#at least to like write the concepts out

[howdidthisevenhappenanyway]

I’m so annoyed that I found out I was allergic to nuts before I perfected the several uj cake variations I had in my head.

honestly it’s a tragedy to the world too

[benevolenterrancy]

hi!! I think your art is *so cool* o(≧∇≦o)

do you think you could draw more moshang? either post canon or that au you did last time?? (baby mobei has my heart and all I own)

(˵ •̀ ᴗ •́ ˵ ) oh! how about return to childhood—moshang flavor?

don't question this king, shang qinghua, he knows what he's about

[toytulini]

listen im ace and im pro kink at pride and whatever, but the way some of yall are wording your posts in response to the backlash against it is uh. really taking me back to the ace shitcourse era.

yall know theres nothing wrong with being a "virgin", right? that its not inherently shameful to have not had sex, to never have sex, even if youre not ace, even if you do want to have sex someday, like, its fine that you haven't had sex?

maybe if your problem is that theyre trying to police your behavior and shame you for expressing your sexuality, you can say that? instead of resorting to "haha stupid virgin gets no bitches" like my god. do you not hear how fucking regressive that attitude is? i know, i know, youre "joking".

get a better joke

[fatedroses]

I personally subscribe to the idea that Adventurer Zenos shows his affection and appreciation for his peers in very odd ways (like yoinking the Students' taxes and dealing with their expenses and maybe also paying for some of their expenses but shhh).

[hellspawnmotel]

terranigma, a cool game

[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!

[lost-in-fandoms]

¹⁷⁾ a carabiner heavy with keys❤️

hello friend, I want you to know that this prompt stumped me for quite a while, I just didn't know how to spin it? I started thinking about keys -> doors -> many doors, and I had a zookeeper AU in my brain, but also a college student x security guard AU kind of thing, but in the end I went for this. I did take some liberties on the carabiner part.

Max is being guided towards the last row of cells when they bring him in.

He's being held up by two guards, one more behind them carrying an extra torch, head hanging low like he's not fully aware, curls drooping in front of his face in a disheveled mess.

"Ah, yes," the warden says with a smirk, stepping over to open one of the closed doors, "our little thief!"

The cell is dark and damp, with a hole in the middle of the floor and a wooden slab against the wall as a bed, and even from where he's standing in the corridor, Max can feel how oppressive the small space is, air heavy and stale.

The guards throw the man in without much care, ignoring the way he slumps on the floor, unmoving, but the warden chuckles, coming closer to poke him with the tip of his boot.

"Not so smug now, are you?" he taunts.

Max forces himself not to react as he pokes the thief again, trying to keep his face as impassible as the other guards, watching as the guy tries to twist away, moaning pathetically.

"Who is he?" he asks, voice flat and uninterested. His fingers are tightly closed around the ring of keys the warden had passed him earlier, a copy of the one hanging from his belt.

"Just a rat, sneaking around the castle's treasury for far too long." The warden crouches down, grabbing the man's hair and pulling it back, revealing his bruised face. "The guys had a bit of fun, it seems."

The thief opens one swollen eye to look up at him, and for a second Max thinks his face is twisting in pain, but then realises he's smiling, all blood-stained teeth.

"Touching is 5 gold pieces, sweetheart," he rasps out, before spitting at the warden.

Max can't help but flinch when the guy's head hits the floor, but he steels himself for the kick he sees coming, forcing himself to not look away, even as the poor man coughs and gasps on the floor.

"Vermin," the warden grunts, hitting him again for good measure, before finally stepping away. "Hope you've had your taste of fresh air, because this is the last you're going to get."

The thief doesn't answer, curling up more tightly on the floor, his gasps the last thing Max hears before the door closes with a heavy thud.

--

Max walks down the corridor, trying to remind himself that he has every right to be here, and it would be more suspicious if he sneaked around, The keys jingle at his waist, and the sound itself is enough to make him feel vaguely nauseous, especially as he hears the sounds from inside the cells die down as he walks by, replaced by terrified silence.

Despite his intentions, his steps grow quieter as he walks deeper into the prison, approaching the last rows, and by the time he's in front of the thief's cell his breathing is almost inaudible too, the clinking of his keys the only sound announcing his presence.

He takes a breath before opening the door, checking the end of the corridor just in case someone decided to take a stroll down this way before the actual guards change. It's not illegal what he's doing, not yet at least, but technically he's not supposed to open this door, the meager food they've been throwing being passed through the hatch at the bottom.

The first click of the lock sounds too loud in the quiet corridor, but Max ignores the nerves twisting his stomach and keeps turning the key, pulling the door open as quietly as possible.

The first thing that hits him is the smell. The stale, damp air, now smells even worse, after days of a human being living in it, and he almost has to take a step back, feeling it like a punch in his chest. After that, he sees the thief, a shadow tucked away in one corner.

The sight is enough to make him forget about the smell as he rushes forward, tucking his keys in his pocket to make them less noisy, crouching down in front of him, relieved by the movement of his shoulders.

"Daniel," he whispers, reaching out to touch but worried he'll accidentally scare him, or worse, hurt him. "Daniel, come on, look at me."

"You're late."

Max feels like a weight has been lifted from his chest hearing Daniel's voice, even if dry and raspy, and he almost laughs with it, finally leaning all the way in to touch his shoulders, helping him sit up.

"I'm sorry," he says, even if he had no real way of getting their work done more quickly. "I have water for you, and a piggyback ride out."

Max is glad he prepared himself before walking in, because it takes all his self-control to not gasp when Daniel finally looks up. The bruises he had seen a few days earlier are now purple and green, the dried blood still caking his cheekbone now a flaky brown, his cheeks sunken and pale.

"Don't look at me like that, I haven't had my beauty sleep," Daniel jokes, voice cracking into a cough by the end of the sentence.

"I hate you," Max says, because saying I love you so much it felt like I was dying when I was watching them throw you in here feels a bit too much at the moment. What he does instead is take out the small flask of water from his pocket, helping Daniel drink, fingers almost tingling where he's touching his skin.

"You got them right?" Daniel asks as soon as he's done, looking slightly better than before.

Max nods, patting the pocket on his chest, under his cloak, where he had hidden the documents he had retrieved from where Daniel had stashed them away. Daniel getting beat up hadn't been in the plans though, and Max is eager to get him out of there as soon as possible.

"Come on, it's not long until the watch changes."

He helps Daniel stand up, then climb on his back, leaving his hands free, just in case.

"I'm going to give you so much food," he tells him, feeling how much lighter Daniel has become in just a few days.

"You better."

Max closes the door of the cell behind them, taking a moment to wrap the keys up in an handkerchief before putting them back in his pocket. He knows that there's no way to make it seem like he's not smuggling Daniel out, so he's not taking any chances of the damned keys betraying them when he's trying to be quiet. Then he takes a deep breath, makes sure Daniel is secure on his back, and starts making his way to safety.

[vermillioncrown]

This is going to be a huge post because you've picked up so much of what we put down I'm just 🥰🥹

@sunshinerotting replied to your post “(@rozaceous) dpnf ch 11: housebroken”:

will be rereading immediately but i love your guys’ characters very much and the way you write the canon characters makes so much sense. the way the people in that house interact with each other is so interesting to me because if tim was actually the normal boy he thinks he is the entire balance would be thrown off. no one else could’ve done what he does in that dynamic. they’re like a jigsaw puzzle to me. i have more thoughts give me a sec

thank you so much! roz and i keep joking that this fic is now an au of an au of an au of an au... and on and on, and then it's like. what makes this still a fic and not a fully original setting and work? we had to sell readers on a lot, that these characters (outside of our SIs) were still some flavor of canon. especially, "who is the core of tim drake?" and yeah, he's so not fucking normal. but he's not obviously wacky, either.

​out of order now i don’t remember chapter numbers: when jason showed up like a huge asshole i texted my friend about it. very much “he WOULD fucking do that but by god is it PISSING ME OFF” and it was!! love that genuinely. might not be what was intended but i do think he IS odd and sad and unable to move through the cycle of grief fully enough to show back up like a haunting and not expect it to get to allie like that. zero ability to understand how loved he is. 10/10 more...

GAH to know you texted abt our fic!!!! 🥹🥹🥹 best praise tbh. and the second sell: how is jason an asshole but worth rooting for later? or at least, allowed into the enclosure lol. we might not have had it summarized as neatly as you did, but roz and i are in full agreement you Read jason here. that's exactly what we wanted, that's so much of what we take from his character in various canons.

allie reminds me of a bobcat which feels weird to say but she’s so nonthreatening outwardly and she minds her business but the second someone steps in on her people it’s like Oh. oh right. teeth and claws. when jason showed back up i felt so much for her. there was no way for her to move. korvin acts in ways similar to me, which i will examine on my own time and not in your comments. i do love how everyone in this house has their own preferred flavor of Avoidance

you also have such a read on allie, i love it. i'll leave her to roz but i'll say my piece that i sometimes get bummed that korvin's so obviously wacky + a lot of gender stuff at play (the audience/demographic of ff readers, we live in a society and all that) that make more ppl focus on korvin over allie whereas they're both equally wack. and korvin's behavior makes the most sense when taken as a convoluted male re-socialization of someone initially female-socialized but rewarded in a male-dominated space. AND both of them are AuDHD, word of god putting that out there. add on the isekai brainworms, and yeah, isekai is just an extended analogy for masking → hence the different flavors of avoidance

tim is somehow the most well-adjusted in this regard, before jason shows up maybe, and thats so crazy. tim drake. Tim Drake ????comparatively well-adjusted to anyone ??? i know i’m forgetting something so i’ll come back but writing that down genuinely through me off a little bit. lol

you also recognize that jason ranks above tim in "well-adjusted" here, god, how does it feel to be so correct. and tim is well-adjusted here! he's never had to be a vigilante! but he's also much lonelier than in canon. something that made retrospective sense while we were writing is that he fell out of liking ball sports (despite not being a desk nerd) is that...who does he have to enjoy them with in this au?

threw not through. anyway I FORGOT ABOUT RUTABAGA. I AM SO SORRY RUTABAGA. the amount of love between the characters is so important to me bc it’s always there no matter how fucked the bats are about showing it normally. the brownstone does end up feeling like a safe space like it somehow feels so easy most of the time and then when tangential forces (sorry dick) show up it’s like the air changes. but allie and korvin and tim all have such Personalities its insane it works out like that.

RUTIE BEST GIRL, forgiven lol. YES YES YES there is so much love and it's like, the love doesn't stop you from doing the work. the bats are so fucked up, and we only get a glimpse of dick and korvin's relationship where you can see the maladapted consequences on both of their parts, dick not being fully equipped to "raise" korvin and korvin wanting to be easy/convenient for dick. and korvin's deep-seated not-abandonment issues tied with family and cultural trauma/burden.

(i still stand by the "good older brother dick grayson" tag, he's just. oh there's a lot. if you read between the lines there's so much being implied for TPAC)

but having allie in this 'verse, allie and korvin together ground each other. that's why they're so co-dependent in the beginning (it's healthier at the end), that's why they still had the wherewithal to seek an outside friend, and yes, that is why the brownstone is like that. their place that they made with their own hands.

obviously jason was an issue initially (it felt redundant to write that sentence) but he’s such a necessary part of them by being 1) necessary to allie and 2) the catalyst allie and korvin needed to end up where they are. i do think ppl that important to each other need one big unavoidable conflict to avoid stagnation like obviously he was a necessary part of the story but he was a Necessary Part Of The Story. does this make sense?? four strand braid.

AND YES DUDE you literally. we were writing this and we had the vibe, but we literally did not articulate it to each other until the very end that jason's actually necessary to make all of them normal. i love everything you're saying about needing one unavoidable conflict to resolve. he is part of a four strand braid. it's so strong. it's critical. korvin still finds jason annoying and vice versa. and yet they'd both say the household contains all of them by the end.

i just like that they start off alone and end up together. that’s my thing. jigsaw puzzle. polycule of all time. i can’t think of a way in which another person would ever get that close to them the dynamics are so perfect to me. every need is accounted for. its like a perfect little box in my mind. i think thats it for now lol i’m happy you guys write together. not just bc i love it but also bc it’s so clear u guys have fun doing it and that makes me happy <3

WE MADE IT. it's one thing to prescribe "hey guys this is a polycule" but selling it? the logistics of a polycule? not so easy, and it has to be tailored to the situation and characters. not all of them are romantically/sexually involved, nor do they have straight-forward relationships (hence, qpr), so having you say it fits and they seem seamless is like. top tier praise. coherence, it's everything we've aimed for.

thank you for all of your thoughts! we do have tons of fun and that's why we love sharing what we have! and we hope to keep doing projects like this, or we'll just be at each other's side while we work on our individual fics.

[lemongogo]

why do i love the conflict more than anything else . the misery . the incompatibility that spreads like oil slick . wanting so desperately for resolution that never comes . hmmm

[kaythefloppa]

Enough time has passed to where I think we can openly admit how WK has gone through seasonal rot within its previous 2 seasons and how the hype of Season 7 along with the generally positive reception is a really green flag for the show's quality.

[no1ryomafan]

Was showing my irls ZXA cause I had shown ZX off before and it was already a trip-my tv fucking broke but that’s a different story-since I haven’t seen the cutscenes in FOREVER but I realized a detail I don’t know how I missed even if no one mentioned it:

There are multiple capsules in Greys room laying face up and the glass is broken, and given Pandora said Grey was going through the mind control sequence, this all but fully confirms the evil mega men we see using the guardian biometals are under mind control and awoke out of these capsules before Grey.

This is information I don’t know how to fucking process.

[dollarstoreartsupplies]

you know how after black friday came out we all collectively named the hot chocolate boy oliver and wrote him as ethan's younger cousin?

well.... ethan is joey richter.... and he can still be the hot chocolate boy's older cousin because he's four years older then pete..... ted ethan pete power cousin trio

[inbox-to-the-void]

Fresh's Theme: YOO I'LL TELL U WUT I WANT SO TELL ME WH Swap: FML

art source comes from here, fic made by @gaylordscooter

[IMAGE ID: A digital drawing of Swap Sans, visibly tense and hiding behind a broken wall. The wall is an almost-grey blue, the background is a slightly bluer and darker grey, Blue's background color is blue, and Swap's outlines are a paler version of his background. Behind the wall are rainbow all-capitilized words that switch color each line break. The words read "YOO I'LL TELL U WUT I WANT SO TELL ME WH", the words a reference to the beginning lyrics in Wannabe by Spice Girls. The rainbow words are cut off by the bottom of the broken wall. Swap's thought bubble background is his outline colour, while his speech bubble font color is colored in his background color. His thought bubble just reads "FML" in all caps. END ID]

[icewindandboringhorror]

finally finished all of one character's entire quests/optional dialogue/questions/etc.... 100,000 words... .... aughhh

[hellaverse-critical-confessions]

(from this video)

[deadbeandrop]

"average camp lazlo fan has 5 camp lazlo OCs" factoid actualy just statistical error. average camp lazlo fan has maybe 1 or 2 camp lazlo OCs. tumblr user syd deadbeandrop, who lives in cave & has at least 43, is an outlier adn should not have been counted