omgggg its not like comics and sequantial art are a communicative meeediummmm lmaoooooo'. i spent my entire childhood telling myself stuff like "oh pfft I know this story by heart- ill SIMPLY remember the dialogue and write it later" ...and. I can't help but admire baby maiora's (call that a minora ba tm tsk) fucking audacity? hubris? confident wrongness? kid couldn't even remember to finish the comics in the first place? INCREDIBLE levels of unearned self assurance, wish that were me, genuinely- what an icon!!! anyway i think i have forever cursed myself

[meamiiikiii]

Love your reverse entry AU! Also put a silly amount of thought into the idea of Loop doing a vtuber nuzlock thing; namely, the universe hates them.

See, in my headcanon* of your AU not only do they make the mistake of naming their pokemon after the party, (discreetly, I'm guessing?) They also encounter a bug that makes the game reset if any of their pokemon faint. After freezing for a bit. And once they realize what happened, they decide to actually do their job, and make little puppets. They memorized all of their families actors lines after all! So it's easy for them to act out little scenes in between bits, while waiting for things to happen or during interludes.

Also, they look rather real for a vtuber, so they just have a 3d model of themselves mapped over themselves to hide that they are themself. Except the lighting from glowing head makes it glitch for a half second every hear and there so.

Also! Maybe the puppetry thing ends on them giving the story a ridiculously tragic ending? Because they don't feel like they can acknowledge an alternative ending for a play they star in and remain sane.

*was headcanon the right word here? Probably not. More like, 'I think it'd be neat if'

Anyway this was a lot. Feel free to ignore literally all of it! I just think it's a cool and interesting au that's nothing like anyone else is doing so I couldn't help myself.

Wah!! /pos

This is super interesting and fun anon!!! The Universe hates Loop :thumbsup: 

To expand upon your idea with more ideas (hope this is okay!): 

I can only imagine Loop, while waiting for the game to reboot after freezing, just taking out like. Wood carving tools and materials from out of nowhere and just start whittling away to make these puppets of The Party (but as they remember them, not their modern counterparts.) A few extra set pieces here and there, maybe as well. Not the King though. 

Maybe it ends up becoming a recurring thing throughout the stream while waiting for things to stop glitching out? And they start giving “made-up” backstories for each of these puppets while they’re being created well in addition to using them properly for acting out bits! 

Every once and a while someone points out their model having an “art-style shift” for a few seconds. They ignore them. 

Once they’re all completed maybe they end up putting on a whole production out of it completely discarding the nuzlocke (lmao). A completely fictional tale. Not at all based on their own experiences. 

When they get closer and closer to the climactic end. When the party is staring face to face against the final boss, the King. They stall. They think. What type of ending will this story have? They were reciting lines from memory while telling it. Going off script is scary. 

They want to continue the tale as written. They want to stay true to their memory. 

But they also don’t want any of their (puppet) Party to suffer either. So, they tweak it, just the tiniest bit.

They continue telling the tale, beat for beat. Up until when the King defeats them. In one fell swoop.

Instead of the Housemaiden being thrown, it’s the Traveler.  

Over and over again, Loop acts out the King (metaphorical, there is no puppet) throwing the Traveler puppet onto the table. While narrating the whole ordeal as well.

They get really into it too, smashing the puppet into smithereens on the table after a bit. Whoops!

This causes the vtuber model to completely glitch out, showing themself instead of the model. They abruptly end stream after that.

…Many people will probably speculate that this is somehow an ARG. 

All this happened because The Universe was like “you are not allowed to play this Pokemon Game without some form of hiccup.” lmao. 

Anon, I will repeat this again. This is a super fun and interesting idea!!! Thank you, for introducing me to a new idea I had not considered and making me think!!!!!

And I am also sorry for using this ask as an opportunity to reveal where this Loop is coming from (sort of kind of) LMAO.

For anyone who read this to the end, thank you!! And also feel free to send any other asks my way since. I like thinking. About things I have not thought before!!!!

[animangalover-writes]

Time for another dream i had, this time about zutara.

This one is a lot shorter, but essentially I had a dream where kataras whole family(which seemed to have more members then in the show) all live in the fire nation, hiding the fact that they're water tribe(rather, they were water tribe).

Katara is in some sort of relationship with zuko. It's unclear if she's his wife, his girlfriend, or his mistress, but its not hidden. People know about her and her relationship with him.

(Putting the rest under a cut so I don't clog up the feed lol)

If she was his mistress it's kinda held in that way that kings had other women they'd sleep with along with their queen and it was just an accepted, albeit kinda shitty, thing to do.

Anyway, katara is also pregnant, which was kind of an underlying "plot point" and would return home to her family every day to check on them.

It's revealed here that katara is basically the only reason her family is doing pretty well for themselves. Her relationship with zuko means that they have enough to get by. It's also noted that her whole family(katara, sokka, their dad, their grandma, and some made up new family members) all live in one house. So its clear they're still kind of struggling.

It's also revealed, through a conversation with her grandma, that the only otehr reason katara is with zuko, is because it was part of a bigger plan. She and her family are part of a resistance against the fire nation, and when they realized zuko liked katara, wanted her to infiltrate and pretend to be in love with him.

The plan had clearly gone on longer then anticipated, for whatever reason, and katara is conflicted because she actually does have feelings for him now, not fo mention she's pregnant with his child.

There's a "scene" either at the beginning or after this reveal that shows zuko in a meeting with other fire nation officials, including his father and sister, and that either he was against one of their plans but is ignored or his plan gets shut down(I don't remember which). Katara always sits in on these meetings with him, and afterwards, as everyone is getting up to leave, she leans her forehead against his and whispers that everything will be alright. This is why we can tell she truly does care about him, to some degree. But it's also a moment showing potential manipulation, like shes pretending to care. It's supposed to be a little of both, she needs him to trust her but she does still love him.

After all of this, we cut to a scene in a forest/swamp. This part is kind of blurry in my head, but basically, it's a secret meeting. Katara is dressed similarly to the painted lady, her and a few other resistance members, including Sokka, Suki, and Hakoda, are planning an ambush on Zuko and his family, who are supposed to travel down a path nearby. Katara is a key part of this plan, as she's the only waterbender, and she knows this. She nods along to everything regarding the plan and she goes over important points herself as well. But as everyone else continues talking, katara is having doubts. She loves Zuko. She's about to have his child. She cares for him. But she needs to free the world from the fire nations clutches as well. She doesn't want to kill Zuko, but she has to in order to help others. She's hesitating.

They continue with the plan anyway, and through the foliage that katara and the others are hiding in, we see a carriage making its way down the path. Zuko and his family(or at least his father) are in there.

Everyone is getting ready to fight, to jump out and attack. We see a close up shot of Katara, conflicted. She's still not sure if she can go through with this, if she can kill Zuko.

And then I woke up.

[evilkitten3]

But listen, if Izuna had said yes to Hashirama's help after he was injured and he still died, would Madara rampage like in canon? Would he still chase the infinite tsukyomi?

the thing is, hashirama never offered to help izuna. i'm actually not sure he could have - the hiraishingiri pretty much cut through him like butter. moreover, while madara himself lauds hashirama's medical prowess, we actually know very little about his capabilities with medical ninjutsu. he could heal wounds without any hand seals, that's mostly all we know.

here are hashirama's words immediately after izuna is injured:

「マダラ・・・お前はオレには勝てない・・・もう・・・終わりにしよう・・・忍最強のうちはと千手が組めば・・・国も我々と見合う他の忍一族を見つけられなくなる・・・いずれ争いも沈静化していく」

"madara... you can't beat me... let's end it already. if the strongest shinobi, the uchiha and the senju, form an alliance... the country won't be able to find another shinobi clan able to counterbalance us... the conflict will eventually calm down"

he doesn't acknowledge izuna at all. whether he intended an offer of medical aid to be implied or not, it's never addressed. a bunch of people have claimed that this makes hashirama a jerk, and while i definitely get that viewpoint, i do think offering to help izuna without being absolutely certain he was capable of doing so would've been a terrible move, politically speaking. madara might have known that hashirama isn't the sort of man who would do something like this, but the rest of the uchiha clan would have no reason not to assume that hashirama didn't just take advantage of madara's kindness/trust/desperation/whatever to ensure that izuna died while potentially leaving room for madara to feel indebted to him for trying in spite of all the reasons he had not to bother.

hell, the clan might even come to the conclusion that madara intended for izuna to die so he could get his eyes, given what ended up happening in canon, so his fallout with them might actually happen even faster (and without the uchiha ever joining konoha at all, although without madara around to counter hashirama, i have no idea if/how the uchiha would manage against the senju from there)

all that aside, if hashirama had indeed offered help and izuna had agreed to take the risk and died anyway and the uchiha clan trusted that that was what had actually happened, i think pretty much everything else would've proceeded according to canon.

there's definitely plenty of fun possibilities to play around with concerning madara's path in life, but tbh i personally believe that without a massive deviation from canon, he would've eventually become who he became. hashirama definitely fucked up here and there, but i honestly don't think there was anything he could've personally done alone that would've changed madara's fate short of killing him back when they were kids, which he was never going to do. he was always doomed.

[dismas-n-dismay]

I think someone should draw more fan art of A.B.A. dating Jinx but like right now so I can giggle and kick my feet over long haired blue/green haired girls, *send post*

[mabaris]

ok but what happens when an OGB dies. i know it’s a popular theory andraste was one because she was born around the end of the first blight. but what happened to that soul when she was killed? being reborn in a mortal cleansed it of the blight, so it wouldn’t have to jump into the nearest tainted body (darkspawn/warden), but is the jumping a feature of the blight (possible, since corypheus does the same) or a feature of the inherent Divinity of the soul? would it have died there, or gone into hessarian, or instead gone to the nearest pregnant woman lol. and then from that kid on down the ages. what’s the endgame here

[sysig]

I’m just saying I think he has a type (Patreon)

[bonkalore]

Based on one of my fav videos lmao