#because I've written things that resonate with him

[amourningcrow]

Late game spoilers, particulary about Varric! I wasn't able to put this into words before, but now that I've had some time, I think I can actually talk about it. It's a little long though.

I tried to start a new playthrough three times now, but I can't even make it to the ritual side without breaking down. It is, frankly, embarrassing.

But Varric means so, so much to me. I knew deep down that he wouldn't make it out of this alive - that he even survived past DA2 was a surprise to me. The man's got tragic death written all over him! But I still wish we had gotten some more out of him. Some more interactions with the companions, more banter, more relationship dynamics. We never even found out what he would have called the others! (Aside from Neve, who was 'Slick', apparently.)

This isn't even a criticism of the writing! I think it makes sense and fits his character, sadly. (Though it's also the first time they actually managed to make me hate Solas, which is quite a feat.) It's just me being heartbroken about one of - or maybe even my ultimate - comfort character. I played DA2 (and the others, too, but DA2 holds a special place in my heart in this regard) during a time in my life where I was very much just... lost, I guess. God. I think I actually felt physical fucking grief when I went through the Fade prison scene? I was shaking and sobbing the whole time and I don't know if I have it in me again.

I'm a bookseller by trade and Varric loving stories always resonated with me. He's often reduced to being the sarcastic sidekick, but I love all his aspects and complexities so very dearly.

The son who didn't ever quite fit in with the society he grew up in, who couldn't hold up to his parents expectations and so instead refused to be tied down by them, but still had a deep love for his family.

The man who was so tragically in love with a woman he couldn't have that he made her his little secret, keeping Bianca's identity even from his best friends. Who probably still didn't let go of his yearning all those years later, maybe because it was easier than opening up and getting hurt again.

The one who was always bickering with Cassandra, this steely woman he was always at odds with, but still wrote her a continuation for his romance series he didn't even think was good because beneath all of his veneer, he still cared.

Who was presented with this half-spirit half-boy and saw just a squirrely kid who needed some help to find his place in the world. (And yeah, this is special to me. Because god damn it, I never had someone like that growing up, and I would have given all my limbs and a kidney for it.)

Who was so, so full of compassion himself, despite all the shit the world had already thrown at him.

I don't know. Maybe I just have a thing for people who try to lock their hurt away so not even they, themselves, have to confront it. (Maybe because I'm a little like that myself and maybe that's why I like Lucanis so much, as well. Damn you, Mary Kirby.)

But anyway. Sorry for the vent. I just needed someplace to share this, I guess. I don't know what to do with this hole in my chest, but props to Bioware (and damn you again, Mary Kirby) for putting it there, because it's definitely not normal for me to care this much. I wasn't even this sad when I had to leave my Hawke in the Fade. Maybe they'll finally find each other again, wherever they are now 💔

[syndrossi]

resonant ch31 dvd commentary

This one was a doozy, as everyone on Tumblr had a front row view of. I wasn't thrilled with the draft on Thursday, but after some additional eyes and another comprehensive round of edits, I'm happy with how it turned out.

You can really see my struggles with it in the words cut, which were a minimum of 1500 (those are the ones where I extracted more than one paragraph into my scraps doc).

Favorite line(s):

The walk back to the holdfast was like a slow wakening from a dream, and yet Daemon felt desperately tired, his body aching with a fatigue so deep it seemed to scrape the very marrow of his bones.

I was quite proud of the visceral feel of this one.

Jon stood without meaning to, Jon Redfort’s hurt mingling with the rage that surged within his chest. “She hated him. She hated every reminder of him. They dyed Rhaegar’s hair until they couldn’t, and even before that, she could barely look at him. She loved me,” he said, the words choking him, the truth of it almost unbearable, Lady Stark’s love through a distorted mirror, only this time, he was Robb. “And Raymar would cry himself to sleep, convinced it was his own failing.”

The theme of Jon's role being flipped so that he is now in Robb's shoes is one we've been exploring since chapter one, where he notices the way Raymar is treated vs him. It's such a painful thing to deal with, because it both stirs memories of his own treatment by Lady Stark, and the guilt that Jon Redfort has always felt about it. Even though it's not directed at him, the secondhand experience through Raymar reopens those wounds.

Jon dealing with the part of him that is Jon Redfort is another theme we'll explore later on, particularly during the Runestone arc, but we're seeding some of his struggles now.

(Jon continually urging Rhaegar not to mourn Rhea is partly born of this, too. On some level, he believes she does not deserve his grief. And it's easier for him to ignore his own grief that way, or avoid dealing with the guilt-tangled love her feels for her.)

Favorite Details

Marriage hunt

Since the harvest ball is approaching and pretty much all of the marriage-minded misses of the court have been carrying out their pursuits offscreen/in non-canon missing scenes, it felt appropriate to sprinkle in a few hints of what's going on in the background as Daemon and the twins deal with more pressing matters.

Daemon's chair

It's hard to explain in narrative format where Jon was sitting/where Daemon always sits, but it's basically at the end/"head" of the table, while Viserys usually sits at the end of the side facing the window. It killed me a little when I realized that's where I've always written Daemon sitting in his scenes there with Viserys, and it's so obvious why: it's the closest Daemon can get to feeling like his brother's Hand. Similarly, Viserys seats him in an inverted version of that during their supper the first night in King's Landing, with Viserys at the head and Daemon to his side.

Dynamics

Jon & Viserys

This was a fun one to finally write, since we've only had brief interactions between them, from other POVs (Daemon, Otto, Rhaenys). Viserys sees Jon as a mixture of Daemon and Baelon throughout this scene, with Baelon coming out more toward the end. And we can see Viserys respond to Daemon-y Jon in a similar way that he might to Daemon, by getting defensive/frustrated.

Viserys is in a weird place with the candle business where he accepts, generally, that magic is a thing. The boys are fireproof, there is a prophecy that he thinks they will fulfill, he's read about the distant communication made possible by the dragonglass candles of Valyria, and he's seen the red candle spark to life, just as the black ones did once or twice when he was a boy.

But Jon is a child, and unlike Daemon, Viserys has a fairly good understanding of what an eight-year-old is generally like, so he approaches wild claims of high magic with a fair bit of skepticism. Over time, I expect this will change.

I enjoyed weaving in both Baelon and Daemon through the conversation, and the past bond Viserys had with his brother. Viserys absolutely cut little!Daemon's apples for him when he was old enough to carry his own knife. (As did Baelon.) And even throwing in some of Jon's impressions of Viserys and Daemon are alike and not.

And even a few small parallels between Viserys and Jon that I doubt many people will draw: an unwillingness to give up control (Jon not wanting to tell Daemon about the drag marks in the secret passage) and not trusting their brother (Jon, at the end, deciding to "protect" Rhaegar by not letting him in on his plan to go after the candle). They both are convinced of their own mandate to solve problems (the prophecy for Viserys, the candle for Jon).

Daemon & Rhaegar

Rhaegar was in a special hell with Daemon in the latter part of the chapter. He's operating at maximum Aerys damage-control mode there, reading Daemon at speeds enviable by modern CPUs so that he can figure out how to defuse the situation / "fix" him before any (unintentional) harm is done. And the parallels with Aerys's paranoia are incredibly uncomfortable, even if he understands that Daemon is suffering under an outside influence.

It's also terrifying being an eight-year-old child and being dragged along to the dragon enclosure by a father who doesn't seem to hear a word you're saying (or care, if it were Aerys), and you're pretty convinced this is some candle magic at work, but how do you stop him if he decides to take off with you on dragonback? And even if he's unwilling to force you, can you really let him go by himself, in such a vulnerable state?

Meanwhile, Rhaegar better be careful about his plan to claim that the bruise is the result of a training accident, because a blow from a wooden blade doesn't go all the way around the arm, kiddo. Imagine Daemon thinking he's trying to protect Cole after being handled roughly by him. Or just his response in general to his sons downplaying injuries that were clearly dealt by an adult.

@inkykate asked for Rhaegar's POV here for the upcoming winter promptathon, and I'm very tempted!

Quick-hitters

Lady Sera and Lady Dynessa are both from this little impromptu ficlet.

Originally, there was a plot thread where Jon and Rhaegar discussed telling Erryk and Arryk about the candle. At one point, it was in their debriefing at the start of the chapter, a request from Jon to Viserys during their breakfast scene, and even the start of a scene where they actually tell the Cargyll brothers. I cut it because there was a lot going on already and we can revisit it later.

The Rhea grief/anger outburst from Jon caught me by as much surprise as Viserys, but it was lurking beneath the surface. And I cry at a dime, so you can bet I was a mess writing it.

Can we appreciate for a moment the breathtaking gall of Viserys telling Jon he should be grateful for him repeatedly banishing Daemon because it resulted in his birth? Imagine him saying as much to Daemon himself!

The candle is candling hard.

I didn't go into the dragon dynamics with Daemon because this is already quite long, but there was some interesting stuff there for those with a keen eye, including hints at how some of the candle's (sorcerer's?) magic works.

Daemon actually did something so unthinkable (hurting Rhaegar) that Qelebrys hissed at her beloved not-Rhaegar. The heartbreak!

Lots of people keeping things to themselves. So far, for example, Daemon hasn't mentioned the bounty on him to anyone.

I have fun with Rhaegar's strengths vs Jon's, especially when it comes to dragons. Jon has a fairly significant leg-up with his warging experiences and his former quasi-bond with Rhaegal, but Rhaegar is basically a horse girl, except with dragons, so what he lacked for originally in experience, he's making up quickly. But I also like to throw in nods to Jon being able to pick things up that he's discovered very quickly, once shown/pointed out.

Finally, there were quite a few bits cut out of the chapter. I'll probably throw them in a separate post later, since this is pretty long!

[eowyntheavenger]

What does it mean when he: - says I was everyone's favorite person in the event we were part of - jokingly insists that I can do no wrong - tells me I'll do a fantastic job on the presentation I have coming up - thanks me for advocating for the people and issues I advocate for - says he's proud of me - says he loves my writing, which he describes as "powerful" and "amazing" and the level of detail is "exquisite" - wants me to teach him how to write - asks if I can send him all the articles I write because he loves reading them - says he's looking forward to seeing me again - comes up with things we could do together that I would like - after we've already made plans, shyly asks if we can do something together on the weekend when I visit - yes of course we can - he's so cute???????????

[orkbutch]

Rambling about Astarion bc im bored at work. I like Astarion because I think he is a genius take on The Evil RPG Companion, and is an especially great take on The Fixable Bad Guy. I don't think hes evil, but I do think Astarion is a genuinely bad person at the beginning, and I think Astarion is only drawn away from being a bad person - and experiences a great redemption arc - via active intervention from others. Astarion would not redeem himself without guidance; he is absolutely bent toward self destruction and evil at the beginning of the story.

I think comparing him with Shadowheart is what drew me to that conclusion. If you are nice to Shadowheart, as in you talk to her and respect her boundaries and do stuff she generally agrees with, she will choose to free Nightsong all on her own. You don't need to roll to convince her at all, or romance her or even push back on her Shar worship that much. You just leave it up to her, and she chooses that path. (Side note, what brilliant writing.)

Astarion is not like that at all. Even if you were tight as fuck he would not choose the good option, with no input, in Act 2. Astarion, like all the companions, needs help and connection to reach healthy actualization, but I think its great, resonant writing that Astarion needs the most active intervention of all. Because he's had his autonomy so completely taken away from him, he simply doesn't know how to use it anymore. He doesn't know how to connect with other people anymore. He's someone that's learned to enjoy cruelty, to resent the pleasure of others, and to be entirely selfish for survival. It makes sense that he must be dragged back into being capable of trust. He needs to be forced to be part of a community again; caring about things; allowing for vulnerability and optimism.

And like. How fucking smart is it to have THIS guy in THIS game. Because of the tadpole and the existential threat they're up against, he is actually forced to work with you. This kind of character is so hard to do in most RPGs because its like... why wouldn't he just betray you all and leave? Why would he stick with you? The tadpole clears all of that up. Astarion must stick with you or hes lost and dead. Astarion knows that you and the other companions are collectively stronger than him, so he can't betray you. He is forced to rely on you by default.

This is also what makes him SUCH a good version of the "you can fix him" romance; you are almost never the direct target of Astarion's bastardry because he can't fuck with you. The problem with Fix Him's is that usually they are a threat to the romantic lead, and fixing him requires enduring, soothing and forgiving the worst of his badness as some kind of test of loyalty, hopefully proving to him that being bad isn't necessary (toxic shit). But Astarion... can't do that. He is afraid to actually fuck you over because you are directly tied to his survival, and because you quickly show yourself to be more capable than him. He cannot have real power over you. (Until he's ascended, then he becomes the absolute worst version of the fix-it.)

I do think the trade off is that Astarion not directing his bastardry at you makes it easier to Ignore that Astarion is A Bad Guy, but I think that'd happen even if he was more of an asshole to you, so who cares. I think he's got the best written Redeemable Evil RPG Companion arch I've seen honestly. I love that he's so fun while being so tragic, whether redeemed or not.

[umemiyan]

𝙋𝙊𝙎𝙏𝙈𝙊𝙍𝙏𝙀𝙈 / 𝙋𝙊𝙎𝙏𝙋𝘼𝙍𝙏𝙐𝙈. — 𝖯𝖠𝖱𝖳 𝖨𝖨

𝘗𝘙𝘌𝘝𝘐𝘖𝘜𝘚 𝘊𝘏𝘈𝘗𝘛𝘌𝘙 ･ 𝘕𝘌𝘟𝘛 𝘊𝘏𝘈𝘗𝘛𝘌𝘙 ･ 𝗠𝗔𝗦𝗧𝗘𝗥𝗟𝗜𝗦𝗧 ･ 𝘛𝘈𝘎𝘓𝘐𝘚𝘛

𝗦𝗔𝗧𝗢𝗥𝗨 𝗚𝗢𝗝𝗢 𝗫 𝗚𝗡!𝗥𝗘𝗔𝗗𝗘𝗥. ⌇ sfw, but minors dni (nsfw future chapters likely) / an interpretation of "came back wrong" gojo (he's not necessarily wrong, just different) / yandere!gojo vibes / disabled-coded gojo with reader acting as caretaker; it's essentially a learning curve for everybody involved / some dubcon physical affection moments, but nothing serious / 3.4k words

well... we have made it to a second chapter!! this overall idea just really resonated with me, and after learning how it affected others as well, i just knew i had to do my best to keep it going. this is the first ever "part 2" of anything i've ever written, so i beg for just a shred of mercy! i'm trying my best, and thank you to everyone who has said kind things about this story so far. i hope you enjoy <3

The winter air is brisk and a little volatile, but you feel blessed to have it whirl past your skin—even more blessed to watch Satoru’s flesh prickle at the sensation. Alive.

You had done your best to rummage through the expanse of his closet to find a suitable coat for him to wear—one that would cut the chill of an afternoon breeze when it inevitably brushed across his body. January could be unforgiving at times—the harshest of winter moths. You wondered how cold death must’ve felt.

“Satoru, where are your shoes?” You inquired, voice muffled in his closet as you sifted through garments, multitasking in an attempt to compose an outfit for him.

He sat at the edge of his bed, eyes fixed on your movements as they often were, mind turning at your question for a moment. He stood then, paced towards the shoe rack that stood outside the closet door, and reached gently for one of your busied hands. Satoru points your fingers towards the collection of shoes.

You paused your movements, eyes curious as they followed his guidance before landing upon their intended target. “Oh, that’s right,” you said with a small shake of your head, bearing a self-defeating smile and feeling rather silly for your oversight. 

It was a challenge to become acquainted with someone else’s home amidst everything else, responsibilities stacking upon responsibilities. However, Satoru continued to prove that he could recall more than you initially thought, that he could act as your guiding light when called upon. A little ironic, you think. A little pathetic, too? No, you are human, after all. Just as he is.

He smiled in return. You swore there was even a hint of a familiar light-hearted, teasing glimmer in his eye, unless you were seeing things.

(You weren’t.)

For once, you are grateful for the rather serene nature of the school’s grounds as you stroll across them side-by-side with him, much like in days from a not-so-distant past. The remaining fallen leaves from the trees dressing the mountains rustle with the wind, colored by the touch of death but still beautiful all the same, just like something else you know.

“We can always go back if it gets too cold,” you say as a reminder to Satoru of his agency, his home on campus easy to circle back to should you take the notion. You fear he might choose to freeze himself into another early grave if that’s what you wished, and you can’t fathom the idea of making him suffer simply because he thinks it pleases you to do so. Your happiness is somehow his, and although this is a new quality you have yet to decipher, there’s still something about it that strikes you as indulgent and rather characteristic of a gluttonous Satoru Gojo.

He doesn’t respond, gaze flitting across his surroundings as he walks, nerve endings and six eyes absorbing a litany of information. A silent Satoru used to be a rare occurrence but is now the default, the air somehow punctured by the lack of his voice riding along it. However, his presence is still stark, his being brimming with energy as if to make up for the words he can no longer speak. 

Unbeknownst to you, he communicates with you not only with his physical body, but with his feelings, too—waves of energy that he projects outward on instinct, hoping you’ll have the means to grasp what he is trying to say even if he isn’t always sure what it is. It has been rather unsynchronized and sloppy thus far, but with each day that passes, your ability to hear him grows.

You can hear him now even with the only sounds being the breeze rushing in your ears and leaves crunching beneath the soles of shoes. There is something somber about him, more than usual, mixed with that same sense of being lost in a world that feels brand new. 

All of it is familiar to Satoru on a physical level—the paths, the buildings, the foliage—but what prickles his mind is attempting to piece together the myriad of strange feelings that arise as he is faced with more and more reminders of a past that he can’t fully recall. 

It’s as though the memories are trying to surface but can’t quite fuse into something tangible, something concrete, like when you feel a word forming just at the tip of your tongue but it never arrives. He can sense them deeply in his body, almost experience a brief image flashing like lightning through his mind before it disappears. Satoru’s frustration is palpable, and he reaches for your hand.

Icy-cold fingers nipped by winter intertwine with yours, tethering him in place as his fractured mind aches with the burden of obscurity. His physical affection is new to you, but you allow it—welcome it, even. As much as the earnest displays contrast with his previous tiptoeing around connection, it is yet another thing you can’t bear to turn down, not after everything that’s happened. 

You hope it isn’t simply guilt of all things compelling you to accommodate him, but wouldn’t it be equally bad to do it for selfish reasons? Could one misconstrue it as taking advantage, of feeding off his need to satisfy some part of you that had always wanted him?

The various implications make your head swim with conflict, so you force yourself to shut them down for the time being. Satoru is only holding your hand, nothing more, at least for the moment. There had of course been instances of his lips pecking against your own, wandering down to your neck, his hand settling on your waist as if to draw you closer… but you’d always managed to divert his attention in one way or another, severing the connection before either of you could become too engrossed in it. He never seemed overly perturbed to shift direction, but you couldn’t help but wonder just how long his patience might last, and if you’d be able to figure out what you even were to him before then.

Needless to say, nothing could have ever prepared you for something like this. What drives you forward more than anything is your contentment with the fact that he’s here walking the earth with you, as whole as he can be after having been stolen from the arms of death. And despite the abundance of challenges, part of you can’t help but feel special for being chosen to face them.

When your feet bring you near the school’s entrance, gates opening way for a path down the mountain, Satoru stops dead in his tracks, alert like an animal that’s suddenly caught a scent. His grip on your hand tightens, heart plummeting into his stomach as something takes hold of him, something he likely couldn’t put into words even if he had the ability to speak.

You turn to check over him with your gaze, concern etched upon your features at the immediate change of pace. “Satoru…?” you call softly, yearning for a chance to be able to peek into his mind. All you can do is feel the chill of his demeanor.

His name drifting upon your voice earns a split second of his attention, but he is, for once, captivated by something else.

Pierced gut. Blocked throat. Summer sun and the sounds of buzzing.

It’s a memory that lives in his body but not his conscious mind, an instinct telling him to heed the surroundings for a threat that once was. He relives it with a rapid heartbeat, knows it bears importance, but he can only recall shreds of information that don’t merge together to form a full picture. He simmers in mounting frustration.

Black hair. Sharp eyes. Boiling blood—the brink of death.

Satoru turns on a dime and faces a figure in the distance, on guard and brimming with a sort of defensiveness you’d never quite seen before, at least not coming from him. Muscles rigid, he squeezes your upper arm as if to warn you, to keep you close, his extraordinary senses absorbing information quicker than you can even pivot to see what it is he’s looking at.

From around the corner of a building emerges Megumi, clad in warm clothes and a mellow disposition. His distinctly unruly hair makes it easy to identify him even from where he appears down the path, hands in his pockets as he strolls towards you upon recognition. 

Satoru’s mind runs through calculations as the young student approaches, attempting to distinguish and fill gaps and create something he can take hold of as a semblance of fact.

Black hair. Sharp eyes. Something… different? 

Megumi’s cursed energy burns in a recognizable way, striking Satoru as peculiar as he instinctively studies it with the six eyes. But it makes sense to him—it’s familiar, even if he struggles to trust it in full. This is someone he hasn’t met since his awakening, but someone his eyes have certainly seen before.

You can sense the fear radiating off Satoru’s being and into yours, the presence of someone other than you agitating his already troubled state. You must act.

“Look, it’s Megumi,” you say softly with an encouraging smile, encasing his hand with your palm and hoping that your pleasant reaction takes the edge off. Satoru is reluctant to avert his gaze, but does so anyway, blue darting in your direction to witness the happiness written in your features. You appear to trust this person, and he trusts you, so despite the pounding in his chest, the sorcerer relaxes his grip.

You guide Satoru to take a few steps forward with you to meet Megumi as he draws nearer, a tired but welcoming smile turning your lips upward to greet him. It’s nice to see the boy alive and well in the aftermath of his own debacle—or at least as well as someone could possibly be. You wish there had been something more you could’ve done to help him recover, but it was known to many that you happened to have your hands full at the moment. Hopefully he will understand.

“Hey,” Megumi utters quietly, eyes scanning over your face and then his teacher’s, trying to briefly assess your individual states.

“Hi, Megumi,” you respond, appraising him yourself. He seems to be all in one piece, which you had been informed of, but had yet to see yourself. It’s nice to have visual confirmation. “How are you?”

“Fine,” he replies quickly, flatly, minimizing himself as usual. His voice is more sincere when inquiring about your wellbeing. “And you?”

You grin, finding a way to sum up your experience without overwhelming him. “Hanging in there,” you muse with a breathy chuckle. There’s no use in worrying him with all the details of Gojo’s current condition and how it has subsequently flipped your world upside down, but Megumi is shrewd, and you’re sure he can come to some sort of conclusion, especially when briefed by the others who have eyes on the situation.

Megumi awkwardly rubs at the back of his neck, skirting around vulnerability and concern as his next question arises. “Gojo-sensei… how are you doing?”

Satoru has been silent all the while, of course, but sorting through every detail while you and his former student exchange pleasantries. Neurons fire, rewiring frazzled connections, giving him a glimpse at how this boy is not the same as the one he bears a resemblance to.

Megumi isn’t sure what sort of response to expect; in fact, he feels silly for expecting one at all, posing a question that he’s fairly certain can’t be answered directly. But how else was he meant to conduct himself in such an interaction, to show that he cares? To speak as if Gojo weren’t even there would feel like even more of an insult.

You’re caught in the middle, watching Satoru’s face and seeing the gears turning in his head. “I think we’re all just… learning how to adjust to things, y’know?” you reply with a rather vacant smile, turning back to Megumi who understands your subtext with ease. Rather than speak for Satoru, you’ve made a blanket statement to provide just the slightest bit of feedback, and Megumi is well aware.

The student nods his head with a short hum of acknowledgment, doing his best to see his mentor in this new light—one he never thought would be possible, not when it came to someone who had always claimed to be so strong. But at least there is a light at all.

The wind tosses leaves around between the three of you, filling the silence with its quiet whispers. You wish there was more to be said. You wish you had a solid grasp of how well Satoru really was doing.

“I think Ieiri said she wanted to see you soon,” Megumi states, acting as a courier, trying to fill the space with words.

You nod. “Yeah, we’ve been in touch. We’re actually meant to meet up with her tomorrow.” 

Shoko, while expectedly rather removed, had been one of your primary contacts and supports thus far, apart from Ijichi who shouldered the burden of several essential tasks you hadn’t been able to complete on your own. You felt guilty for sending him out for groceries and back to your apartment for extra sets of clothes, but how else would you manage to make it by? Leaving Satoru alone or in the care of someone else wasn’t currently an option, and taking him outside the school grounds didn’t sound like an optimal idea either at the present moment. So you had to make do in the meantime, and you were truly grateful for the help, but you couldn’t help but hope that things would eventually fall into place. Maybe Shoko would have answers.

“That’s good,” Megumi replies with a sparkle of hope in his tone, then reluctantly adds, “and, uh… just let me know if I can do anything to help, okay?”

You respond to his gesture with a warm smile. “Thank you, Megumi. That’s very kind.” You don’t have immediate plans for taking the young man up on his offer, but you appreciate the sentiment regardless. He deserves to rest and seek peace, not fight any more battles for the sake of others.

A twinge of pink colors the apples of Megumi’s cheeks, and he recedes into the scarf wrapped around his neck, unused to accepting grace from others without feeling inclined to quarrel about it. He is at a loss for words, somewhat eager to make his escape before the vulnerability has the chance to further consume his dignity. You take that as something of a cue.

“Well, we—” you start, preparing to make a closing statement and depart, before being interrupted by a sudden movement to your left—Satoru, breaking free from his fixed state to perform a familiar gesture.

As if finally making a connection, he grins and mimics the Ten Shadows hand configuration for summoning the Divine Dogs, clapping his palms together and examining Megumi’s reaction with ardor. The student is startled out of his mild embarrassment, somewhat baffled by the sudden communication attempt and the implication that his mentor perhaps actually remembers who he is. It’s a pleasant surprise to you both, and a moment or two is required for it to sink in.

Your face lights up with glee, heart warmed by the simple action in a way that’s difficult to express. Megumi appears to be in a similar boat—taken aback, but ultimately stricken with joy.

A modest smile creeps upon Megumi’s lips as he softly mirrors the motion with his own hands, acknowledging Gojo’s revelation. “Yeah…” he says, voice faint but pleased. “Divine Dogs.”

Every brief glimpse into Satoru’s thoughts feels like a blessing, and this is certainly no exception. It’s refreshing to watch him have a moment of sincere connection with someone other than yourself, and it leaves you glowing with hope for the future as you bid Megumi farewell and make your way back home.

“Head back, Satoru.”

Water splashes into the bathtub as Satoru cranes his neck to peer up at the ceiling as per your request, a cup full of liquid streaming over his hair and carrying shampoo suds along with it.

After returning from your walk, you’d prepared something for dinner and eventually urged Satoru into the tub for a bath before bed—yet another activity that seemed to get a little easier every time you did it.

Figuring out how to get him to bathe had initially been quite the challenge, but you had managed to devise a method that had gotten the job done quite well thus far. He might’ve looked rather awkward sitting cramped in the shallow bath with a pair of swimming trunks on while you rinsed him with an old plastic cup you’d excavated from a cabinet, but it was the most effective way to get him clean and preserve both your dignities while doing it. Though you were the only one who seemed to be concerned with such things.

Satoru blinks when a few soapy droplets backslide into one of his eyes, causing him to squint, scrunch, and rub it with his fingers until the uncomfortable sensation eases. He looks at you, almost as if to say, “Hey! That burns!”

You chuckle and shake your head with a playful roll of your eyes. “That’s why you’re supposed to close your eyes, goober.”

He wants to submerge in a pout, but your playfulness rids him of the inclination. Satoru instead shifts his focus to the beauty of your frame perched upon the edge of the tub, a beacon of divinity as you cleanse him with care and devotion. He takes the notion to express an inkling of gratitude by leaning forward and placing a kiss against your lips, lukewarm water rippling around him as it gradually cools.

You’re somewhat stiff and unresponsive, the sudden gesture catching you by surprise as it usually does, but you don’t chastise him for it; in fact, it takes a certain level of concentration for you to avoid letting your thoughts linger on his current state: hair slicked back; flesh exposed and glistening with droplets of water; lips warm, wet, and eager for reciprocation…

Your mouth receives his but does not encourage him for more than a split second, pulling back gently from his advance until you can see Satoru shiver as the water chills his body. His eyes are glued to your face, waiting for a reaction as you prepare to make one more pass over his hair with the cup to see that he is fully rinsed, this time using your hand to shield his eyes from any backflow (and from your expression, which is surely indicative of your now rapid heartbeat).

The action is enough to distract him for the moment, but Satoru is still on edge, teeming with infatuation and need. He is unsatisfied with your response—or lack thereof—and is frustrated with his inability to express it, but your hands carefully wiping drops of water from his face act as a temporary soothing agent.

“Alright, let’s get dried off and ready for bed,” you say, standing to fetch his towel from the rack and bring it back to him before reaching down to trigger the tub to drain. “We’re going to talk to Shoko tomorrow.”

Satoru is less concerned with the meaning of your words than he is with how lovely you sound while saying them. He is once again caught in your spell, entranced by the need to be closer but settling for the scraps that you give him—for now.

You aren’t convinced of his comprehension of what you say, but nevertheless, you use the sweetened tone to deflect from the overwhelm of watching him stand and observe your every move as you help to dry his chiseled body. Satoru is tall and looming, scarred in the midriff, but compliant with your ministrations; however, his easygoing nature doesn’t keep your hands from wanting to shake against the towel that repeatedly caresses his physical beauty. You wish you could torch every thought in your mind, switch your brain off to preserve the strength and sanity that remains. 

You aren’t sure how long you’ll be able to remain steadfast and maintain this cycle of “temporaries” until something eventually changes. And what if it never does?

You suppose the only thing you can do for now is try your best and wait and see what the future holds. It certainly can’t be any worse than what you’ve already been through, especially now that Satoru is by your side once more. That is something you’ve realized you wouldn’t trade for anything.

[autistichalsin]

My incomplete list of circumstantial bits of evidence for werebear!Halsin

Note: I can see the case for both Halsin knowing AND not knowing that he's a werebear- I'm going to include both here.

The most glaring: Halsin can't control his wildshape. This is highly unusual for any Druid, let alone an Archdruid of his age and power. He not only can't control the transformation when experiencing strong emotions, but he can't entirely control his actions when scared or angry; he tells the player, after being rescued from the goblin pens, that he will be unable to not attack the goblins threatening them. This makes no sense for a wildshaped Druid, but makes plenty of sense for a terrified werebear. 1B. No other Druids in the entire game have the wildshape problems Halsin does. 1C. Halsin can control all his other wildshapes properly, and behaves much more like other Druids when using them.

Werebears who haven't learned to control themselves yet (such as if they don't know they are one, are recently turned, etc) often transform unexpectedly when threatened.

Halsin's bear wildshape is treated differently than any other; it's the only wildshape he can't control, and it has a separate mechanic to other wildshapes in-game, being activated not with other wildshapes, but on the screen for abilities that are an intrinsic part of the character's skills. Yes, this is probably because it's only Halsin who can do this, but circumstantially... it is interesting.

Werebears avoid biting to prevent spreading their lycanthrophy (unless they have negotiated with the person they are trying to turn). As far as I've seen (I DEFINITELY could be wrong, though, please let me know if I am), Halsin only ever uses his claws to attack- no biting attacks.

If you look at the sky during the romance scene with the player, the moon is shown very bright and prominent; it isn't 100% certain, but it looks like it could be full.

Halsin is VERY different from his normal personality in bear form, excluding the romance scene; if you use Speak With Animals when he's in the cage, he'll say things like "time for blood" as he prepares to attack the goblins. Werebears in bear form are noted for being irritable and quick to violence, though they attempt to mitigate the effects of these impulses through self-isolation so no one innocent is harmed. 6B. Halsin in normal form tries very hard to not get violent when possible, noting that "killing is never [his] first choice", yet when needs must, he won't hesitate to kill- the opposite of the bear.

If Halsin doesn't know he's a werebear (explaining him not telling you), it's worth noting that it IS possible for werebears who weren't born as such not to be aware, with any actions taken during the full moon tending to get written off as bad dreams. Halsin could just think he has a recurring nightmare about losing control of his bear form.

Halsin resonates wit bears a lot deeper than most other Druids do with their favorite animals. Kagha comes the closest with her love of snakes, but even she speaks more metaphorically, whereas Halsin will do it literally, such as a new, as-yet-unimplemented line where he says he hopes "an old bear" can help the player, making jokes about poking the bear, etc. in fact, he refers to himself as a bear more often than he refers to himself as an elf.

Halsin makes reference to honey mead being his favorite drink. Werebears have a special honey mead concoction they enjoy. This drink is highly intoxicating to non-were, which means it might be more intoxicating than other drinks to were too.

Halsin is shown having an alignment that leans far more towards good than neutral, whereas most of the Druids in this game have a neutral alignment. Werebears are one of two weres in DND lore that have a good alignment.

Werebears usually live solitary lives. Circle of the Moon Druids are noted as being very solitary as well, with it being possible to go weeks without seeing another Druid (though Archdruids of this Circle will of course be more involved). Halsin, before becoming Archdruid, is implied to have fit this, such as him making reference to having hibernated in bear wildshape.

However, werebears are still noted to have a strong sense of community, and they often act as guardian of a particular area. Like Halsin protecting his Grove, then protecting his commune in the end, even noting that his urge to roam has dwindled after finding the latter. In fact, werebears are noted to often be sedentary and prefer not to leave their homes; Halsin is restless and roaming until the epilogue, when all his traumas are resolved, at which point he settles and shows contentment at having gone from "a life of high adventure" to one of anything but. (He says this to the player if romanced, worrying that he took them from just that life, but he repeatedly says he is happy to have given up adventuring.)

It is noted that when werebears don't isolate, one of the more common choices for werebears is.... you guessed it. Becoming a Druid.

Werebears have the ability to call local bears to them. The Emerald Grove has three bears living there.

Werebears don't marry, but might have favorite mates they visit often. Depending on player choice, Halsin might end up a bit more committed than the latter, but still less than the former. Also, this ties in well with Halsin's stated philosophy on polyamory, with him specifically stating that a bear's coupling habits suit him more than another animal's, like, say, a wolf, would.

It is well-known by now that there used to be a Bard Origin named Helia, who would have been either a Halfling or a Gnome. Helia also would have been a werewolf. While it's not known for sure that she was cut specifically FOR Halsin to be made playable (it's doubtful, given how early Helia was cut), there are signs that parts of her story might have been given to Halsin. For example, if one looks in datamined dialogues, certain goblin camp scenes still say that it could be either Helia or Halsin's bear there. Such as this one for the goblin kids running off to warn the adults: "Panicked, the kids run to the room with the goblin warriors and call for help, because the bear / Helia has escaped. After that they disappear." (Not sure if they still run in the final game, but the PAD is still in the files.) Or for the goblin kids throwing rocks before the cutscene is triggered, "One of the goblin kids that is throwing rocks at Helia or the bear." I don't want to speculate too much about cut content, but this suggests that Halsin and Helia's stories may have intertwined somewhat, and that when Helia was cut, parts of her went to Halsin. This may be why Halsin's bear wildshape was written more like him being a were instead; in a meta sense, he "became" a lycanthrope when he inherited part of Helia's story.

Halsin is wide/tall, muscular, and has body hair (though not facial hair), to the point that people repeatedly comment on how unusual he is for an elf. Unusual for an elf, but not a werebear, who are noted for being, you guessed it, wide/tall, muscular, and hairy.

Werebears who are bitten instead of being born as such are almost always transformed by a more experienced werebear and then taken as a protege, to become a guardian of the forest, which would explain a LOT about Halsin if he chose this.

Halsin shows a lot of empathy and compassion for Astarion and the Dark Urge. While of course it could just be his genuinely kind nature, it could also be him relating it to his own experience as a werebear.

Lastly, there's this art from the collector's edition; my guess is that this art was made after they decided Halsin would be playable, but before Karlach had an official design (the IGN interview indicates that Karlach was only added earlier this year, leaving a wide window for this to happen). While this is, of course, subjective, the pose and juxtaposition of the bear to Halsin looks a lot like the sort of art used in werewolf movies. Sort of like how one of Halsin's point-and-click lines, "the power of the bear lies within me," sounds very were-like too. This one is more subjective than the others, but I still wanted to include it.

This is all circumstantial, I know, but i thought it might be interesting to get out there nonetheless!

[cera-writes]

can you do a story gambit where reader is a mutant or just has the power to either travel through the multiverse or see into different universes and she’s in a relationship with remy and she sees that gambit and rogue are together in every universe except theirs and reader ignores him because she thinks that they should be together so basically some angst and shes comforted by remy maybe some smut? 🤗💕

A/N: thanks for requesting this! This was such an interesting prompt and I had fun writing it! Pairing: Remy LeBeau x F!Reader Tags: nsfw, angst, comfort/hurt, sweet reassuring smut

In this Universe

You stand in the dimly lit room, your eyes fixed on the swirling portal that connects to countless alternate realities. The air around you crackles with energy, a tangible reminder of the power coursing through your veins—the power to see and traverse the multiverse. Your partner, Remy LeBeau, stands beside you, his hand resting reassuringly on your shoulder. His eyes, though masked by the shadows, betray a concern that mirrors your own inner turmoil.

"Qu'est-ce qui te tracasse, chere?" Remy's voice is soft, tinged with his usual Creole accent that still managed to wrap around your heart like a warm and inviting embrace.

You hesitate, torn between sharing your recent discovery and the fear it might shatter the fragile peace you've built together. "I... I've been seeing things, Remy. In other universes."

His grip tightens slightly, encouraging you to continue. "Go on, tell Remy."

"In every universe I've seen, you and Rogue are... together. Always." The words hang heavy in the air, laden with unspoken implications.

Remy's expression remains calm, but you can sense the undercurrent of tension. "And what does dat mean fo' us here?"

You turn to face him, searching his eyes for any hint of what he might be feeling. "It means... maybe we're not meant to be together. Maybe our story was written for someone else."

A muscle ticks in his jaw, but his voice remains steady when he speaks. "So, you think we should jus' give up because some versions of us didn't make it work?"

The question stings, not because of its sharpness, but because of its accuracy. You sigh, looking back at the portal. "I don't know what to think anymore."

Remy steps closer, tilting your chin up so you meet his gaze. "Listen to Remy, chere. Our love, it's real. It's ours. Not some borrowed fairytale from another world."

You want to believe him, to cling to the warmth of his words, but the images from those other universes keep flashing through your mind—Rogue and Gambit, laughing, fighting, loving. "What if we're just living out someone else's destiny?"

Remy shakes his head, his eyes burning with an intensity that surprises you. "No. Dis, us, it's ours to shape. Ours to fight for."

You feel a tear slip down your cheek, caught off guard by the depth of emotion in his response. "But how can we be sure?"

He brushes the tear away with his thumb, his touch gentle yet firm. "Cause I choose you, every day. And Gambit'll keep choosing you, no matter what those other worlds show."

His words resonate within you, stirring something deep and primal. "Remy..."

Before you can finish, he presses his lips to yours, a fierce declaration of intent that leaves no room for doubt. The kiss is passionate, desperate, as if he's trying to imprint himself upon you, to drown out the visions of other realities with the reality of his love.

When he pulls back, his eyes are dark with desire, his breath coming fast. "Let's make our own story, chere. One dat those other worlds will envy."

You nod, your resolve strengthening with each beat of your heart. "

"Please." You needed the distraction desperately to keep from coming apart at the seams. You needed him to ground you and make you really believe that this was your universe with him and that's all that mattered, otherwise, you don't think you could handle anymore of these visions.

"I'm right here, chere." He squeezed your hand.

Together, you turn back to the portal, hand in hand, ready to confront whatever challenges lie ahead, united in your decision to forge your own path, regardless of the echoes from parallel worlds.

You grip Remy's hand tightly as you step into the swirling portal, the sensation of being pulled apart and reassembled in a different reality washing over you like a tidal wave. The colors blur and merge, creating a kaleidoscope of visions that threaten to overwhelm your senses.

"Focus on me, chere," Remy's voice cuts through the chaos, steady and reassuring. You lock eyes with him, allowing his presence to anchor you as the world around you shifts and morphs.

Suddenly, the disorientation ceases, and you find yourselves standing in a lush, overgrown garden. The air is thick with the scent of blooming flowers, and the soft hum of insects fills the silence. You look around, recognizing this place—it's one of the alternate realities you've seen before, where Gambit and Rogue are deeply in love.

Remy seems to sense your unease. "Show Gambit what troubles you," he murmurs, leading you deeper into the garden.

As you walk, the scenery changes subtly, transforming into a scene from your visions. There, under a weeping willow, stands Gambit and Rogue, their bodies entwined in a passionate embrace. Your hands start to shake as anxiety takes over again. The sight stings, but before you can turn away, Remy pulls you close.

"Look at dem, but see us," he whispers against your ear, his breath warm and comforting. "Feel how our hearts beat as one."

You close your eyes, focusing on the solidity of Remy's body pressed against yours, the steady rhythm of his heart matching your own. When you open your eyes again, the vision of Gambit and Rogue fades, replaced by the vivid reality of Remy's intense gaze.

"I see only you," you confess, your voice barely above a whisper.

Remy smiles, a flicker of relief softening his features. "Good. Now, lemme show you why Gambit chose you."

He leads you to a secluded clearing, where the grass is soft and inviting. The sunlight filters through the leaves overhead, dappling the ground with golden light. Remy kneels, gently pulling you down with him.

"Here, in dis place dat isn't ours, we'll make it ours," he says, his hands tracing the curve of your waist. His touch sends shivers down your spine, igniting a fire within you that burns brighter than any multiverse illusion.

You reach up, tangling your fingers in his hair, pulling him closer. His lips meet yours in a searing kiss that speaks of promises and possession. The world around you melts away, leaving only the two of you, locked in a battle for dominance and surrender.

Remy's hands roam freely, exploring every inch of your body with a reverence that makes you arch into his touch. "You're beautiful," he murmurs against your skin, his voice rough with desire.

You gasp as his teeth graze your neck, marking you as his. "Remy," you breathe, your need rising like a tide.

He looks up, his eyes dark with passion. "Say it again, chere. My name," he commands, his voice a low growl.

"Remy," you repeat, more urgently this time, your body aching for more.

With a groan, he presses you back against the grass, his body covering yours. The weight of him feels perfect, grounding you in this stolen moment of reality. It almost doesn't feel real. His kisses trail down your throat, his hands mapping your curves with possessive strokes.

"You're mine," he asserts, punctuating each word with a sharp nip to your skin. "In every universe, you're mine."

The intensity of his declaration sends a thrill through you, fueling your own hunger. You wrap your legs around his waist, urging him closer. "Prove it," you challenge, your voice husky with arousal.

Remy grins, a feral spark lighting his eyes. "With pleasure, ma chere."

He shifts, aligning himself with your core, and with one powerful thrust, he shears through your barriers, claiming you completely. You cry out, a mix of pain and ecstasy ripping through you as he fills you, joining your souls in a union that transcends the multiverse.

"Y-yes... yes!" you pant, clawing at his back, desperate to feel every part of him.

Remy moves inside you, his strokes deep and relentless, each thrust a testament to his devotion. "Look at me," he demands, forcing you to meet his gaze. "See only me, darlin'."

You do, your vision blurring with tears of joy as you drown in the crimson and black of his eyes. "Always," you promise, your voice breaking with emotion.

His pace quickens, driving you both towards the precipice. "Together," he gasps, his forehead resting against yours. "Forever."

With a final, powerful surge, he pushes you over the edge, your bodies convulsing in unison as waves of pleasure crash over you. You cling to each other, bodies slick with sweat, hearts pounding in sync.

"Ours," Remy breathes, collapsing beside you, his chest heaving with exertion.

You turn to face him, your fingers tracing the contours of his face. "Ours," you agree, sealing your pact with a tender kiss.

As you lie there, wrapped in each other's arms, the garden around you begins to fade, the portal calling you back to your own reality. But for now, you're content to stay lost in this stolen moment, secure in the knowledge that no matter the multiverse, your love will always find its way home.

[12thbiologist]

Introduction by N. K. Jemisin, from 10th anniversary Authority reprint

"To my own shame, I've become a jaded reader in recent years. By this, I mean that my enthusiasm and curiosity, my drive to experience new worlds, have all been damaged by a persistent disjunct between reality and the speculative fiction I most enjoy.

"Is it any wonder? Given the horrors of Trump's first regime, the looming threat of another, a global plague allowed to run rampant, and a billionaire backed culture war on the rest of us. I'm more jaded about everything now. Escapism at this juncture feels like a way to temporarily pretend that everything is fine. And while there's value in taking a break from Hell, it also feels dangerous. Like drinking to drown my sorrows. Nothing wrong with alcohol now and again, but nobody needs a steady diet of oblivion.

"What I've found myself seeking instead are philosophies of entropy and survival. That is, fiction that addresses multifaceted decay and the psychology needed to survive it. At this point, to mangle Audre Lorde, the master has handed his tools out freely after designing them to break at first usage, buying out the only shop that could fix them and the only newspaper that tried to report on the scam, and charging all customers a subscription fee. And these days, it's no longer just us marginalized folks who need our media to acknowledge the slow motion apocalypse we're all trapped in.

"Enter, The Southern Reach books. When I first read Annihilation during the run-up to the 2016 election, it was a welcome breath of fungal, fetid air. Other fiction of the time seemed determined to suggest there was no need for alarm. Things couldn't be so bad. Anything broken could be fixed.

"Could it though? As I watched my country embrace a stupid, incompetent, and blatantly criminal fascist while insisting his spiteful, privileged sycophants somehow had a point—Well, when you're already queasy, sweet smells make the feeling worse. It helped to read instead about the smells and sights and horrors and haunting beauty of Area X. It helped me to imagine that creeping transformative infection warping body and mind and environment and institution. Because that was the world I was living in. It helped to meet the 12th expedition's nameless women who were simultaneously individuals, with selfish motivations, and archetypes, trapped in their roles. The biologist, driven by the loss of her mate and the need to integrate into a new ecosystem. The psychologist, a human subjects ethics violation in human flesh. We are dropped into danger with these women, immediately forced to confront an existential threat with courage and perseverance. And this? This was what I needed from my fiction.

"The second book, Authority, was even more what I needed. As we watch Control slowly realize he's never been in control, and that things are a lot worse than his complacency allowed him to see—it just resonated so powerfully. His over reliance on procedure and the assumed wisdom of his predecessor. His dogged refusal to see the undying plant in his office as a sign of something wrong. There was nothing of 2014's politics overtly visible in the book. And yet, they were all over it like mold.

"I've read and written reviews of these books and it seems to me that there's a common misreading that applies. Namely, that they are "climate fiction," or "cli-fi." This clunky label fits superficially, in that climate change occurs during the course of the book.

"However, Area X, with it's inexplicable reality warping power, is a poor metaphor for human caused destruction. Or even for the surreality of climate denial- talk about reality warping. I think a better analytic is to view the books as postcolonial fiction. Per Caribbean Canadian writer Nalo Hopkinson, postcolonial stories take the adventurous repertoire of science fiction—such as traveling to a distant realm and taming the exotic flora, fauna, and people who live there—and from the experience of the colonizee, critique it, pervert it, fuck with it. The characters of The Southern Reach books are only obliquely marginalized. Their races, ethnicities, class distinctions, and other markers of identity are deliberately downplayed, down to the lack of personal names. But they are all women, which is atypical of pretty much any US government agency. Two of them, the Asian biologist and the half-Indigenous psychologist, are racialized. Biology and psychology and anthropology are often dismissed as "soft sciences," in large part because too many women thrive in them. Or because they've done too good a job of reconsidering racial/cultural/ethnic equity and updating practices and personnel to suit.

"As the 12th expedition proceeds into Area X, on the surface it seems they are reenacting a thousand science fiction novels: going forth as intrepid strangers into a strange land. But for any reader who's familiar with those classic narratives, Annihilation's version feels like a setup. Our marginalized protagonists lacking the privileges and power of stalwart square-jawed white men seem doomed from pretty much the moment they enter Area X.

"So, they are the colonizees in this situation and Area X is definitely fucking with them. But as the story proceeds, it becomes clear that they are themselves fucking with that classic adventure dynamic. The psychologist has wholly focused her skills on taming her fellow adventurers, and perhaps herself. The biologist is trying to solve a mystery of identity: something unquantifiable and scientifically immeasurable, more felt than known, and deeply personal. The anthropologist has no one to study, save her fellow expedition members, and only the surveyor seems wholly focused on Area X at all. Perhaps this is why she later tries to kill the biologist. We see the irony of this setup most clearly with Control in Authority. He is the stalwart square jawed man that traditional science fiction has primed us to expect, even hope for, because he'll have the power to solve the situation, right? But Control becomes the proof that no colonizee can ever tame Area X. At best, they might manage to tame themselves.

"By the end of book one, the 12th expedition becomes the first successful one by a colonizer's rubric, in that they manage to share new understandings of Area X with those outside it and in that at least one member of the team survives with her mind and form somewhat intact. The beginning of book two seems to confirm this, as the story shifts to explore the Kafkaesque bureaucracy of the Southern Reach itself. But the expedition members' choices have become the choices of the colonized. Survive or not? Internalize or not? Assimilate or not? They bring these choices to Control, who adds his own familiar, horrifying existential questions. When change seems inevitable and irreversible, can it be controlled to some degree? Can the self remain intact after the mind and body have been "Ship of Theseus"-ed into something unrecognizable?

"This is not to say that climate focused readings are irrelevant to The Southern Reach series. I mean that climate issues are also colonization issues. In that, the worst effects of climate change fall hardest upon the most marginalized. We observe the breakdown of the 12th expedition, an invasive species to this new biome, even as we observe the breakdown of recognizable life within Area X. New configurations of life emerge from this collapse of old structures. Hybridizations, commensalisms, wholesale assimilations. Even our bureaucracies, as evidenced in Authority, form a kind of natural order that can be deconstructed and readapated. Control fails to contain Area X because of another key understanding that the colonized eventually develop: you cannot fight that with which you have become complicit. The best you can do is realize what's happening and hope its not too late by the time you do. Never fear, Area X reassures. Colonization and its associated harms, terrifying and painful as they might be, are not the end—however much traditional science fiction stories might suggest otherwise. Survival is possible if one is lucky, brave, and clever, but it might require a transformation far more nuanced and complex than mere death. And this is a reassurance. Speculative fiction has historically framed colonization as a contest with winners and losers, but its never been that simple. Human beings are syncretic, some element of who and what we were will always remain in what we become. Entropy cannot be stopped but new energy can be added to the system. And those who are caught up in the transformation can claim a degree of that power for themselves. And, ultimately, syncretism means that we are carried forwards regardless, if only in part. Still better than nothing.

"As I write these words, multiple genocides are in progress. I feel no certainty for the future. Half my nation is so enthralled to it's own bigoted fantasies that I neither expect nor particularly want the United States to survive. I do not fear the singularity, sentient AI, or any technological boogeyman. I fear the confluence of greed and shortsightedness and spite that human rights and human consciouses cannot survive intact.

"But new systems emerge, inevitably. After a climate extinction or a natural disaster, ecologies adapt, new entities eventually fill old empty niches, power changes hands, and stories can be deconstructed. Even when the situation is most terrifying, least stable, there will always be those who embrace the change, and perhaps gain new strength from it. It's a bittersweet understanding, but the change is upon us. We're all in Area X, now. If we are lucky, clever, and courageous, we might still recognize ourselves when its all said and done."

-N. K. Jemisin, Authority

[amaramizuki666]

Dp x DC crossover

So we all know how batman has this file of contiginceys for how to take town all the other heros in the league right. And I remeber an episode I think of where the JL just found out about the folder and was upset about it. Ok now onto the prompt

So phantom just joined the JL after everyone found out about the folder and are pissed at batman. The thing is nobody tells danny why they are mad at the bat so danny ignores everyone's warning to stay away from batman and befriends him.

So after awhile of watching all the tension and distrust everyone has around batman danny finally asked why everyone disliked batman. And they told him how he cept plans to stop them and take them out, and how it was a whole invasion of privacy and trust.

So at the next JL meeting that they wernt discussing an immanete threat, danny infront of everyone walked up to batman holding a bright green file and held it out to him. "This is a file of contingency plans to take me down" phantom states flatly holding his gaze with the bat.

Batman takes the folder gently. Superman stands from his seat abruptly. "phantom what are you doing, he could use that to kill you why would you hand him ways to hurt you!!??!" Superman questions, the rest of the league agrees with him.

Phantom stares at them blankly. "Because unlike you I understand this is necessary" danny says coldly. "What do you mean necessary?" Wonder women inquired. "Think about it how often dose a league member get brainwashed, how many times has someone been possessed, do you really want to go up against one of our own without a solid plan" danny sighs.

"That dosnt mean he needs to have plans like that-" green arrow tried to say but was cut off "actully it does, witch is exactly why I'm handing him the information to take me down". "Phantom your one of the kindest in the league, one of the most reliable, you would never-" flash tried to say but phantom interrupted again "but I have".

The whole league was in silence including the bat staring at phantom in confusion. "I've been mind controlled and hurt a lot of people" phantom says "so that's in the past and we've all been mind controlled at one point or another" flash says.

"That's not all though" phantom states his voice lased with frustration. Everyone looked at phantom "what do you mean?" Aquaman asks. "First I'm going to say I've had these plans written down since I was 14, second the reson I have these plans to not only take me down but destroy me is because I've seen what happens when I turn" phantom hissed coldly.

"Explain" batman says, straight to the point "when I was just starting out the hero thing a sister happened that would have killed everyone I love, it did kill everyone I love. I was hurt and turned to my nemesis and had his destroy my humanity. I then whent on to kill him, kill anyone who stood in my way, till the only people left where in a small town who had anti-ghost tech. Thankfully that future was avoided because he came back in time and tried to insure he happened, but I stopped him and changed the timeline. That is why I'm ok with handing batman the means to destroy me. Because I've seen how much I'd hurt people" phantom says.

Everyone looked at him in pure shock "get over yourselves and move on" with that phantom disappeared leaving the JL In chaos.

[basimdasasonst]

snw spock rant

i've been watching strange new worlds recently, and the prevailing feeling i always leave with, no matter the episode, is that i would like it if not for spock.

don't get me wrong; i'm a tos fan to my core. star trek launched me into a love of sci-fi and space fiction and is the whole reason i'm in university studying astrophysics, why i'm writing a book using said inner astrophysics nerd, why i have any sense of purpose to me, cliche as it is to say. star trek was an integral, important part of my upbringing, and continues to be one of my main interests to this day. i love jim (and i love snw jim! especially after aos kirk (shudders)) and i love bones (i really hope he joins snw soon....leonard mccoy save us....save us leonard mccoy...) and i love scotty and i love spock. but not snw spock.

here's the thing about spock: his internal character conflicts have always had some sort of root in him being not enough/not vulcan enough/not human enough/etc. his struggles with relationships as a result – because, lets face it, both humans and vulcans are social creatures and need friends otherwise society as a whole wouldn't be a thing on either world – make up a core part of his character. in tos, his relationship struggles were nearly purely platonic, with a few offhand remarks about stray crew members having crushes on him (uhura in early first season, chapel in amok time). 

s1e4 "the naked time". spock, right before losing his figurative Marbles, sees "love mankind" written on a wall. later, he goes on to say to jim: "when i feel friendship for you, i'm ashamed." other posts have done and will do better jobs of explaining it, but in conjunction with "sinner" written on the turbolift near jim (about not being able to form lasting relationships with other crewmates because its too much of a power imbalance), the writing on the wall (literally) is that spock is inherently ashamed of his humanity. he has been raised on vulcan to be a vulcan.

his internal conflict is always about him struggling with his human side. he struggles with friendship, he struggles with his humanity, he struggles to be something that people don't immediately deem wrong. as a gay man, and certainly as a young queer child first watching tos, i felt closest to spock not just because of feeling ashamed of part of my cultural heritage, but also because of repression. spock represses these feelings of insecurity, of friendship, of the need for connection in others in a certain way, so much that it causes him pain. growing up gay, his pain was very real to me. writing on the wall. he’s silly and a cool character of course, but he resonated with me in a way that, at the time, i didn’t have anything to resonate with. 

what does this all have to do with me hating snw spock so much? i want to preface this by saying i went into snw really wanting to love it. i saw the intro and the planets and the nebulae and the black hole and the music and was like "damn, this is fucking cool." star trek, to some part of me, was also about the space exploration aspect as much as the characters. the whims of wacky crewmembers and sentient rocks. the impossibly infinite things nature can form on its own. snw looked fun. i really wanted to like it. and you know what? i almost like it.

except for spock. quite literally the only character i have any quarrels with is spock. dehydrated, glistening, oiled up spock. wtf. why is he in a relationship with t'pring? why does he (almost) cheat on her with chapel? and why chapel??????????? chapel has a one-sided (VERY CLEARLY ONE SIDED) crush on him in tos. why is it two sided now. 

what, and i can't stress this enough, the fuck? 

and don't come into my house and tell me "oh you know, it makes sense, because, because then spock gets all hard and Logical and shuts himself off and obviously the reason for that is a breakup–" No!!!!!!!!!!!!!!!! no no no no. i don't care if it makes “sense” it feels so intrinsically wrong to his character. i’ve had much more character development from losing life-long friends than ending barely a year long relationships. spock wouldn’t immediately shut down because he kissed a girl once and then she said “acshually sowwy my work is more important” when that’s the exact sentiment he echoed to t’pring when they broke up.

more importantly, snw spock barely has friends. he calls pike a friend once or twice, but i hardly believe that they're friends. he barely interacts with la'an or erica, he has a few passing conversations with uhura in season 1 on episodes about her that don't really carry into season 2, and otherwise he's just There. he doesn't have friends in snw. the writers are prioritising him having a romantic relationship over a friendship. snw spock needs a friend way more than he needs a bone buddy. and it really rubs me the wrong way the way the relationship with chapel was portrayed to be first friendly and then romantic. i never believed for a second that he and chapel were friends – despite the screenwriters trying. every time they talked prior to s2e5 there was this odd undercurrent of sexuality that seemed to follow them. lingering looks, touching fingertips, long pauses – it was so unbelievably awkward and obvious that they were setting up a relationship between the two. i mean, for fucks sake, s1e1 uhura calls chapel "spock's girlfriend." boy did my blood boil when i figured out that was where the show was going. s1e5 was actually painful for me to get through (chapel sits down, gives spock relationship advice, giggles, smacks him upside the head, and calls him an idiot. 2017 wattpad is calling, they want their material back) and i had to take two full days to get through s2e5 because i was in anguish the whole time. it was a constant mental barrage of "spock wouldn't say that," and "spock wouldn't do that," and "this is not spock."

for the most part, i couldn't figure out why spock and chapel's relationship specifically bothered me so much. i mean i have my quarrels with la'an and jim, and i really don't give much of a care about pike and batel so why was spock and chapel grating on me so badly? was it because it was being shoved in my face? was the writing that much more atrocious than the others? was it the decimation of spock's character?

it was, i found, a product of all of those and the issue of queerness. 

look; i've survived sherlock bbc, i’ve survived the golden age of quotev fandom in 2016, i've bared witness to so much queerbaiting in my life that i don't even bother trying to hope for any sort of main character queer representation anymore. we’re going to be a footnote until someone does something about it. unfortunately, that’s not going to be me because i’m not a film director. so i look the other way and steam about it on twitter or tumblr or whatever hoping that i, like many other frustrated queer people, get noticed one day in the far future when it’s ok to have a queer romance in mainstream, it’s ok to have a queer main character, and it’s ok to let it simmer slowly and burn instead of jumping into it to say “look guys we’re woke!!!!!” (star trek literally was the pioneer for most of these things back in the day. but that’s another discussion on the heterosexualisation of progressive media that i wont get into. it just feels bitterly funny that this is happening to star trek of all things.) these days i just pretend the relationships dont exist and skip over them when they happen. i've developed a sixth sense for when weird, forced heterosexuality is about to be shoved down my oesophagus. i've just gotten used to it. 

but sphapel (or whatever it's called) burned through me. i've never felt quite this angry at an on screen relationship. and, trust me, i saw AOS. i didn't like spuhura then and i don't like it now but i wasn't angry so much as i was just tired and annoyed. but spock was – and always is to me, confused, queer 10 year old me – a queer character. his struggle with humanity, with friendship, with fitting in, with just being as a perceived "other" was what made him an interesting character to me to begin with. he was a certain outlet to vent that frustration for being "wrong" in society no matter how hard you try to conform one way or another. the knowledge that even if you are different, you still have people backing you up. his fucking friendships, guys. jim and bones. yes i know his friendship with jim is also inherently romantic dont worry im spirk #1 shipper but that’s not relevant here because, and forgive me for being pessimistic, i don’t believe for a second that these writers are going to lean into spirk anytime soon. their relationship went beyond friendship or romance or any of that stuff. coughs in the roddenberry footnote.

what i’m trying to say here, in layman’s terms, is that giving a friendless character a romantic relationship is exactly how you alienate a character. name one person you know in real life that can survive healthily with one single relation, that being their romantic partner that they have no friendly base of. you can’t. that’s a toxic relationship. that’s not romance, that’s alienation. that’s isolation. that’s loneliness. and that’s the OPPOSITE OF WHAT EXPLORING SPOCK’S HUMAN SIDE IS SUPPOSED TO DO TO HIM .

by stripping spock of his friends, and forcing his arc to be purely romantic, you have essentially stripped the character of all he is. i'd be mad if chapel was a dude, too, honestly speaking. but beyond that, corralling spock of all people into a heterosexual romantic relationship is – well. it's a choice i don't think i can ever agree with. the best way i can describe such a choice is like a dissonant chord – you can pluck the notes and they'll sound fine on their own, but when you put them together they will clash. there is nothing you can do with your fingers to play the same notes and not cause the clash. they will always clash. it is dissonance ringing through you, an inherent wrongness coupled with writing that is lazy and clearly meant for a very specific audience. snw spock is bad writing, fanservice, and extraordinarily out of character. notes i can tolerate on their own, but strung together – dissonant.

i really want to like snw. fuck, i love la'an, i love erica, i love jim (!!! thank you paul wesley for making him a nerd, and kind (glares at AOS), and generally a jim kirk that i can look at and say, "yeah, that's jim alright"), i love uhura, i love una, i love m'benga and i love pike but i hate spock. i really, truly, cannot like snw when i have to pause the show and take an irritated deep breath in every time i see chapel approach spock. it's – frustrating, and alienating, and wrong. so, so wrong. 

[picnokinesis]

Thoughts on Different Types of Representation in Doctor Who (and how fandom responds to it)

So I watched Rogue last night and - okay first, oh my days, absolutely ADORED it, this is definitely my favourite episode of this season, it was just so much FUN and it hooked me right from the start. And then the queerness! I was actually thinking to myself whilst watching it how wonderful it was because it felt like a queer story in a way that wasn't like, showboating about how progressive it was? [editorial aside: this is not comparing it to anything in particular, just a general observation]. The characters were just queer, within this wild and wonderful sci-fi story, but also their queerness wasn't the Only Character Trait they had and their story didn't resolve around their queerness, but their queerness was crucial to the plot in a way that was just lovely to see - and as a writer myself, it's personally the way I love to see our stories being told.

But then I made the mistake of going into the tag - always a foolish thing to do, because for some reason everyone loves to praise this era by criticising the previous era (as if it hasn't been criticised enough...like we know most of y'all hate Chris Chibnall for committing no worse crimes than Moffat and RTD before him...we know). And I found a couple of folks talking about how this episode alone did more for queer representation than the entirety of thirteen's era, whiiiiich at first really Peeved Me Off - like didn't these people understand how important Yaz's arc (especially Eve of the Daleks) was to a LOT of people? But then I was like 'well actually this is interesting', right? Because I think there's two very different kinds of representation going on here - and they're both very important in different ways, but one tends to get lauded as brilliant rep and one always gets put down as not good enough, or even bad rep. And what's the main difference? Whether the characters have a gay kiss or not.

So I just thought I'd share some of my thoughts and feelings on this, and why I think both these kinds of rep are equally important! To be clear from the get-go though - this is definitely not me ragging on anyone who likes more about one than the other (in fact, I think everyone likes one more than the other). This is merely a personal essay about it and the frustrations that comes when people in general do lift one up over the other. I'm gonna put it under the cut though, because it might get a bit long!

So, back when Eve of the Daleks aired, I remember having a lot of conversations about the representation in that episode - in particular with a very good friend of mine, who is a lesbian. And we realised that when it came to rep, we both actually wanted pretty different things. I'm aroace and genderfluid, and so a lot of what I saw in how thirteen was written - especially in terms of her gender (or lack thereof), and also her apparent lack of attraction (at least, in how I read it) was just incredibly affirming to me. I've never EVER seen a character on screen that I could see myself in both in terms of sexuality and gender. Whereas my friend saw things quite differently - thirteen was a lesbian, and they wanted to see that kiss between these two characters, because for them too, it was so rare to see that, and, in their words, they wanted to have their cake and eat it too. And we both realised that the reason that queer representation can feel so intense and important is, simply, because there isn't enough of it. We're all desperately reaching for the same small portion - and none of it is ever going to please everyone, or resonate with everyone. The stakes are too high.

So then, when there wasn't this dramatic romantic ending to Yaz's story, when there was no queer kiss, I was very sad for my friend, who didn't get that representation, but so painfully relieved for myself - because I got mine. So then it sucked a lot to see a lot of people getting really angry that this wasn't queer representation, that this was even homophobic - I even had someone tell me that aromantic representation in this regard was always going to be homophobic, because no-one would ever write it to be aro rep, and would instead only ever write it to avoid writing a gay kiss. And the thing that got me the most was that, REGARDLESS of whether they kissed or not, regardless of how you read either of the characters, there was one thing that was certain:

Yaz was queer. In text. Her emotional plotline centred around her realising that she was attracted to the Doctor (who was presenting as a woman - although, again, I don't think she really identified as such). The fact that she and the Doctor didn't get together by the end does not erase that fact.

They didn't kiss - but so what? Are queer people only queer when they're kissing someone of the same gender, or having gay sex? Are queer people not queer in their day to day lives, when they're not doing any of those things? Are queer people not queer when they're not dating? Are queer people not queer when they're trans, when they're ace, when they're aro, when their queerness doesn't resolve around attraction to the same gender?

And, to be honest, I think a lot of my feelings around this stem from the sort of exclusionist rhetoric that we saw a LOT of towards the ace/aro community back in 2012 that we still see now, that we're seeing towards the trans community now, that we're still seeing towards bi people, for pete's sake. It's this in-community infighting, pushing each other down to try and get up to the top, to keep all the "resources" for "the people who really need it", and it causes a serious amount of harm - but the truth is (and to bring this back to doctor who) that it all comes back to what me and my friend were discussing. We're all scared, all desperate to be seen - and when we are seen, it's the most incredible experience and the idea of losing that (or having someone else undermine it) feels inexpressibly awful. Having the thirteenth doctor...I suddenly realised this is what all the straight cis white dudes get all the time. She was like me, and that was indescribable. And then losing her - and having RTD not even be able to have a man wear her clothes because he was too worried about what the tabloids would say to be able to show a gnc person on tv...and then constantly described her as The Woman Doctor for the next entire episode - that hurt. A lot.

I've spoken to other friends who felt so seen in the character of Yaz - those people who realised they were queer later in life, those who fall in love with people and it doesn't end up going anywhere, those who don't get the whirlwind queer romances that people often call 'good representation'. Myself and many of my aspec friends have felt so seen in thirteen's almost entirely romance-less arc, and myself and my trans/genderqueer friends felt very seen in the way that thirteen's character would have been exactly the same if she'd been a man - the only difference was how the other characters around her interacted with her. Gender was something that happened to her. And when I watch episodes like Rogue, even though I don't relate to that representation, I just feel overwhelmed with joy because I know how important it will be to others that I care about. I think my sadness then comes from the fact that the way Thirteen and Yaz were written are just as important to me and many people that I know, but because they didn't kiss, it's not considered queer enough. Am I not queer enough, then? Are my friends not queer enough?

We need more episodes like Rogue, like The Parting of Ways, like Praxeus, like The Doctor Falls, because they are unquestionably and unapologetically queer, in a way that can't be avoided. We also need more episodes like Eve of the Daleks, like The Haunting of the Villa Diodati, like the rest of thirteen's era where the representation is an undercurrent throughout the whole story - but also undeniable, in a way that Yaz's story arc is, even if it doesn't end in a kiss, even if it doesn't end neatly and happily. Personally, I definitely would love to see more stories focused on aromanticism and on transness (especially ones that are written by trans people for trans people, rather than by cis people for cis people), but that's probably going to be down to people like me and other writers that I know actually getting into the script writing industry - and that depends on the people who are already there letting us in. One thing that I've always appreciated about Chibnall is that, after leaving Doctor Who, he began a programme for training up new showrunners with ITV, because: "showrunners are the gatekeepers and too many of the gatekeepers look like me."

Anyway, I probably have more thoughts that I've forgotten, but that's generally the gist of it. I think the more we fight over whether rep is 'good' or 'bad', relating to whether we see ourselves in it or not (rather than 'is this genuinely harmful or unhelpful', which I think is a more crucial question) the more the waters get muddied. We have different needs and wants, and no single episode is going to represent every facet of our community. But each episode, each story like this is a step in the right direction - and even rep that isn't perfect (I have thoughts about The Star Beast, for example) is still extremely positive and important, and definitely something that should be celebrated, even as we keep looking to the future for what we would like to see done differently, done better. And some day, I hope, there'll be so much queer rep, it'll be so normal, that those stakes won't feel so high anymore. It won't feel like everything hangs on how a certain show or storyline or episode is written. We'll all be seen. And that will be absolutely fantastic.

[coraniaid]

buffy/faith for the ask game

(Reverse unpopular opinions)

Easily my favorite Buffy ship and one of my favorites in any work of fiction. I think the main reasons it works so well for me are:

The way it resonates so strongly with what's going on in the rest of the show the season Faith arrives. I mean, Buffy comes out to her mother (as a Slayer), which is treated by the show as ... well, as Buffy coming out ("it's because you didn't have a strong father figure, isn't it?" / "have you tried ... not being a Slayer?" / "I've tried to march in the Slayer Pride Parade...") and a handful of episodes later Buffy meets another girl who is also a Slayer and who she starts spending a lot of time with (because they have a connection -- "it's kind of a Slayer thing" -- which she doesn't have with her other, non-Slayer friends). And while they're busy patrolling cemeteries and looking for vampires every night, this other Slayer is keen to (1) talk to Buffy about sex and quiz her on her love life; (2) repeatedly tell her that "all men are beasts" and "losers" who can't be trusted; (3) suggest that Buffy should be more open to having sex with the people she spends her nights hunting vampires with (like ... who, Faith?); and (4) is delighted when Buffy breaks up with her boyfriend (and later furious when she gets back together with her previous ex) and immediately suggests that she could replace him ("You're still going to that dance, right? [...] Why don't we go together?"). If this was deliberately laying the ground work for an explicitly romantic arc, it would feel pretty heavy-handed. The fact that it apparently wasn't (at least not on the part of the showrunner or of most of the writers) almost makes it work better, in some ways.

The way that Faith is, from the very beginning, very deliberately written as a foil for Buffy, a person Buffy might have been if things went just a little differently in her life -- because she goes through things very much like things the audience has already seen Buffy go though (living alone in a small place in a strange town with no friends all season the way Buffy did in Anne, panicking and starting to pack to run away in Faith, Hope & Trick in the same way Buffy was accused of doing just the episode before, killing a person the way Buffy thought she had in Season 2's Ted, the way her fear of Kakistos mirrors Buffy's fear of the Master in When She Was Bad) and because she is so aware of the fact that she's always being compared to Buffy and coming up short, either by other people or herself ("you get the Mom, you get the Watcher ... what do I get?") it's very easy to tie Faith's arc across the show back to Buffy and to her feelings about Buffy. Faith wanting Buffy to accept her becomes Faith wanting this idealized version of herself to forgive her failings. And likewise Buffy recriprocating Faith's feelings and admitting to herself that she is attracted to Faith becomes Buffy accepting that Faith (and the things she represents) really are an integral part of Buffy herself; that Faith isn't entirely wrong when she says that Buffy enjoys being a Slayer and that being a Slayer is something she should be proud of (or, again, being "a Slayer").

Apparently this wasn't the original plan for the character (if there ever was anything like an 'original plan'), but the fact Faith's arc in Season 3 so clearly mirrors Angel's in Season 2 -- and the fact she is so very weird about Angel all season (and that Buffy is equally weird about how attracted to Faith she just keeps insisting Angel must be) just naturally suggests that Faith might have a similiar role to Angel in the narrative beyond just the circumstances of her betrayal of (and later not-quite-being-killed by) Buffy. And Angel is -- for the first three seasons of the show at least -- primarily cast in the role of Buffy's doomed tragic love interest who she has to (metaphorically) kill but will later be reunited with. Which makes Faith ... well, something.

Even if not all the writers were on board, the fact that Eliza Dushku was deliberately playing Faith as attracted to Buffy (and that SMG was playing Buffy as alternately frustrated by and protective of and tempted by Faith) gives their scenes together a chemistry that I don't think most of Buffy's (or Buffy's) canon relationships ever managed. Whether that's the Amends porch scene or Buffy kissing Faith in the hospital in Graduation Day or any and all of their various fights across the show. And those fight scenes are all great, which is another thing I love about the ship: is it really a proper enemies-to-lovers arc if one of the people in it hasn't tried to kill the other one and left them in a coma for months?

Faith's return to Buffy in the last five epsiodes of the show is one of the last season's saving graces, and it helps that by this point the writers definitely seemed to be playing up the ship deliberately ("Willow said you needed me: didn't give it a lot of thought" / "Defensiveness and weird mixed signals ... I've got Faith for that" / "Deep down you've always wanted Buffy to accept you. To love you." / "It feels like it's mine ... I guess that means it's yours"). Even without ever being canon and without wandering what happens post-Chosen, it feels like there's a real narrative arc to their relationship, from their initially rocky start through to "just good friends" to bitter enemies through to Faith seeking (and finding) some measure of redemption and Buffy cautiously letting her back into her life. Faith isn't in the show much (or even mentioned in the show in most episodes), but it feels like she has a genuinely meaningful connection to Buffy that most characters who appeaer in less than a season's worth of episodes can't manage.

The thing that made the ship work for me, rewatching the show after several years back in 2020, is the fact that Faith is -- even at her worst -- incredibly sympathetic precisely because she is such a loser and hates herself so much. She boasts about being a great actor despite the fact we see her awkwardly telling the sort of transparent lies that ... well, normally only Buffy manages (compare "There's this big party ..." in Amends to Buffy trying to tell her old crush Ford that "there was a cat ... and then there was another cat, and they were fighting"), she wants people to think she's cool so badly but only manages to fool Xander and Willow, she tries to act as though she's happy without friends but we only ever see her alone sitting watching old tv shows or lying listlessly on her bed, she insists she doesn't need a Watcher and "has a problem with authority figures" but she is so openly desperate for any sort of parental guidance in her life that she sides with first Mrs Post then the Mayor. She ties Buffy's mom up so she can have someone to listen to how sad she is that Buffy's moved on to a new guy in college and "dumped" her. The scene in the church in Who Are You? where Faith-as-Buffy furiously attacks Buffy-as-Faith while screaming through tears that she's "nothing ... disgusting ... murderous bitch" is, I think, a strong contendor for the best scene the show ever produced.

As Doug Petrie said, the reason Faith works as a character -- and the reason that Buffy/Faith works as a ship -- is that Faith is incredibly unhappy. If Faith was the cool loner she tries to pass herself off as -- and which some of the fandom seems to think she is -- the ship wouldn't be nearly as compelling to me. Faith isn't just the part of Buffy who loves Slaying and pushes back when other people give her orders, and she's not just another verison of Angelus. She's the part of Buffy from Becoming who lost everything and ran away from home, only unlike Buffy she never got to go home again. As Angel asked Buffy in that episode: "no friends, no hope ... take that away, what's left?". Well, Faith is what's left. Of course Buffy would see herself in Faith, right from the beginning. Of course Buffy would want to protect her. As Buffy (Sunnydale Class Protector 1999) tells Angel, Faith is in pain ... she's somebody who "some people ... protective-type people" are naturally drawn to. The show is very consistent about the fact that Buffy's type is friendless losers who look good in leather and can fight alongside her in battle (but not quite as well, so she can protect them and look after them when they're hurt). And what bigger loser in the show is there than Faith?

[little-tyrant-gortash]

✨ Look away, I'm saving myself some Gortash headcanons ✨

My favourite thing is that this is just lying around in the illithid colony, free to take just before you descend to fight Ketheric:

I've been thinking about this a lot. My character said that "I feel... glorious" when they came near it. When Karlach left it, she said "Ah, right. Not happy, just psionicked".

And the design? It's a stone, but it has this casing which resembles... the head of a dragon.

Bane's favoured beast is the dragon. Which makes me believe Enver added the case around the stone, so he could set it down like that.

He definitely spends time here, more than in the Moonrise Towers; where Ketheric has his orderly office and chambers, and Balthazar has his chaotic, gruesome laboratory. I haven't found a room for Enver there, though. Which makes me believe that he really doesn't stay there for long. He works down here.

It makes sense he'd put that stone there... beside a "True Mind" and a "Willing Mind", Balthazar's notes, Mol's eyepatch, and the Letter for Forgiveness written by the Dark Urge. Which begs the question: the Dark Urge came here with Gortash? (I'd say a big fat yes to that.)

Balthazar's notes confirm that Enver built a machine with which one could talk to the minds directly, and the head itself on that pedestal after you put one of the minds in the construct confirms that Gortash visits the place and asks the brains questions.

Balthazar complains in his notes that Enver leaves the skull shavings along his workbench, and guess what, you find a severed head on the workbench beside it with other tools and devices. Let's talk about the sentimental value of the Prayer for Forgiveness; right under the tools Enver uses there, between a brain and a bottled eye...

Now back with the Resonance Stone, which makes people feel "Steeped In Bliss":

It affects their victims, of course, but it also affects them. I find it interesting that it makes you feel great, energized, but at the same time you end up having mental disadvantages and vulnerability. I still pick it up and bring it with me to the main chamber because boy, that last fight is tough and I definitely need advantage on physical checks. Thanks, Gortash! I'll thank you when we meet in Baldur's Gate!

Then, when you talk to the brains separately, this is the True Mind:

And this is the Willing Mind:

Beggar's Rest is in Waterdeep. Boy has been busy, travelling all across Faerûn, huh. Convincing innocent, unsuspecting girls to lend him their brains - and they're doing it for him, willingly, at that. It's insane how good he is at persuasion. 👀 (It worked even on me haha!)

Remember kids: even if you're a bard - he'd have use of your brain and voice. You could be his little bird in a cage (or rather, brain in a cage). Delightful, isn't it? 🖤

[kneelingshadowsalome]

Would you mind talking more about Ghost? I dig your interpretation on him so i'm curious if you'd share your thoughts; since i know how COD in general writes these characters and we know romance isn't on the table for them, ESP for someone like Ghost (even confimred by his voice actor too!)

So all that aside, in your opinion, what would it take to win Ghost's heart (or well, Simon's)? :)

It's great to hear you like my interpretation of Ghost! I'll gladly share my thoughts on this, the supposed love life of Simon Riley is one of my favorite subjects 🧐

Thoughts on what would it take to win Simon's heart under the cut ->

To be honest I see it highly unlikely that Ghost would date. I think Samuel Roukin's opinion on this matter was spot on. Simon's traumatic background, trust issues, the need to stay anonymous and his profession as a special ops soldier is just too heavy a combo. His family's murder and multiple betrayals have pushed him on a path of extreme independence and made him evade any kind of attachment.

That being said... I'm a hopeless romantic and love to imagine scenarios just like every other little simp here 🩷💋, and I've pictured (and occasionally written) him to be drawn to someone who is principally the opposite of himself, but who also has a dash of angst in their heart and firsthand experience or at least some basic understanding of complex trauma.

A positive vibes only/sunshine type of person would not resonate well with his darkness, and a carefree joker would only annoy him. Then again, there's Soap – but the thing with John MacTavish is that he shares the same profession and in that way, is not a stranger to the Underworld. Their banter is also evidence enough that Soap is not afraid of Ghost's madness and even looks up to him – actually a perfect way to make someone like Ghost enjoy your company. This man has a terrible praise kink but he can't stand spineless bootlickers. So the adoration should happen in a "I trust you and would follow you to hell & back" kind of way.

However, due to the shit he's been through, I'd say (contrary to popular headcanon, I dunno?) that Simon would likely fall for someone outside the military world. First of all, he's very uncomfortable with the fact that his partner has to fear for his safety. But the fear of losing his partner to the dangers of this profession would be a little too much. It would only trigger a shitload of PTSD stuff. The fear of losing a loved one again would override the mutual experience and bonding through warfare, all the elements which otherwise might be pull factors in a military love interest. On the other hand, people with traumatic backgrounds tend to repeat the pattern, no matter how horrific or unsafe, simply because it's familiar. Still, I'd say someone from the base personnel would be a more alluring option for him. The shared hell, so to say, could make the foundations of this relationship quite dark. Not that it's necessarily a bad thing!

Deep down, Simon would be attracted to softness. Not innocence, per se, just something different from the realm in which he operates. This is why I think he could definitely fall for "a normie". He would appreciate dark humor and a certain kind of fearlessness, however. What ultimately would win his heart is someone who can stand, even cherish, his melancholy and cynicism and life choices and who is not on a quest to change or "fix" him.

I think Simon's ultimate wish is to find a home because he has lost it (or hasn't really had one in the first place). He's a leader and has to provide safety and support on a daily basis to the people under his command. But who offers support and safety to him? He knows how to protect people but doesn't know how to create a safe space, so he would appreciate someone who makes him feel he's finally found his way home. I think he yearns for a small measure of peace and a slice of normal life to wash away the adrenaline and blood and filth, he wants a small corner free from the demons that haunt him, even if he would reluctantly (if ever) admit that he does.

[carriesthewind]

I can't stop thinking about the notes on this rage-bait post about To Kill a Mockingbird.

Some of it is the sheer number of people falling for the bait and believing that the school district in question banned the novel:

But there's also this...tone to so many of the notes that I find fascinating. And I think two sets of comments illustrate why:

Every time I look at these tags I feel like there is something more to unpack. If I am being kind of flip, I can roll my eyes at someone "sigh[ing] at the lack of reading comprehension" while falling for outrage bait.

But more seriously, I feel like this comment is completely right about needing to be uncomfortable and leave sterile environments in order to grown and change...but that comment exists in the context of the writer being so deeply uncomfortable at the mere idea that an over 60 year old book will no longer be taught to some children that they completely fail to interrogate the underlying story. There's a failure to take the next step. It's possible the writer was uncomfortable when they first read the novel, but to quote a tag I didn't capture here, it's "one of [their] favorite books." The book doesn't make *them* uncomfortable at all. The writer is not willing to interrogate that the school district might have had good reasons for switching the book out of the curriculum. Instead, they assume that the reasons are because "people don't understand" the book - the writer "see[s] what they look for."

I love To Kill a Mockingbird. (Hell, I'm one of those white future-public defenders who read the book and saw the movie and watched Atticus with my soul in my throat and, while I was not directly inspired by him, he resonated with a deep part of me.) It would be an uphill debate to convince me to remove it from a teaching curriculum - but then again, I'm not in charge of any teaching curriculum and have zero relevant expertise. I've read now a number of different articles and reactions to this incident, and the reactions rarely have anything to do with the reality of what decisions were made and why. You have to jump through numerous links to find what appears to be the original parent complaint:

Yolanda Williams said she found out that students were saying the N-word and laughing in the classroom, and it was offensive. “Students were laughing out loud at the teacher’s response. That’s unacceptable to me,” she told the board. “Is there not a better way to teach about that era and the horrors of that era, other than having kids laughing in class when the N-word is said? It should not be required reading for all students. My child shouldn’t have to sit in that class like that.” “It’s not a conducive environment,” Yolanda Williams said. “It’s not just the book, but supplemental material that had the N-word.

(How much do we value, how do we weigh, one way of learning about the history of racism, against the pain of a black child? Whose comfort are we willing to sacrifice, and for what?)

The second comment I come back to is much shorter, but I feel like it's where everything fell in to place for me:

Were the people made uncomfortable by the book white people? How many of them? I don't know for sure - although I know at least one of the parents, as quoted above, was black - and neither do any of the commenters.

Why do we read "people" and see "white people?" And in a way, I'm asking a rhetorical question - because of course we do, because the tweet is set up that day. And, even more so, of course we do - because the people the book is for are white people.

To go back to the previous comment, the one I can't stop unpacking: the writer quotes a famous line from the book, "You never really understand a person until you consider things from his point of view...until you climb into his skin and walk around in it."

And yes, I love this quote.

But.

But.

To Kill a Mockingbird was written by Harper Lee, a white woman.

The narrator of the book is Scout, a white child.

The hero of the book is Atticus, her white father.

The embodiment of the theme, the person whose skin Scout tries to step into, is Boo Radley, another white man.

Do you remember, the man who was murdered? Do you see him in that picture at the top of the post? How long does it take you to remember his name?

When do we step into his skin? When do we walk around with his perspective?

I love To Kill a Mockingbird. But if a school district wanted to teach a book to embody this quote, aren't there so many better ones?

Another commenter on the post appears to have actual lived experience with this book being removed from the teaching curriculum.

[sixth-light]

13 books tag game, tagged by @amemoryofwot

1) Last book I read:

Starter Villain by John Scalzi, in an effort to 1) get back on my Hugo nominee completionist bullshit and 2) give him a second go, since I was deeply unimpressed by the first one a few years ago. It was...you know the thing about how badly-written books can help you learn more about writing than well-written ones? That!

2) A book I recommend:

I am metaphorically grabbing everybody I know by the collar and telling them to read Some Desperate Glory, unless the subject matter isn't for them which is fair, but it's so good.

3) A book that I couldn’t put down:

I distinctly remember finishing Gideon the Ninth at like 11pm because I couldn't wait until morning, which must be seen in the context of me being asleep by 10pm every night of my life I get a choice in the matter.

4) A book I’ve read twice (or more)

I went through a solid decade of reading Hogfather every Christmas and I've probably got a few more left in me.

5) A book on my TBR

I've got Mary Beard's latest book, Emperor of Rome, on reserve at the library.

6) A book I’ve put down

Tried The Bone Shard Daughter by Andrea Stewart last year because it was blurbed well and I was in a fantasy mood, and got like...twenty pages in. It didn't leave enough of an impression for me to remember exactly why, just a general 'I don't care about these characters' vibe.

7) A book on my wish list

Kate Elliott is being very kind about progress updates in her newsletter and I want her to have the time she needs...but I am also chewing at the bit for Lady Chaos.

8) A favourite book from childhood

I was SO into Redwall as a kid. First fanfic I ever wrote.

9) A book you would give a friend

This is hard because I always want to rec specific books to specific people, I sincerely believe there's no generic book which is good for everybody. Um, maybe All Systems Red since Murderbot seems to resonate with a wide audience?

10) The most books you own by a single author

(Physical books only) An ACTUAL single author? Anne McCaffrey for sure. An alleged single author? I own 36 Trixie Belden Mysteries books.

11) A nonfiction book you own

Storm over Mono, which is a really interesting account of the fight to save Lake Mono in California, a scientifically interesting and historically and ecologically unique place.

12) what are you currently reading

Technically between books but I'm about to start The Imposition of Unnecessary Obstacles by Malka Older. I liked the first one fine but it didn't grab me grab me, so we'll see how it goes.

13) what are you planning on reading next?

My mostly-science book club is going retro and reading Surely You're Joking, Mr Feynman which I have been putting off because I have Heard Things about Richard Feynman...but also I gotta gird my loins and get onto it.

I have not been around Tumblr enough lately to think of who to tag but with 100% sincerity, if you see this and it starts the wheels turning in your head about books you've read lately and so on, you're it!