#but I didn't feel like it and I thought it would be interesting this way for story purposes (not that too much changes) ^^'

[kimyoonmiauthor]

Might be more of a white culture thing. I get called names often when I point to actionable things one can do. Usually from particularly Black and other PoCs, they're more straight with me than white women are when they assume I'm a woman, even if I point out I'm NB and particularly don't subscribe to white (US Middle Class) woman's speech, which I never could quite master nor like.

There was a study on white women's speech about an Italian family, I think, granted US-based immigrants, where women of the family were taught more to be "peacemakers" and use indirect questions, (not the Jewish kind of questions) to particularly needle people into doing action.

Jewish speech (since I was raised Jewish as part of being adopted), tends to have more rhetorical questions to challenge people to think more deeper or examine their thoughts. (Plenty of papers on this, I actually wrote a long post about it)

But outside of (white) Jewish circles, often questions are used as passive aggressive behavior and ways to diffuse conflict. Such as the white woman speech of something like, "We do not hit other kids. How do you think the other kid feels?"

BTW, this is far from the white woman's tears and toxic white women's speech as pointed out by Robin DiAngelo, but does show the gulf between how women are treated between cultures and often I've observed PoCs are more likely to try to conform to white ways of gender when faced with someone white due to mainly stereotype threat and also some speech patterns which are harder to deal with if you aren't versed with how to deal with the toxicity. People tend to hedge their bets.

By the way, straight pitching here, but I'd really, really like a philosophical discussion on two things, though I'm well aware these are loosey goosey. And yes, maybe influenced by the US election:

The questions are these two:

Does true altruism exist? Is there a way to make an outgroup care about the in-group, when they have no skin in the game and keep showing up? I remember the episode you did about Sam Altman? But it didn't get into this question. We're stuck worldwide with people who don't care, but is there a philosophical way to get people to care about groups they don't belong to?

And the other question is how does one sell an idea of masculinity that is not the Alpha, Beta, etc set and can we escape that to men in such a way that they feel invited? I've read about sacred masculinity and also the secure masculinity models, but worldwide the shift towards that ultra masculinity seems to be winning because it feels powerful. The current movement of feminism is asking how to reframe masculinity itself.

I'd like to see it in an intersectional way for both topics. Such a way that it sees internationally and through lens of intersectional queerness.

You've circled around these topics, gone through them talked about queerness, communication, but I've felt like it's a glancing blow. I'm aware this is a hard ask. But I have to admit the last US election and watching other elections where people have swung far right on self interest alone over community has left me wondering if I missed something. Distrust of community that deep leaves me reeling.

I encountered women who were willing to, for example, stick it to trans people over protecting their own rights and philosophically I do not understand why they would choose hate over saying everyone deserves rights. I did the sit down and listen, but hit hard dead end walls, like I was being an elitist for going to college and the pursuit of knowledge is being snobby. Or literal professed Neo-Nazis, like telling me people should believe in Mein Kampf. And I'm sitting here thinking what more could I have done to make people care and care about people unlike them as a really marginalized person. It hit so many walls, and I tried very hard not to yell, scream, but reason through emotions, logic, but I can't help feeling a little frustrated that maybe I didn't know enough in order to get them to see a different way and move them that little bit or at least crack their wall through the interaction.

Separating The Art from the Artist ('s Gender)

an interesting thing I've observed:

I've been making art for my whole life, and I publicly transitioned a few years ago, and it's super interesting how much criticism changed when I came out

When I was in the closet the criticism I got for my work was a lot more useful. It was generally constructive, usually specific and actionable, usually coming from a place of sincerely engaging with my work even if it didn't always like it. So even the negative stuff was usually helpful?

Whereas now, most of the criticism I get seems a lot more "vibes based"? It's more vague; it's more likely to contain factual errors like "The work says X" when the work doesn't say that, or even says the opposite; the criticism is often less actionable; and it's more likely to treat my work as something that has accidental features to which the audience has a reaction that is the most important thing, rather than something that has deliberate features because I chose to put them there? And so it's judged much more by whether people vibed with it rather than by whether it achieved what I intended it to

idk, it's just interesting, maybe it's not a gender thing maybe it's just that people's media literacy is changing? maybe i'm attracting different audiences now? maybe I'm just worse lol

[yugsly]

Hey uhhh. Sorry if this is too spoilery. So that Zine. Mentioning Capochin. THE FULL ON EMO EXCLUSIVE.

Do you think Capochin and [Redacted] improve together? They got a lot of work to do?? Is it okay for them to be together?

I wanna know MORE and I just. People are SCARED for Capochin myself included uhhhh.

PLEASE I NEED ANSWERS

Hey, before I say anything- I know they're mine and Day's characters, but anything I talk about related to "post-game" or context not in-game is still "speculation". Meaning, not necessarily canon unless it was something recorded in dev-text or something I specifically had in mind while creating it, not after. I would never want to snuff out anyone's own ideas for what things "mean". THAT BEING SAID, I have some things to say- DO NOT READ ON UNLESS YOU HAVE COMPLETED THE GAME:

So, It's pretty complicated and I've thought about it a lot during and after making the game. Hector's got to do a LOT of work to even earn Capochin's forgiveness, if he'll even give it to him. (if most anyone will give it to him, really.) It's a silly cartoon game but yes, the situation is pretty grim. I mean, you've seen that cooking video Capo made. You've seen what he said when you faced him at the end of the line. All those implications. Without getting into specifics, yeah, the situation was really, really bad. But it's complex. It's not black and white. Hector and Capo knew eachother for a long long time even before Hector became Inspekta (a nosy person might have noticed the news clippings in Milldread). So they go way back- and I imagine things were pretty great up until, and a good ways into Hector ascending. But you know, there was a certain turning point- leading to where he ended up. Razzma speaks on this a bit, throughout. (Razzma has a lot of interesting background tidbits, explore giving her different phrases!) Him realizing that becoming a god didn't solve his insecurities like he thought they might... and more... I won't elaborate too much, because I want you to imagine it yourself. I only want to spread a few bread crumbs and let you make up your minds, even if I have my own thoughts, you know? Your question: "Is it okay for them to be together?" Well, that's up to you to decide. It's okay to imagine whatever you want. Capo forgives Hector eventually? Great. He never forgives him? Also Great! Do I wish I had more time in-game to elaborate on these things? Sure, I do. There's a handful of things I'd love to have explored. But I also like that it's open ended- you can tell, at the end, even though the day was saved, Hector and Capo feel awful. Sure, Capochin gave him that confidence boost to save the day- nothing he said was a lie- it was just the right thing to do in the moment. But you know, they don't really get a chance to really hash it out. It allows for y'all to really brainstorm, the world is your oyster. Whatever you come up with- be kind to eachother and respect eachother's ideas, okay?

[meanbossart]

im so curious-- how well does DUDrow get on with the other companions? I've only seen your art and going off that I feel like: he gets along with Shadowheart, Gale I think he borderline cant stand, and Wyll/Lae'zel/Karlach I have no idea how he'd feel about them but id love to know!

So, funfact, because I was not familiar with these kinds of games at the time I played BG3, I practically stuck with the same exact party the entire playthrough. I distinctly remember swapping Wyll in for Astarion once at the end of act 2 because I thought he NEEDED to be there to find Mizora, and I replaced Gale with Karlach when I went to kill Gortash. Otherwise... It was pretty much always just DU drow, Shadowheart, Astarion and Gale. I did this because they were the characters I liked most, so I wanted to see all they had to offer.

Anyways, I mention this because it reflects how DU drow related to everyone - which is to say that he didn't. He picked his favorites (two because he liked them, one because he has fireball) and didn't get particularly close to anyone else.

BUT, there were definitely notable dynamics!

Lae'zel: She's dead. He killed her night 3 or something. Before that he thought her annoyingly demanding and over the top. I don't think DU drow even remembers her by the end of the game.

Gale: Just to add to your original observation, Gale and DU drow have a little bit of history. Gale tries, for about half of the campaign, to pursue him romantically. DU drow keeps turning him down and is either misinterpreted or ignored, and by the time Gale does give up on him their relationship has completely soured to the point where they are constantly shooting daggers at each other. (this reflects a romance bug I got in my first run, except I didn't realize it was a bug. Either way I think its more interesting storytelling than the intended experience.)

Wyll: DU drow was profoundly frustrated by Wyll every step of the way. He found him to be incredibly naive and a bit delusional in his pursuit for heroism, and could never relate to Wyll's perspective or choices - the few he made for himself, at least. They definitely had the least in common and DU drow avoided interacting with him most of the time.

Halsin: He didn't care for Halsin much. He was vaguely helpful but by the time they got to the shadow-cursed lands DU drow had the impression he'd only been dragged here to help him clear his conscience, which he didn't appreciate. Also, he couldn't bear to have someone in camp be taller than himself. Halsin was left behind in Act 2.

Jaheira: DU drow fucking loves Jaheira. They bickered and borderline insulted each other and had a great time doing it. He can respect anyone who will call him a monster, threaten to murder him in his sleep, and make light fun at him the next day. It helps that she's hot, also.

Minsc: Weird hamster man. Ocasionally rendered him speechless. Puzzling human being.

Karlach: He didn't get Karlach, but he was often amused by her and curious enough to want to hear what she had to say. There was a similar issue here as Wyll's where he just couldn't relate to her enough to have much to discuss, but Karlach at least had an edge to her that made her far better company. They got along pretty well when the topic wasn't serious, but when it came to the problems she actually faced their perspectives shifted significantly. DU drow thought everything could be fixed, that accepting her own demise was a cowardly thing to do - and as they approached the end, and she asked him if he would stay with her when she died, he thought she was weak. I don't know if he ever discusses it with anyone, but he feels guilty about her death to this day and sees it as personal failure.

[moonlight-prose]

smoke and ash

a/n: this is based entirely on a post made by the amazing @cavillscurls and i was given permission to write it for her cause the idea actually made my brain go numb. plus just the thought of this man having an oral fixation paired with someone who also has an oral fixation?? beautiful. filthy. spectacular. it's quickly written cause i had the inspo at the time and really didn't want to lose it. so enjoy!

summary: cigar smoke trailed after him with every step, his mouth always desperate for something to wet, something to bite down on. and you with the match between your teeth indulged him every which way.

word count: 1.4k+

pairing: old man!logan howlett x f!reader

warnings: EXPLICIT SO MINORS DNI 18+ ONLY!!, oral fixation, spit kink, choking, dry humping, desperate!logan, overstimulation, cigars, they're fucking messy, dirty talk.

A dark stain of saliva coated the base of a match as you sat sprawled on his leather couch. Your teeth dug into it, creating an indent that would last until you decided it was time to strike the phosphorus and let it burn down. Sometimes they snapped. Other times you tossed them in the trash. Tonight you were intent on lighting it up—solely for the cigar currently stuffed in between his own lips.

He sucked at the end thoughtfully most nights. Glasses perched on the edge of his nose, a book he'd read a hundred times over propped in one hand—whiskey in his other. Half of it was already burnt through. Used within the span of a few days before stubbed out and saved.

“Interesting story?”

The soft hum was all he offered, his eyes flicking back and forth between the lines even though he could recite the words from memory. The pages were worn from use, spine cracked every which way, and you often considered buying him a new copy. If just to give the story a chance to breathe in his mind. Sink beneath the depths of memories that still floated along the surface—seeking to ruminate in the cracks of chaos.

“Logan.”

“Bub?”

“What does it taste like?”

At last he looked up, eyebrows lifted and fingers moving to drag the sticky wet cigar out of his mouth. “This?”

You nodded. “Good or bad or…”

“Better than those fuckin’ matches,” he scoffed, pointedly glaring at the splintered wood between your teeth—a nervous habit you had yet to kick. “C’mere and find out.”

Scrambling off the couch a bit too quickly, you found yourself perched in his lap, legs straddling his hips with a smile painted across your lips. He removed the match, flicking it into the discarded ashtray with contempt—happy to have your mouth empty and waiting. Only to place the soaked butt against your tongue, his tongue swiping across his bottom lip at the sight. You always imagined what the flavor resembled. Until it finally dawned on you.

This is how it tasted to kiss him. The bitter tang of the cigar muted by the flavor of the whiskey he drank and the mints he chewed in his spare time. You sucked on the remnants of his saliva, your mind lighting up at the feel of it. Of having something stuck between your lips, a thing you could fixate on.

“Taste’s like me don’t it?”

You nodded, shifting against his body as the first spark of heat began to slowly meld with the rest of your senses.

“Good girl,” he mumbled, the book forgotten to the side in favor of his hand sliding along your throat, thumb catching just beneath your chin. “Suck on it harder yeah? Want it to taste like ya when I smoke it again.”

A whine cracked in the back of your throat, your hips catching on the zipper of his jeans. “What about you?”

The mumbled words caused spit to drool down to your chin, his eyes tracking the slide of it with a heavy gaze. He wanted to lick it up. Swallow down what you offered. But the sight kept him transfixed—your tongue sliding along the end of the cigar as if it were his cock. Soaking it in your taste enough to drive him a bit closer to the edge, his other hand suddenly a harsh grip on your ass.

“I got what I need,” he replied with ease. “Yeah?”

You nodded, catching the glaze of desire in his dilated pupils. He wanted more than an empty mouth. The cigars appeased a side of him no one saw, a man who ached for something to bite down on, someone to taste even in the most mundane of ways. He was your guard dog looking to chew, to gnaw, even if spit flew out of his mouth with a feral edge of desperation. And with a grin, you stuffed three fingers into his mouth right down to the knuckle.

He took them with a moan, tongue laving over the length of them as his hips bucked up into yours. The hot cavern of his mouth and wet slide of his tongue drew out a sound you never knew you could make. A biting grunt that made spit fly everywhere, splattering against his cheek to mix with his own.

Ripping the cigar from your mouth, you hastily licked around his full mouth. “Suck harder for me baby.”

They met the back of his throat, choking him enough to force his head back. His eyes rolled, nostrils flared, and for a moment you felt the power dynamic shift. You were in charge. Telling him what to do to appease the ache of pleasure growing in the pit of your stomach. And it might have lasted. He very well could have given you complete submission if it weren’t for the lack of the cigar in your mouth.

A growl rumbled up from his chest, eyes flashing dark enough to send a thrill down your spine, and before you could fix your mistake he rectified it for you. Three fingers—to match your own—were pushed harshly against your tongue, hooking behind your teeth to drag your face closer to his. You didn’t need to hear him to know what he wanted.

The intent blazed in his hazel eyes well enough: suck.

Through the haze of wanton lust you felt his hand begin to guide your hips along his crotch. The bulge of his cock straining against denim, pushing the metal zipper up for your clit to catch on each time. Clad in his flannel and cotton panties, you found yourself plummeting towards the burning ache that built faster than you could comprehend.

You ripped your hand from his mouth, burying the spit soaked fingers into his hair to grip him close. But it never remained enough. He wanted to delve beneath your skin. Seek the warmth that seeped from your body where his fingers kneaded and pushed to drag you to a fro. His teeth latched onto your shoulder, the sweater pulled to the side while his fingers met the back of your throat, choking you with their size.

A cry slipped past his knuckles as you humped his clothed cock—dragging yourself inch by inch towards the release you could practically taste. It clung to the tip of your tongue—the saccharine flavor intertwined with the tobacco musk of his fingers. You swallowed around them, drool spilling down your throat and pooling at the top of your breasts.

“That’s it,” he gasped, a line of bites trailing right to the juncture of your neck, his spit smeared across your skin. “Gonna cum for me?”

You whined harshly, body going taut as your clit pulsed rapidly with the impending wave of bliss that tugged sharply on your spine. The pain of his teeth puncturing hard enough to draw blood dragged a knife through the thin strand  of resistance. And you came with his name at the back of your throat and white bursting behind tightly shut eyelids.

“Yes. Fuck–” His growl ran down the length of your spine, body trembling in his tight grasp. “That’s my girl.”

Unconsciously your nails punctured the skin at the back of his neck and with a jolt, he groaned long and ragged against your throat. A dark wet patch formed beneath his jeans as you soaked him with a spit filled cry. The pleasure wrung your body dry, pulling the final dregs of your energy straight from the source. Your chest heaved, mouth a gentle suckle at the very base of his fingers, and Logan could feel you begin to collapse forward into his chest.

“You really like when your mouth is filled,” he mused, lips curling into a smile.

Nodding, your voice was a content hum—his fingers dragging at the back of your teeth, tracing their shape. A kiss was pressed to your head, body slumping further into the chair with you atop him.

“Gonna get you some more matches in the mornin’,” he mumbled lazily. “My pretty girl needs a treat for being so good.”

Your heart fluttered, eyes glistening with the devotion you’d never dare to hide. The love that burned with the power of an eternal flame. Settling into his body, you felt his hand drag along the expanse of your thigh. Calming the storm in his mind—a catastrophe you longed to weather with him.

You were the balm to his weathered soul.

A permanent fixation of smoke and ash that surrounded his charred and splintered heart that burned for you.

[userautumn]

i thought you would be happy with buck getting his oh moment and realizing his feelings for eddie but i guess you really were sucked into the bucktommy fanon created huh. Shame that you won't be able to enjoy canon buddie when it happens.

This is the only message I am going to answer about this specifically since I initially brought the topic up on my blog.

So, first of all, by definition, BuckTommy isn't fanon. Fanon is a ship or character that is completely generated by fandom. Buddie, for example, is fanon. Although they share a strong platonic bond, their relationship is not textually romantic. They do not kiss. They are not textually established romantic partners. Eddie said in the last episode that he is straight. So Buddie only exists within a fandom context. Conversely, BuckTommy is established as canon. Buck has touched mouths with that man on-screen. They were established as boyfriends and, now, ex-boyfriends. So it is, quite literally, impossible for BuckTommy to be fanon, even if fans do extrapolate, embellish, or reconstruct that relationship for their own pleasure. So, that's number one.

Number Two: According to this fandom, Buck and Eddie have had their oh moments a combined total of six times now at least (3x15, 3x03, 4x13, and 5x11, to name a few) and absolutely nothing concrete has come out of these events. The shooting is the closest we ever got, and that was four seasons ago. I don't begrudge anyone for reading that moment at the end of tonight's episode within a romantic Buddie context. Go absolutely nuts and have fun with it. But to me, that moment, such as it was, was more of the same - Buck or Eddie look at each other a certain way, or have evident (non-romantic) feelings related to the other, fandom loses their minds, they speculate, convince themselves they're right, nothing happens, rinse and repeat. I'm personally tired of the spin cycle.

I said I wanted strides toward Buddie canon to be made crystal clear and that's still true. You clearly see things differently (and that's alright), but outside the Buddie fanfiction hivemind, tonight's episode was not crystal clear. There was no discussion of Buck's feelings. He didn't vent them to Maddie or Bobby or Eddie himself. He didn't say, out loud, or indicate in any explicitly romantic way that he has feelings for Eddie. Buck having feelings about Eddie leaving is not the same as having feelings for him. They are best friends. They are family, actually. If Eddie leaves, Buck is losing the anchor to his support system and his (pseudo-)son. That's a big deal. That is an extraordinary weight to carry, especially on the heels of a significant breakup, and especially while dealing with abandonment issues. There was nothing romantic about that and, reducing that moment to a romantic reading, seems... odd. To me.

I'd like to think I'd still be able to enjoy Canon Buddie if it happens tbh. I actively write fic about those two in my spare time even though I keep my conversations about them to the DMs. But if I'm not able to enjoy it, it won't be because of the ship itself, it will be because I finally tired of the abject cruelty that's cropped up in this space. There's this unspoken rule in fandom that what happens during hiatus stays in hiatus, and we all just silently agree to move on from it when the show comes back. But I'm having a hard time with that this year because I've seen and experienced some absolutely insane things from this fandom the last few months that have stuck with me. So. Maybe I won't still enjoy it, but I hope I will.

I was really angry with the (non-Buddie related) content of this episode when you messaged me, so you probably thought or hoped I would bitch and curse you out, and we'd do this whole back and forth thing that would inevitably lead to you getting blocked. But I meant what I said - I have no interest in arguing with anyone about this show. We're not going to agree, and that's okay. I'm not your inspirational Buddie Warrior, and that's also okay. I have too much to deal with than to actively engage in internet beef. What is is what is, whether you or I or both or neither of us like it, and arguing about it isn't going to change it. So we might as will just learn to live with it and each other as best as we can.

I'm going to go watch TV now.

[sightoru]

i'm not ready to let go of you. “ + Izuku? Please and thank you

Deku + I'm not ready to let you go

[Anon, you didn't pick a body part tho tbh not a big deal. I chose eyes for you.

Poem is "Sorrow is Not My Name by Ross Gay"

tw: angst but the ending is hopeful. happy endings only here.]  ——————————————————————————

Green is your favorite color. 

It's the color of the grass after the snow melts, it's the color of your bedspread and kitchen cabinets. It's the color of the avocado you smash on every sandwich you eat, and the color of the caterpillars that hang out in your garden. 

Green is also the color of Izuku's impossibly wide eyes, and they're currently pleading with you to stay. 

"I'm sorry I forgot about dinner," he whines, and you hate the tugging in your chest you feel at the pitch of his voice. "There was a villain and my students were there and I just had to make sure they were all safe. I'm so sorry I know we've had this planned for a while now."  You made reservations months in advance. The new restaurant was something you looked forward to trying, something fancy and high end. You, a fellow teacher, saved up for months just to be able to go, knowing that both your teacher salaries don't often allow for luxuries like dinners at nice restaurants. 

You look away from him, folding your legs to your chest, "I just…." you pause, swallowing the lump in your throat. "I was really looking forward to it." You don't want to say anymore. You don't trust yourself enough to keep the shake out of your voice. 

There's something about the quiet way you say it that makes Izuku's chest feel like black whip is wrapped around him; takes the air out of his lungs. He remembers your first date, years ago, when he decided to become a teacher and you were endlessly supportive of that — despite being a stranger. 

He remembers when you moved your stuff in, shades of green and white and brown took over the apartment. Pictures were hung on the wall (memories made, places seen, inside jokes created), green onions rest in a mason jar full of water near the sink (you refuse to let anything go to waste). You shoes are next to his, comparably untidy. The wood of your furniture is everywhere (the TV stand you found on the side of the road, the coffee table bought off Facebook marketplace. the bookshelf you got from a friend moving cross country. You're all over his life now, painting his world in shades of green.)

He remembers a poem he read long ago that reminds him of that moment. You quoted it to him once, "My colors green," you said. "I'm spring." He remembers all the things he loves about you: how easily you pull him off the brink, how you snort when you laugh. The way your lips purse when you're in thought. How your head naturally cocks slightly to the left. 

"Honey," he says, and the words stick the same way in his mouth, "I'm not ready to let you go. I'm sorry, I'll set boundaries with myself. I'll try to be better. For you."

For you, for you, for you, the words echo in your head and make you feel like you're swimming. It reminds you of the movie you both like, the main character telling his love interest, as you wish. For months after the first time you both watched it, the words were uttered constantly, 

"How am I supposed to feel," You ask, "when the task seems impossible? I feel awful I even have to say anything. We're both teachers. We both know how important raising the future is. I'm just…" words escape you for a moment. You glance up at him, take in the scar on his handsome face, "I'm just not as sure about this anymore."  He doesn't have to ask you what this is. He already knows, and the metaphorical black whip tightens around his chest. "I can quit," he offers. But you both know he's lying. 

He would never, and that's okay with you. You don't want him to feel like he has to choose between his passion and you. You just don't want to be forgotten. Something about it stirs up grimy childhood feelings — abandonment from your parents. Abandonment from your friends. 

("That sounds lonely," he told you once, after you shared childhood memories with him. "You…" he pauses, tastes the words in his mouth. "You don't have to be lonely again." 

You believed him, foolishly enough. To be fair, he kept his promise, until this past year.)

It makes you feel green. Green, like the olive branch he's trying to extend. You look over at him, trying to focus and keep the blur out of your eyes. "Don't do that," you say. "Just don't make plans with me you can't keep."

"I won't," he tells you eagerly, bundling you up in his arms."never again." he mutters into your hair. You pull away slightly, angle your face to his and take in the green of his eyes; the soft texture of his hair and the smattering of freckles across his tanned face. 

And what are you supposed to do when he holds you like that? When he sounds like that? His hands are so warm and tangled in your hair and his fingers are pressed into your back and all you can think about is how over and over and over again you'd devote yourself to him. It does not matter if he hurts you, it does not matter if you hurt him. The only choice you have is to believe him. 

So you do. 

[theoncomingchaos]

Who loves Rook: Spite or Lucanis

I've been seeing a lot of discourse about this, and I just want to add my thoughts.

I might be totally wrong about this, but here we go. When Spite was put into Lucanis, he was still Determination. The fact that he changed throughout the torture, forced insertion, and imprisonment suggests to me that they have been put into a speedrun of a similar situation to Anders and Justice/Vengeance where they have started to meld. (As Anders put it, you wouldn't know where one begins and the other ends). Just like Anders and Vengeance, Lucanis and Spite can have separate consciousnesses and even disagree about things, but their core values have started to influence one another and become a part of one another- heightening certain aspects.

I think this melding is why we see some dialogues where Rook tells Lucanis that he sounds like Spite and similarly it's also the reason for the shared attraction- which I fully believe is coming originally from Lucanis.

I'll be honest my first time through I romanced Lucanis and was very disappointed. I didn't even see him and Neve ever flirt (she only ever encouraged us!) But still, it seemed to go from 0 to 60 with him. Now, I am on my second playthrough and I only just met him, but I am starting to see some really subtle looks and dialogues that suggest that Lucanis wasn't lying later when he said he was attracted to Rook from the beginning, but was afraid to really pursue anything or even acknowledge the possibility of being with them. With his fear of trusting people, ptsd from the prison, failed history in romance, and his new situation with Spite that he still hadn't worked out yet, he never thought anything would or could ever come of his feelings. We know Lucanis loves romance stories and likely longs for one of his own, but in such a situation it must have seemed truly impossible and terrifying to let someone else in. Especially someone you really care for and are starting to trust. So, he pushed it all down. Rook flirts? Maybe a small smile, but then quickly lock it all up with everything else he can't handle. Focus on work. Don't think about Spite, or Rook, or anything difficult.

However, if the melding has already happened as I suspect, then the feelings Spite is expressing are shared with (and likely sourced from) Lucanis, he's just better at expressing it directly- which makes sense for a spirit that was once Determination. When you first talk to Lucanis after the rescue, the thing Spite says about Rook changes accordingly to your tone, but to me the responses still sound like they come from Lucanis and are then echoed in Spite: "He doesn't want to hurt us." Even the "He's more fun than you" is something Lucanis seems to think about himself as he is fully aware that much of his life has not been his own and believes "all he knows is death."

Leading back to the main point, Lucanis's trust and interest in Rook would be heightened by Spite the way Anders' anger towards the templars was heightened. Even though they are finally free from the prison, their is a sense of constant suffering from still feeling trapped by fear, regret, and pain- Spite feels that suffering too. The elements of determination are still within him the same way justice is another side to vengeance. Both spite and vengeance are the results of failing to achieve their goals of Justice and Determination. Spite sees Rook as a way to free them from pain and restraint, a glowing and beautiful key to the prison door, and he is determined to do what needs to be done to solve the problem. That's why he doesn't hesitate. He has no fear. He wants to talk to Rook. He wants Rook to come in and free them.

After Rook has freed them, they become a source of comfort and safety, once they encourage Lucanis and Spite to find a way to cohabit comfortably, the two continue to meld, and the need to protect Rook, to love Rook, to keep them, is very deeply shared. Now, IF Spite was somehow removed or even somehow restored (Both of which I think are impossible) that would likely change. Determination outside of Lucanis would likely become more like Compassion. He would likely forget the horrors he experienced to return to his original purpose.

So, that leaves some final questions, particularly one Hawke helpfully asked Anders- Is Spite an unwilling party in the threesome?

That's up to everyone's own morality. While both Spite and Lucanis didn't have a choice to become like this, it is the situation they are in and the way they have to find a way to accept and live with because there really doesn't seem to be any real way to change it. Through their time together, Lucanis and Spite have influenced each other and grown into something new. Part of that is Spite also loving Rook. In that way, for those who are feeling (rightfully) underwhelmed by Lucanis's romance, Spite can almost be seen as a symbolic expression of Lucanis's love.

All that being said, I think there were some small things they could have done to make the romance more satisfying over all...but I'll save that for another post.

[eregyrn-falls]

^^^^^^ !!!!!

There's so much I'd like to add but it would be carrying coals to Newcastle. Great post! (And a lot of great tag-rants in the notes, too.)

I did want to add one thought to this set of tags from @achromaticegoist, about the punch in particular.

It took me a long while to realize it, but not only is the punch reflective of a whole lot of things about Ford's state of mind on his arrival back through the portral... but, it also serves as some really interesting closure (and I'm not even sure the writers realized it).

In the episode, it's told out of order, so we see the punch FIRST. But later in the ep, when we see the fight that led to Ford going through the portal in the first place, what happens is that he and scan are scuffling, and there's that moment when Ford pushes Stan off with his foot and inadvertantly presses Stan against the glowing (apparently red-hot) symbol on the side of the control panel.

Stan screams in pain, of course. And immediately, Ford is suddenly worried, and contrite. He says, "Stanley! Oh my gosh! I'm so sorry! Are you alr-"

And Stan punches him in the face.

That punch is what sends Ford stumbling out into the portal room and falling against the activation lever; and landing inside the danger zone. Ford does get up, but before he gets a chance to say anything else, Stan shoves the journal into his chest, Ford begins to float, and the disaster unfolds from there.

We don't spend enough time thinking that, basically, from Ford's point of view (if he replayed those last moments over and over in his head, as he probably did), the last things that Stan did to him was: punch him in the face, and then shoving him into the portal. The latter was accidental (though disastrous); but the first kind of wasn't. Ford stopped fighting, switching to concern and apology. While Stan lashing out due to the pain is understandable, Stan's punch is what prevents the fight from being over.

Ford coming out of the portal 30 years later and immediately punching Stan in the face kind of creates a book-end with that earlier punch from Stan, doesn't it? Ford getting to hit back the way he didn't (wouldn't?) 30 years ago. (He stands up, but he just stands there angrily staring at and listening to Stan as he approaches. He doesn't try to leap at Stan again or try to wrestle him for the book, etc. Was Ford, effectively, done fighting the moment Stan got seriously hurt?)

As I said, I'm not sure the writers were thinking about that consciously. I don't remember hearing them comment about it (i.e. that Ford's punch was a mirror of the punch that Stan gave him 30 years prior). But I do like to look at what's written and think about it in terms of, these scenes are deliberately written, the way it goes and the details included are chosen, often at the end of a long process of collaboration. I think that what's chosen for the final version is always very interesting.

And I just don't often see people discuss that moment where Ford stops fighting, and immediately becomes worried and apologetic. Not least because, like... up to that point in the series, we haven't seen Stan be apologetic very often. A few times, yes! And it's always notable when he does it. It clashes with the exterior he presents to the world; the man for whom saying "Please" gives him physical pain, etc. Some of which is meant for laughs, too! And some of which is just the product of being hardened by experience and so on.

It tells us something, I think, that Stan truly getting hurt, and screaming in pain, is enough to end Ford's desire to fight. That even after 10+ years of estrangement, he's that ready to be concerned for Stan; and that he's that ready with an apology. Later reads of Ford (post-portal) will portray him as the man who won't say "thank you", and I have other thoughts and feelings about that. But getting back to this, it's the show's choice to have Ford stop their fight and make a slight turn towards a sort of reconciliation. When they could have easily just had him and Stan keep fighting and struggling and the portal turn on because of that. It's such an interesting writing decision; and I just don't hear people dig into what it means for the characters very often.

What's your stance on Ford as a person? Honestly, I believe that for thr majority of canon he is a bad person. But I believe he grew. Still not great though XD

(Love him anyways obvs)

I disagree entirely! I think he's equally as good a person as any of the other main cast.*

*Except Mabel, who, as we all know, is always right about everything.**

(**This is a lighthearted joke. For the love of god, I don't want Mabel discourse in my inbox.)

His biggest sins in the show:

After telling his brother that he was thinking about changing their shared life plans, and then discovering that his brother had gone to the high school that night for no good reason and gone to the science fair for no good reason and messed around near Ford's science project for no good reason and broke it and didn't tell Ford about it... Ford believed Stan did it intentionally and held a grudge for it. You know what, it WOULD be pretty damn hard to believe it was an accident.

Hilariously ill-equipped to cope with Fiddleford's mental health. A guy who responds to "I have anxiety" with "have you tried yoga, it helps me" isn't a bad person, he's clueless. "Character cheerfully enacts a bad idea while a loved one in the background goes NO PLEASE DON'T DO THAT" describes half the episodes of Gravity Falls.

Was successfully manipulated by a professional manipulator into believing his best friend wished him ill. Man, what a terrible person Ford is for being manipulated by a manipulator and saying cruel things to somebody he'd been genuinely convinced was trying to harm him.

??? Didn't say thanks to a guy he was still mad at after the guy fixed a problem he himself had caused. This is a solitary example of stubborn bad etiquette, jesus christ. There's half a dozen different reasons why it makes perfect sense Ford wasn't in the right mindset to feel grateful, this is not something worth indicting his entire character over.

He had high ambitions, which everyone seems to lambast him for, but high ambitions that wouldn't have required doing anybody harm! (Until the professional manipulator started manipulating him into harming the people around him, but we are going to demonstrate some reading comprehension and not blame Ford's underlying morality as a person for things he never would've done if not for Bill's bullying, con artistry, and outright lies.) Like, what is it that he wanted to do with his life? Use his talents to get rich and famous? Shit, that's exactly what Stan wanted to do with his life. It's what Dipper fantasizes about doing with his life. Even Mabel, who thinks about her long-term future the least, dreams big with her art & performances and is already making big money off cheap-ass commissions. What terrible people they all are, for—let me check my notes here—uhhh... unrealistically fantasizing about achieving success in life by doing the things they're good at.

When their dad accuses Stan of lying as a child, Ford puts his entire summer on the line to defend Stan even though he knows Stan is a habitual liar and has no reason to believe Stan is telling the truth this time.

When his new college roommate he barely even knows gets laughed at for proposing an outlandish scientific theory, his first emotion is outrage at this injustice and he drops everything to convince his already-despondent roommate that he was right and help him prove it beyond a shadow of a doubt.

When he moves to a new town, he tries again and again to befriend his new neighbors, and fails not because he's rude or a jerk, but because he's awkward as hell, tells terrible jokes, and sucks at identifying phoenixes.

When Fiddleford gets hurt around him, he cares about it, feels guilty about putting him in that position, doesn't want it to happen again, and tries his best to help even though he's bad at helping.

When he gets kidnapped by a weird holiday folklore creature, he concludes without even thinking about it that he's now in charge of protecting and rescuing the kidnapped kids. Yeah, then he immediately starts hollering at the folklore creature for trying to impose his religious beliefs on Ford and the kids—but like, Ford was right tho, he just had bad timing.

When he discovers that the Northwest family committed atrocities against their poorer neighbors a century ago, his first instinct is to march up to their house, find the first Northwest he can locate, and give them a piece of his mind for it. Like, this won't even FIX anything. He's just THAT OUTRAGED over the injustice.

When he sees what he thinks is a fortune telling fraud conning the people, he attempts to debunk her because he's mad to see someone cheating other people with lies—and when he can't debunk her, he just leaves her alone rather than harass her about it. Typically, if assholes think somebody's doing something wrong but don't have any proof of it and fail to get proof when they look, they decide they're right anyway and keep giving that person shit. Ford doesn't give her shit. That's the opposite of an asshole move.

When he discovers his Portal To Knowledge (And Fame & Fortune) is actually a Portal To Doom (But Still Possibly Fame & Fortune, Maybe Even Godly Power), he isn't tempted for a second to keep working on it anyway. There is no moment where Bill manages to tempt him. No matter what Bill offers, no matter how long Bill offers, never, at ANY point, does Ford have a SECOND of "but what if I did make a deal with the devil?" the way so many heroes in similar situations often do.

You ever notice that? So often moral moments in the show are presented as choices the characters make. Will or won't Dipper give Bill a "puppet" in exchange for knowledge. Will or won't Stan fight a pterodactyl to protect Mabel's pig. Will or won't Mabel hand Bipper the journal. Ford is never given a "will or won't he" moment over Bill's threats, offers of friendship, or offers of infinite power—he steamrolls straight past them without a second of consideration—because, to him, the selfish, cowardly, easy choice ISN'T EVEN AN OPTION. He doesn't even SEE it as making a choice because the possibility of doing the wrong thing is invisible. A character who wavers first before turning Bill down would look more noble for "overcoming" temptation—it's harder to notice just how much stronger Ford's moral compass must be to not even feel temptation in the first place.

Greed and pride never tempt him to join Bill's side. Exhaustion, despair, and fear never tempt him to give up. He bears up under weeks, possibly months of extreme sleep deprivation, physical torture, psychological torture, emotional torture, threats of death, threats of brainwashing, threats to his family. He doesn't hold up so that he can pat himself on the back for being a hero—if that was all it was he would've gone "screw it, this isn't worth it and nobody would know I'm the one who gave up" a week in—he does it because he simply knows it must be done and because he's so isolated (half because of Bill's influence!) that he believes he's the one who must do it, all alone.

Thinking he has to do it by himself isn't egotism or pride; it's helplessness. He thinks no one else stands a chance. He thinks he's alone.

And, when he discovers his Portal To Knowledge is a Portal To Doom, he immediately feels guilty. No trying to deny the situation to protect his ego. No shuffling the blame off to someone else. No "maybe the apocalypse could have a silver lining!" No locking the door and trying to ignore the problem. He blames himself for being fooled—he IMMEDIATELY takes full responsibility for his actions—and he CONTINUES to take responsibility FOR THE NEXT THIRTY YEARS.

He takes more responsibility than is even warranted—he treats himself like he's an idiot for believing in an APPARENT GOD who's been practicing manipulating humans for thousands of years and who had never given Ford reason to believe the portal was anything but what Bill said it was. He beats himself up to no end every single time his past with Bill comes up. He even keeps beating himself up thirty years later when he's shoving warning notes to future readers in Bill's evil unkillable book!

When he falls into the multiverse, he dedicates his entire life NOT to finding a way to rescue himself, but to finding a way to permanently stop the CHAOS GOD who's still at the threshold of destroying Ford's world and countless others. He makes himself a hated criminal in the process, just to stop Bill. He's ready to spend the rest of his life trying to protect a world he doesn't think he'll ever see again. He does it because, as he sees it, somebody has to stand in between the children and the obnoxious folklore cryptid menacing them, and he's the only adult in this damn cave with the skills and knowledge for the job.

When he gets home, he doesn't tell his family about Bill and his quest because he's afraid that doing so will get them involved and endanger them too—and because he's too deeply ashamed of himself and his mistakes to stand the thought of his family knowing about the horrible things he's done (AGAIN, WHILE BEING MANIPULATED BY THE GOD OF MANIPULATION).

He loves his great-niece and great-nephew the second he lays eyes on them; he nevertheless tries to steer away from them to keep them safe from Bill; and yet he caves to the very first temptation to emotionally bond with his great-nephew he gets, because in spite of his noble "keep them safe" intentions, he wants so so badly to be close to his family.

As pissed as he still is at Stan and even though neither of them can look at each other without hissing like cats, he still makes an attempt to start bridging their divide by inviting him to play DD&MD.

When the apocalypse happens, he immediately puts his life on the line to try to kill Bill.

And when he's captured, isn't fazed for a second by Bill's offers or threats... until his family is threatened. The exact thing he'd been trying to avoid & prevent from the very start.

And when he's reunited with Fiddleford, his immediate reaction is to point out that Fiddleford's well within his rights to hate him—which isn't a new revelation, it's not like Ford had to do any soul-searching to reach this conclusion, he'd concluded that 30 years ago the instant he realized Bill had played him and that he'd been lied to about Fiddleford.

And then he tries to kill Bill again.

And then he's ready to sacrifice his own life to kill Bill—and the only reason he doesn't is because he has a metal plate preventing him from making the sacrifice... but, Stan doesn't have a plate. If Ford hadn't had the metal plate, he would have gladly done the exact same thing Stan did—and he would have thought it was right for him and only him to make that sacrifice, because it's VERY clear he feels (and has felt from the start) that this is all his fault and he's obligated to fix it.

Over and over and over, these are Ford's two defining character traits: getting so pissed off at injustice that his common sense shuts off and he goes into terminator mode until he's righted this wrong as best he can, even when he can't actually do anything about it; and feeling like he's Atlas, weighed down with the full responsibility of fixing everything he's done wrong and made to believe that, for everyone else's sake, he has to do it all alone. Even when doing so puts himself in harm's way, even when he has to put his entire life on hold for it, even if it might cost him his life. Scrape off his awkward social skills, his loneliness, his nerdiness, his endless curiosity, his zealous love of the strange, his starry ambitions, his yearning for recognition and success—scrape his personality down to the bone and that's what you're left with. A man who believes in defending the exploited so strongly that it makes him a little stupid.

I'm gonna go out on a limb and assume that you probably don't think Stan's fundamentally a bad person, and that you probably think that isn't even worth questioning. Stan's made a whole career out of swindling people, conning them out of as much money as he possibly can, stealing, lying, committing a long list of goofily-named crimes, and attempting douchy pick-up artistry on women; and to cap it all off, he held the safety of the entire universe hostage to demand a goddamn "thank you." Don't send me any "But he had reasons—" "But it was only to—" I don't need it, I don't want the essay, I'm not arguing that Stan's a bad guy, it's fine.

But. You can look at Stan's moments of cruelty and unkindness, his uncharitable thoughts, his character flaws, and think, "that doesn't define him. He's more than his cruelest moments and worst mistakes. He's imperfect, but he cares so much and his heart's in the right place, and beneath all the flaws his core is good."

And if you can't do the same for Ford, it's not because he's a worse person. It's because we got two seasons with Stan and five and a half episodes with Ford—and while we saw Stan yearning to fish with the kids or encouraging Mabel to whoop Pacifica's butt at minigolf or crying over a black and white period drama or punching zombies to save his family, we only saw Ford at the worst moments in his life and under the stress of a prolonged apocalyptic crisis—and, it so happens, all the moments he was pissed at the guy we spent two seasons learning to love.

Ford's got moments of cruelty and unkindness, uncharitable thoughts, and character flaws. But, at his core, he's a good person, and he always has been, and he still is.

[meamiiikiii]

Happy Anniversary In Stars and Time!! Have some Friend Quest based drawings :D

(These have specific quote picks related to them! And there's also a long ramble on why I like those specific quotes below if interested)

(And by long, I mean roughly 2k+ words of proper ramble total, so be warned before clicking keep reading!!)

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Okay, so honestly this is more or less an excuse to ramble out an appreciation post (of sorts) on everyone tbh, since I do not do that often if ever. I'm just using the quote picks to keep me a bit focused on topics a bit more specific than being completely aimless!

[Also specialist of special shoutouts to my friends Squid and Aya for proofreading all this. Ily guys ever so dearly <3333]

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Mirabelle

"Avoidance, huh... That feels... a little too cowardly, for me."

The Housemaiden, who would probably fulfill the 'Hero' role if this was a normal RPG, Mirabelle! She has a lot going on that's so interesting to me!! Okay tbf everyone else does too but I really just needed a segue.

She's the chosen one that wasn't really chosen. The reason she was blessed was due to circumstance, and it wasn't even by the Change God either. Because of that, she feels immense pressure/imposter syndrome since she knows the truth of her blessing. Speaking of feelings, she also already felt like she’s failing her own faith for being comfortable with herself, in staying the same forever. For not wanting to Change in that way, when everyone else can, and feeling broken because of it. And, of course, she literally has anxiety and hasn’t had access to her meds throughout the entire quest. That probably also does not help in the slightest!! It's an interesting stewing pot of feeling like a fraud of a 'chosen one' with all that in mind.

And yet, her dedication to her faith and country shines through her actions and words, whether she knows it or not. She’s not someone to avoid her worries. She’ll face them, head-on, even if she doesn't think she'll succeed. I feel like this quote captures it best to me actually! Especially since it's a direct response to Sif saying that they try to avoid their own doubts and worries, in comparison to Mira’s own in her own faith. It almost feels like a subconscious response, and to me that says a lot.

[Side-tangent, but it's also interesting to me that this very dedication works against her, in a sense? Like, notably the bonding proposals. Beyond the societal pressures in play related to the Change belief, she is also the one to take the initiative to ask a dating company for bonding proposals, it didn't just happen around her (as in, no one suggested this to her)? Even when she isn't even interested in dating anyone to begin with! She's not interested in Changing in that way!!! That is to say, her head-on dedication can be to the point of her own detriment at times, to the point of bringing her woe? Not sure if I am wording this properly. Just a thought I had, idk if it has much merit tho. Sorry if that made like no sense!!]

But yeah! She gives it her all in just about everything she does!! She was already known as the most hardworking Housemaiden in the House, always striving to better herself, always taking new classes prior to all this (over 150! and she herself said that she couldn't do anything before coming to the House, which makes it all the more impressive). And when faced with the insurmountable task of saving her home, all of Vauguarde, from being frozen over by the King? She continues on to take on the mantle as the chosen one, the one who will save everyone, and she starts it off completely alone. She's the reason the journey was able to play out, and why everyone is together in the first place. All because she isn't one to avoid her doubts and worries, and willingness to do it scared, yanno? It's just a small part on what I appreciate about her, but I think I'm going to cut myself off here!

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Isabeau

"Doesn't that feel like someone you wouldn't feel ashamed of knowing?"

Isabeau!! Literally the whole “Change is destruction” convo that Isa has prior to this quote was up to be picked, but I figured picking the end would be easiest. But now that I think about it, I think all my picks are basically at the end of the FQ's so that point is sort of moot. Oh well! It's just hard to pick a singular quote off of these okay!!

Isabeau from the start of the game is shown to be portraying himself as a himbo. Big guy, dumb guy, the like. But, even from the start, there are signs that he really isn't stupid, like at all! First early gameish example I can think of off the top of my head, that distinctly shows this, is the color theory book. Mainly because he sort of kind of drops the facade for a split second there. Without proper context to his deal, it's just a funny moment. But, reflecting after the fact, it's more of an '...OH!' moment, since he seems to have been kinda upset about not knowing about colors (even if he's hamming it up a little bit, saying he's 'failed them all' for not knowing what colors were.) And that's not even going into his emotional intelligence either.

But, delving into his FQ the full picture is shown. That he wasn't always this big boisterous guy. He used to be the nerdiest kid around, incredibly shy, and because of that he didn't like himself much. But then he Changed and is much happier now, compared to back then! Even after his Change though, he's unhappy with some aspects of himself. He doesn’t like being considered dumb because of his act. And, even after Changing, that kid from before is still there, right? As much as he continues to project this air of cool confidence, he can never truly be rid of that part of his old self, can he? The one always paralyzed by fear.

With that, comes the quote pick! Since, to me, he's not necessarily talking to just Siffrin here, but also to himself. Because it all boils down to his own self-hatred, I think? He himself does mention this in the A5 version of this FQ, albeit kinda heat of the moment, that he "...keeps changing personalities like clothes, because it's easier than learning to like myself." He's still a work in progress in that regard. But even still, he is trying to be better, for the people he cares about.

[Small aside, that too can maybe stem from his own self-loathing? Putting the people he cares about first. I mean, he is the one who told Sif to focus on the others first. And even after that, he was putting focus onto Sif at first during his FQ (as in, talking about how he thought Sif would like seeing the stars, only letting the convo slide into focus unto himself after Sif made an obvious topic change.) The quote also kind of reads as an ask of reassurance, in a sense? That him Changing again would allow himself to be someone that people would like, even if he himself doesn't like himself. Idk where I was going with this tbh, but I think it makes sense to keep its inclusion here!]

Overall, I just think it's interesting to revisit Isa's previous dialogues with the context of the FQ!! Especially when thinking on the underlying reasons as to why the way he's acting the way he is, even while seeing signs from the start that he isn't the airhead he was masquerading as.

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Odile

"I'm Ka Buan and Vauguardian, in ways I do and don't realize... And I am also myself."

The Researcher, Odile! I think I’m just gonna jump right into it without a semblance of an intro since I know it’s going to be a lil less focused. Mainly because I know for a fact I will not be able to articulate this ramble that well, so here we go.

As the oldest party member, it makes sense that she's much further along in her own character development / self-discovery journey in comparison to the others (at least in relation to her FQ centered struggle on finding out more about herself in relation to her heritage), and I think her FQ, in itself, helps portray that. Compared to Mira and Isa, who are still in the midst of their own personal journey on how to address their turmoil and putting it to action, Bonnie, who is the youngest of the group and is learning how to tackle their issues to begin with, and Siffrin who is going through All That™; Odile has come to a conclusion about her own woes, where the others have not. 

That’s part of the reason why I went with the quote pick actually! In a sense, it’s a display of self-assuredness in herself that can really only be gained with time and experience. She’s also able to explain her feelings on her heritage eloquently as well, and the convo prior to the quote helps express them too! It’s the recognition that yes, her mixed heritage helped shape who she is as a person in ways she may or may not realize, that it’s not the only factor at play here in regard to her identity. It’s the fact that, at the end of the day, what matters most is that she is herself, yanno?

Even with her self-assuredness towards herself, it’s also interesting to me how that contrasts her closed-offness to the others, especially in outright saying/showing that she cares? Which also probably also stems from her mother, someone who was supposed to love and care for her, leaving without a trace early on in life. It makes sense to me that she would have reluctance in showing that she cares for the others!! What if she ends up hurting others similarly to how her mother hurt her?  Of course, she wouldn’t want to do that to the others, and is distinctly also why she does NOT want to be called a Mom. 

[Tangent that doesn’t relate as much to the quote, but I want to touch upon anyway since it’s FQ related. I also want to point out that the FQ helps inform us why Odile is more willing to question things around her / be more sus? When her mother left, she left nothing behind, and with it, any links to her Vauguardian roots. This left her with a complete loss of that connection, one that was stolen from her and, with that, the feeling like she didn’t belong anywhere as a result. This led her to be curious enough to seek out a resolution to that feeling, lending more into her inquisitiveness on just about anything. How else would she be able to learn more about Vauguarde, without asking questions, after all!]

All in all, for Odile it’s a bit harder for me to elaborate on why I like her? I dunno, I think it’s just hard to sum it all up as eloquently as she probably could LOL. 

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Bonnie

"So you can protect me, and I can protect you... And we can protect everyone, too!"

Bonnie!! TBH I had a toss-up on what specific quote the drawing would be based around. The other one being “You got hurt because of me and— And I don’t like it!!! I don’t want it to have happened! You should have stood there and let me be hurt!” . Because of the toss up both quotes will be discussed somewhat, since they go hand in hand with the ramble!

[To note, the toss-up was decided by putting it on a poll to my friends, as a simple “choose !” with the options being “joyful” or “angsty” with ZERO context. I told them after what the poll was for (basically if Bonnie would be crying or not in the drawing) and I got threatened for that one HAHA.]

But, to start, Bonnie has had, not once, but twice, people sacrificing themselves in some way for them (Nille telling them to run and getting frozen, Siffrin losing his eye.) Makes sense, because they're a kid, so of course those who are older need to protect them. Still, they are not happy about this, about people getting hurt because of them, and understandably so! It probably doesn't feel good to have your loved ones putting themselves in harm's way for your sake. But what can they do, right? They're a kid and don't really get a say on the matter. I mean, what else can they do? It makes sense to me that Bonnie is frustrated about that part!! It can be frustrating to have everyone discuss things around you, have everyone do things that you don't want them to, and (unintentionally or not), ignoring your input as a person because you are so young.

Kids are smarter than you think. Even if they may not have a full understanding of what's going on, they can certainly follow along and get the gist. Like, for example, Bonnie always listens in on the burial conversation during the second snack break (first found out either during a FQ run or in Memory of Promise). They even pretend not to hear whatever Siffrin says to make everyone think that they aren't listening in! They also seem to hone in completely to the conversation the second Isabeau says that it doesn't matter what happens to him after he dies, since they stop prepping at that point. Even worse, everyone starts discussing how they won't let Bonnie be killed. Which, if it comes to fruition, would be the third instance of people getting hurt because of them, and would be another thing they get zero say in! And everyone thinks they aren't listening in on it, meaning they were being discussed around. Plus, in Memory of Promise, while they don't have the words to articulate why everyone talking about their deaths is so upsetting to them, this context spells out the picture of them not wanting people to be hurt because of them, time and time again.

So when they get a proper opportunity to have a say on something, their promise with Siffrin on protecting one another, to protect everyone too? It makes the exchange all the sweeter to me! It's the first time, in probably a long time, Bonnie has had proper input on something from someone older than them on an important decision. For once, they get to stand on a more equal footing to an adult, rather than being treated as a kid who doesn't know what's going on. And, it probably means more to Bonnie than Siffrin realizes.

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There’s probably a lot more of examples/subtopics I am forgetting to add onto all of these but. Please forgive me, but a good chunk of this was written while I was travelling or in one sitting on my singular day off after travel ASDAFSA. I might genuinely be forgetting something I wanted to talk about, esp since I couldn't double check stuff easily. I've been going off a combination of memory and downloaded friend ISAT streams LMAOOO.

Feel free to correct me on stuff I possibly? Completely misconstrued as well?? Since that is entirely possible in happening! Or further add onto thoughts! In short feel free to extend the discussion on any of this! But yeah, wrangling (some) of my thoughts on why I like them has been fun :D

And to those of you who read all of this to the end, thank you for reading my ramblings!! And if you're skipping to the end, FAIR ENOUGH LMAO!!

Regardless though, I'll end this off with a fun lil fun fact about this post! If I scheduled this properly, it should be going up at 11:11... somewhere! I thought it'd be a fun easter egg to myself. Mainly bc I remember people always used to say "11:11, make a wish!" a lot when I was school whenever the clock struck that time. I just thought it'd be fitting to queue this up for that time is all :]

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[itsmemuffy]

When I published my first post, wanted to keep the momentum going. It was my goal to post weekly and well.... it's been two weeks ¯\_(ツ)_/¯

I abandoned all my little drabbles to focus on a full-length fic that is becoming waaay longer than I anticipated. Thought I'd post a little WIP Wednesday to make sure I don't go back into the ether. Can't wait to have this one finished, I've been having a lot of fun writing it.

Contents: Original Trilogy! Logan x fem reader, naive reader, obsessive Logan, suggestive content, Charles makes an appearance

Summary: You keep everything running as smooth as possible in the background while Professor Xavier keeps a very full plate of locating mutants, running the school, and leading the X-Men. A steady stream of mutants come and go through the mansion, but a certain one in particular makes it his mission to nestle his way into your life.

The past few days had been a whirlwind for Logan. He's the type of man that goes where he wants to go- and waking up in an infirmary on a small hospital cot after being round up like some sort of animal was not on his list of things to do that week, to say the least.

For all intents and purposes, his next plan of action was to get away from here as soon as he possibly could and get back to the life he lived on his own terms. His only home and form of transportation was totalled somewhere in the Alaskan wilderness, sure, but he already had experience starting over from nothing.

When he first met you, a cute little thing diligently running errands to what was perhaps the one man who could have his answers, you immediately piqued Logan's interest. So sweet and so kind, and Charles put his trust in you?

He had barged in like he owned the place on you and the professor scheduling out the upcoming semester in his office. Charles appeared to have already gotten used to this type behavior from him. "This, my dear, is Logan. He will hopefully be joining us now."

Oh... so is he planning to stick around? You ponder as you bite the inside of your cheek, leaning onto Charles' desk with your hip. Logan immediately came off as brooding and dismissive, and he didn't seem like the type to settle into a place beaming with so much activity. Regardless, you extended your hand out to him as you told him your name.

It took him a second to register the gesture. He only now noticed how lost in thought he was, eyes caught below your neckline. With a clearing of his throat, Logan reached a hand back to you to shake it. The most formal of ways to greet someone, yet the feeling of your delicate fingers grasping his rough palm caused his mind to wander again. He forced himself back to reality.

"I guess I'll be seeing you around" Logan remained aloof in speech, hoping you didn't notice the way he devoured you with his gaze. He decided to promptly remove himself from the room, searching for the privacy to be alone with his thoughts.

A few interactions after your initial introduction, Logan started to feel something beyond sexual curiosity. You made his heart race, you made him nervous.

Not a single detail went unnoticed by Logan. The way your hips would sway, how you parted your hair, the lipstick you wore, the softness in your voice whenever you greeted him, your scent.

Life kept throwing change in Logan's way, morphing his way of living into something unrecognizable to him. For the last however many years (boy, is he ever bad at keeping track of time) he had filled them with isolation and taking whatever cheap pleasures he could find. Now he finds himself surrendering the space in his mind to a woman he barely knew. You brought warmth and light into a cold, dark place.

No, this wont fly, he thought to himself. The fact that he was losing control over the dynamic between you made him very uncomfortable. Logan made it his mission to learn more about you. If he could just figure you out, he could take the reins over again.

The two of you would always acknowledge eachother in a group setting. The tiny smile Logan would throw your way whenever you caught eyes made you weak. You couldn't help but to want to know more about him too. A rugged man who was a stranger not too long ago was showing you consideration? A man who nobody knows where he's been, what he's done, how old he is? It kind of racked your brain, but you tried not to let it trip you up.

Oh, but he would catch you trip up. It wasn't lost on Logan the times you entered a space with him in it, seemingly to forget what you came in there for. Maybe you were a little ditzy- your mind often racing too fast that you couldn't catch up with yourself, but it had happened too many times for it to be a coincidence. At least, that's what he told himself.

He replicated your behavior, scouting you out amongst the mansion. It wasn't hard for him to find you. Your trail had become so much bolder to his senses, overshadowing anybody else that could be in vicinity.

Logan always found what he was looking for. Excuse after excuse slipped easily from his lips. Obvious to everyone else what he was doing, you earnestly took the bait every time without fail. He marked the first time he had a conversation with you alone as a significant victory.

"Hey, didn't see you there. Have you seen Charles around? I need to talk to him." He had cornered you in the library, watching you read for a minute or two before making his presence known.

You flinched up in your chair, "Jesus Logan, don't sneak up on me like that!" The yelp that initially left your lips was definitely a sound he would remember next time he's alone.

"Sorry, doll. Didn't mean to scare ya," he chuckled.

The upset you felt towards him for breaking your flow state lasted but half a second. You couldn't be mad. After all, whatever he needed Charles for must of been important.

"No, Jean and him are off chaperoning a field trip in the city. He should be back sometime this evening."

Logan let out a little "hmph", trying his best sound to sound disappointed. Inside he was estatic he finally caught up to you again. Now with no one else around, his mind flooded with possibilities on how this could go. The odds of you immediately throwing yourself at him weren't zero, were they? If he were to take you and bend you over the table right this very second, there was a possiblility you'd let him... right? God, am I really this desperate? he thought.

After letting a moment hang in the air, he sat down next to you in the ajacet seat. "So, what are you doing here all by yourself? Got nothing better to do on a Saturday afternoon, huh?" Good idea, Logan, change the subject.

"You're one to talk," your focus was now one hundred percent on him. Thighs spread as he lazily leaned back in the chair, rolling his head ro the side. To say he wasn't beautiful like this would be a lie. You've rarely seen him this relaxed. "Aren't you here too?"

"Huh." Logan did not anticipate you to call him out like that, "I guess you've got a point."

An awkward silence sat between the two of you. You pretended to divert your attention back to your book, not letting him escape the corner of your eye. Logan lit up a cigar he fished from his pocket. He desperately needed something to do with his hands.

"This is a library, you know that right?" You chide him after an annoyed sigh.

"Oh, is it now? I thought all these books were just for decoration." His lips sucked in another drag.

"Very expensive books, Logan. There's plenty of perfecly fine places to smoke around here if you just look."

He got up from his seat, "Then why don't you show me around, darlin'? Open my eyes a little." You couldn't quite tell if the pet name was to belittle you or to be affectionate. A hand reached out to bring you to stand. "I'll let you lead the way."

[dresshistorynerd]

His family owned the arsenic mine and he divested his interest in it eventually, though of course profiting off of it was certainly a hypocrisy he engaged in for several years even after becoming a socialist. I can't really ask much more than he should have done it sooner, since he could hardly decide how his father had made his fortune. I agree that his continued denial of arsenic poisoning was insane, but his factory did stop using arsenic in 1879, 6 years before he send that letter. And he didn't use the other poisonous dyes that were used frequently at the time. I'm sure his position on arsenic specifically was influenced by his family's fortune coming from arsenic mine and the need to be defensive about it. My point was rather that there has been no debate at all past many years weather viscose method is dangerous to workers or not and still it is used, even though the owners know and believe it's dangerous, which clearly he wouldn't have approved of. Overall his factory was reported to have good working conditions, much better than what was typical at the time.

I know he was a Victorian man and while I fully admit I very much enjoy his writing and work, I'm not hero worshiping him. I do have many criticisms for him, but surviving under capitalism in a way where he tries to make some positive impact is not one of them. I know every write up on him loves to paint him doing business as a hypocrisy and a point of criticism, but I find that very silly. He never became rich with his business, though it did most of the time bring him enough money to live a comfortable life (though there were times during which the business was not as great and he lived a less middle class life), because he despised commerce and did it enough in order to do arts in his own terms and survive. This whole criticism feels so much like that meme "you criticize society yet you live in society, curious, I'm very smart".

I would much rather criticize him for his racist attitudes. Even though he was anti-colonialist and opposed the British Empire and he didn't believe in inherent biological racial qualities, he did accept the premise that there were distinctions between races, he just thought those were caused by the living conditions of different peoples both environmental and the material conditions forced upon them. It's still racist. He was also clearly ignorant about many different cultures, especially non-white ones, and did sometimes engage in cultural supremacy. He also was part of feminist causes, but he very much did uphold very binary gender roles evident in the way he wrote about men and women, even as in some ways he tried to oppose them.

The Morrisian case against fast fashion

Today I discovered that H&M made a William Morris collection some years ago. The heath death of the universe can't come quickly enough. We can stop now. Satire is dead and we killed her.

It's not just the whole concept of H&M using William Morris' designs for their fast fashion which is insanity inducing, but also the critical response it garnered. Like sure, people did realize this is insane and there was a lot of think pieces about it at the time, but I read several of them and they all seem to still miss the point in spectacular way.

The basic premise of these think pieces go along the lines of: "Would William Morris spin in his grave with a speed of light because of the H&M collection of his designs? A difficult question indeed. William Morris was a complicated man. He wanted art to be affordable to everyone. Isn't H&M affordable? That kinda fits. Though probably he would have some concerns about H&M's practices."

On the surface - yes - but like in reality - fuck no. There's no nuance in this particular issue. He talked about many times what he though of the H&Ms of his time, the retailers selling poor quality industrially produced "fashionable" bullshit. We know exactly what he would have thought of H&M. Here's couple of quotes from his 1884 lecture "Art and Socialism", which makes it very clear.

"It would be an instructive day's work for any one of us who is strong enough to walk through two or three of the principal streets of London on a week-day, and take accurate note of everything in the shop windows which is embarrassing or superfluous to the daily life of a serious man. Nay, the most of these things no one, serious or unserious, wants at all; only a foolish habit makes even the lightest-minded of us suppose that he wants them, and to many people even of those who buy them they are obvious encumbrances to real work, thought and pleasure. But I beg you to think of the enormous mass of men who are occupied with this miserable trumpery, from the engineers who have had to make the machines for making them, down to the hapless clerks who sit day-long year after year in the horrible dens wherein the wholesale exchange of them is transacted, and the shopmen, who not daring to call their souls their own, retail them amidst numberless insults which they must not resent, to the idle public which doesn't want them but buys them to be bored by them and sick to death of them."

He is describing the birth of consumerism, which was taking form during his lifetime in the late Victorian Era, which fast fashion is the extreme logical conclusion of, and he fucking hated it. He specifically railed against endless consumerist products, which H&M is the perfect representation of. It was definitely not the art and beauty he believed everyone required and deserved. He makes the distinction often.

"Now if we are to have popular Art, or indeed Art of any kind, we must at once and for all be done with this luxury; it is the supplanter, the changeling of Art; so much so that by those who know of nothing better it has even been taken for Art, the divine solace of human labour, the romance of each day's hard practice of the difficult art of living."

"And here furthermore is at least a little sign whereby to distinguish between a rag of fashion and a work of Art: whereas the toys of fashion when the first gloss is worn off them do become obviously worthless even to the frivolous—a work of Art, be it ever so humble, is long lived; we never tire of it; as long as a scrap hangs together it is valuable and instructive to each new generation. All works of Art in short have the property of becoming venerable amidst decay: and reason good, for from the first there was a soul in them, the thought of man, which will be visible in them so long as the body exists in which they were implanted."

When he thought of popular Art he thought of the craftsmanship of the common people. The art people have made from useful everyday objects with skillful handicrafts. This is what he means by "divine solace of human labour". It's not reverence of Puritanical work ethic, on the contrary, it's the reverence of creation, of the earnest joy people feel when they get to express themselves through their creative pursuits. He certainly didn't believe in work for work's sake, work needed to be worthwhile and enjoyable. He summarized his own position on what labour should be thusly:

"It is right and necessary that all men should have work to do which shall be worth doing, and be of itself pleasant to do; and which should he done under such conditions as would make it neither over-wearisome nor over-anxious."

He urged his middle class audience to reject consumerism (the lecture was for a very much middle class atheist society):

"For I say again that in buying these things: 'Tis the lives of men you buy! Will you from mere folly and thoughtlessness make yourselves partakers of the guilt of those who compel their fellow men to labour uselessly?"

I think it's glaringly obvious H&M and fast fashion in general is what he would consider luxury. Rags of fashion that are just churned out and discarded without thought and produced by compelling people to labour uselessly. It's not popular art that's made by workers and craftsmen, who are able to express themselves through it. There's no agency for the abused workers in H&M's sweatshops, they are not expressing their joy of creation, they are simply labouring uselessly.

Morris didn't shame workers for buying affortable things even if they weren't Art with big A, because that's the problem he despised the whole economic system for, for taking away the popular Art from people, making it inaccessible, and selling back mass produced products with very little practical or aesthetic value. So I don't think he would have problem with people who can only afford fast fashion today. They are the victims of capitalism too, because Art has been taken away from them. But the idea that some of these think pieces had that perhaps the H&M's Morris collection can be good actually if you squint, that H&M has the capacity to bring the art and beauty Morris advocated for for the people, is level of stupidity that's hard to express in words.

Morris didn't believe anything made with exploited labour could be truly beautiful, truly art. In his 1879 lecture "The Art of the People" he put it like this:

"That thing which I understand by real art is the expression by man of his pleasure in labour."

The way I understand this, is that art is communication. Through it we communicate feelings, ideas and thoughts, that is it's purpose. So for that communication to work, for it to be imbued with message, the person making it needs to feel passion and love for it's creation. How can there be love and passion if the hands making the garment belong to a tired exploited worker who has no egency what so ever in their work and can only think about survival to the next day?

Beyond the fundamental exploitativeness of H&M and fast fashion, this collection would still get zero points on aesthetic values from Morris even with his own designs. Because the work itself was such an important part of art for Morris, good design was nothing without good craftsmanship. Good design in his mind was always relative and dependent on it's purpose.

"For everything made by man’s hands has a form, which must be either beautiful or ugly; beautiful if it is in accord with Nature, and helps her; ugly if it is discordant with Nature, and thwarts her; it cannot be indifferent." (The Lesser Arts, 1877)

Here when he says nature, he means the nature of the thing that is made - basically it's purpose and function - and the nature of the materials it's made from. Basically, the design must always be made to bring out the function of the art and the qualities of the material it's made from, not fight against them. This is because he believed handicrafts were uniquely suitable for expressing the love of creation, therefore superior labour, and to really bring out the qualities of the craftsmanship and enjoy the creative process, the design should be suitable for that craft. The other side, which was the joy of using and experiencing art, required the craft to be selected for the suitable purpose. Using poorly functioning furniture for example is not very enjoyable, nor is using clothing that's made from materials that are not suitable for the climactic conditions it's supposed to be used in.

H&M of course utterly fails in this. They use Morris' designs in fully unsuitable ways. They print patterns made for example for wall papers on poor quality fabrics with synthetics dyes they weren't made for. This line from one blog post I came across really got me: "Therefore, without cheapening the artistic value of Morris’ designs, H&M’s collection offers an unparalleled potential for accessibility to them." No. Fuck no. They do in fact cheapen Morris' designs in every single way possible. Literally this is atrocious.

Despite the popular depiction, Morris wasn't in fact against industrial machinery or industrial art even, or at least he wasn't once his views on art and politics matured. He did think technology was useful, but he thought the people should use industrial methods for the benefit of all, not be enslaved by the industrial machine.

"I have spoken of machinery being used freely for releasing people from the more mechanical and repulsive part of necessary labour; and I know that to some cultivated people, people of the artistic turn of mind, machinery is particularly distasteful, and they will be apt to say you will never get your surroundings pleasant so long as you are surrounded by machinery. I don't quite admit that; it is the allowing machines to be our masters and not our servants that so injures the beauty of life nowadays. In other words, it is the token of the terrible crime we have fallen into of using our control of the powers of Nature for the purpose of enslaving people, we care less meantime of how much happiness we rob their lives of." ("How we live and how we might live", 1887)

However, he thought that the designer should approach it the way they approached any craft, by designing for the strengths of the machine work.

"But if you have to design for machine-work, at least let your design show clearly what it is. Make it mechanical with a vengeance, at the same time as simple at possible. Don't try, for instance, to make a printed plate look like a hand-painted one: make it something which no one would try to do if he were painting by hand..." ("Art and the Beauty of the Earth", 1881)

He did use some machinery for fabric and wall paper printing, but he was very intentional about their use. Still his designs weren't made for the type of methods these modern H&M machinery uses and he did for example use natural dyes. Particularly insulting is that some of the H&M clothes are made from viscose, rayon made with viscose method. Viscose method is extremely toxic and is known to cause long term health consequences for the workers and the people in surrounding areas. This has been well proven knowledge for ages. William Morris' wall paper factory in the beginning used the typical method used at the time which involved arsenic, but once he learned this could pose risks for the workers, he changed the method. Many of the new synthetic dyes were toxic at the time, which is the major reason he so favoured natural dyes, known to not cause health issues for workers or pollute the environment.

The question many of these think pieces about the H&M Morris collection posed was, would Morris disapprove and should we care? The first part of that is very easy to answer. Yes. Of course Morris would disapprove. He is currently powering the whole of British isles with purely the kinetic energy his grave-spinning produces. Should we care though? If you care about Morris' art, if you want to see more of that kind of art in this world, you should care. Morris' art is not about the superficial qualities. Copying his designs and aesthetics and styles, will only lead to hollow imitations, that are exactly what he described the rags of fashion to be; as the shininess of novelty wears off they will reveal themselves to be soulless, useless and utterly empty. This collection is just that. To see more of the kind of art that makes you feel like his art makes you feel, not just something that reminds you of that feeling, you should focus more on the way the art is made and less on the specific aesthetics. If his vision of labour and art was realised, all art produced of course wouldn't be loved by every person, but all of it would be loved by someone, even if that someone was just the maker. And that would be more worthwhile than every single rag of fast fashion.

I will stop William-Morris-posting now and return to my thesis.

[m00nl1ghts1vt]

City of Love III - Matt Sturniolo

Requested by anon I II Parings - neighbor!Matt x fem!Reader Summary - Even though your confession leaves Matt uneasy, he still invites you to dinner at his place, that's only if you cook, of course. Warnings - strong language, fluff, W/c - 3208 A/n - Sorry for the wait, I was debating on continuing because part two didn't get that much love, but I really like the concept of City of Love 🥲 Not sure how many parts I'll be doing yet. Enjoy! Masterlist Top Liked - Pierced II Most Recent - Mama Request & Asks are always open

Opening the drapes, you were greeted by warm sunlight beaming through and lighting up the room. You made yourself useful this morning, going for a jog, and finishing your morning routine, even though you woke up around noon. The sequence of events from the night before made sleep almost impossible for you. You tossed and turned for a while, the image of Matt’s face engraved into your brain. Deciding to distract yourself, you stayed up late, unpacking the rest of your belongings, and blaring your go-to playlist throughout the house. The night ended with everything unpacked and you passed out on the fuzzy rug in your living room.

Not being able to shake the harsh feeling of Matt’s pained expression, going for a jog was your only escape so, that’s what you did as soon as you finished your breakfast. Little did you know, Matt and his brothers would be arriving at their house right as you’re ending your morning jog. Plastic bags wrapped around his fingers as he shuts the car door, his eyes land on you, quickly followed by his two look-a-like’s. You plaster an awkward smile on your face, waving, and jogging past them, not wanting to be held up by any more uncomfortable conversations. The AirPods in your ears and beads of sweat dripping down your face being the main indicator you weren’t up for chatting. You didn’t dare to look over your shoulder, entering your house, and heading straight for the shower. 

After opening almost every curtain in your house, letting in as much natural sunlight as possible, you go downstairs to your living room. The only tv you had was in the living room and your couches were still in shipment. You take a seat on your fuzzy rug, turn on your tv, and scroll through Netflix. Once you finally land on something that sparks your interest, your phone dings. Quickly selecting the movie and tapping your screen, you see it’s a text from Matt. 

A toothless smile pulls at your lips. Maybe Matt wasn’t thrown off by your confession like you thought he was. If roles were reversed, him telling you that he just got out of a serious relationship months prior, you would cut all ties right then and there. In all honesty, if your past relationship hadn’t ended so badly, you would still be in Seattle, in contact with him. You couldn’t blame Matt for how he felt about the recent revelation, but you certainly did blame yourself for letting it slip too soon. Something about Matt made you want more of him every time he left, and the last few nights you had been restraining yourself from walking next door to talk to him. Every conversation was light and easy-going, making you feel like you two had known each other for a lifetime. You weren’t much of a talker so feeling comfortable around him had you shook for words, leaving you wondering how much the bond meant to him. It meant the world to you. 

Even though you knew leaving Seattle was the right idea, you couldn’t help but feel homesick, missing your friends and family. Matt had a special way of making you forget about all of when he was around. You still made sure to keep in contact with your loved ones back in Seattle, nightly calls to your best friends and parenting showed them how much you really liked him. It had only been a week, and you couldn’t shut up about him

₊˚ ‿︵‿︵‿︵୨୧ · · ♡ · · ୨୧‿︵‿︵‿︵ ˚₊

You spend a couple hours at Target, picking up numerous things for your house, and ingredients for dinner. You decided on your classic ‘Marry Me Chicken’ - mainly because it was the first dish you were ever taught, and you had mastered it by now - you wanted to impress Matt and his brothers. First impressions were everything to you. Even if things might’ve been too far gone with Matt, you at least wanted to knock him off his feet with your cooking skills. 

Your arms stacked with plastic grocery bags; you stumble up to his front door. Struggling to get a hand up, the front door flies open, “Y/n! Matt, Y/n’s here!” One of Matt’s lookalike’s scoop bags out of your hands, you couldn’t tell if it was Nick or Chris, but you at least knew their names. You watch as he nods his head for you to follow him. Stepping into their house, you kick off your shoes out of respect even though he still has his on his feet. He yells, “Matt, get your ass in here!” just as Matt rushes around the corner, locking eyes with you. His face quickly turns a light shade of pink and a smile pulls at his lips, “hey.” 

You could’ve sworn his flustered expression was contagious by the way your face matches his almost immediately, but you try to play it off, forcing a toothless smile, "hi." 

Matt reaches for the grocery bags that are still weighing you down and his brother snorts at the interaction, “wow oh- kay.” His comment makes Matt’s face twist in embarrassment and irritation, “this is my brother, Nick.” Matt collects the rest of the groceries and sets them on the island, “the loud one.” 

“I think we’re all pretty loud Matt,” Nick shoots back sarcastically and turns his attention, “I prefer ‘the gay one’ in case you were wondering.” 

You let out a little giggle, “I’ll keep that in mind.” Making your way to the islands to help Matt unload the groceries. His gaze is stuck on you as he carelessly sets the tomatoes on the counter, only noticing they’re rolling off when it’s too late to catch them. “Matt!” you exclaim, a little too loud for your own liking, “you’re gonna bruise my tomatoes!” 

“Shit, sorry!” He quickly crouches down to pick them up before turning the knob on the sink and running them under cold water. You make your way to him, “sorry,” grabbing the tomatoes to inspect it, “a bruised tomato makes a shitty sauce.” After deciding it’s okay, you look up to see Matt’s eyes still glued on you, “I’ll be more careful next time.” 

You watch as he presses his lips in a thin line, attempting to hold back the grin that’s trying to break through. Matching his energy, you playfully furrow your eyebrows at him, “you should be. How am I gonna show off my killer cooking skills when you’re damaging the most important ingredient?” 

He cracks a smile, “you haven’t even told me what you were making yet. How am I supposed to know it’s the most important ingredient?” You let out a laugh, being able to go back and forth with him was something you loved. It’s like all the momentary awkwardness from the series of events the night before didn’t matter. It disappeared for the time being, but your intuition told you it’d be brought back up later in the night. 

“Marry me chicken,” you tell him. Matt raises an eyebrow, “it was the first recipe I learned,” you deadpan, not wanting him to get the wrong idea of the title. You didn’t make up the name for the recipe, and you had no idea if you were preparing this dinner as Matts friend or as his situationship that lives next door.

₊˚ ‿︵‿︵‿︵୨୧ · · ♡ · · ୨୧‿︵‿︵‿︵ ˚₊

“Okay, now the heavy cream,” you hold your hand out. Matt takes notion, handing you the carton of heavy whipping cream almost immediately., making you nod to him as a way of saying thank you. Matt had been a big help in the kitchen all night. He handed all the ingredients to you as you needed them, making small talk to keep you company while his brothers watched a movie in the living room. You step away from the stove, wiping your hands on a kitchen towel nearby, and leaning against the opposite counter from Matt. 

“So,” he stretches out, crossing his arms over his chest, “about last night.” You shift awkwardly, not wanting to bring the conversation up, but you knew it had to be done. Your intuition was dead on. At this point the topic was the elephant in the room, like a big boulder sitting in the middle of the kitchen that you and Matt had to constantly shuffle around. IYou watch as he clears his throat, his eyes darting from your lips to your eyes, “I asked too many questions.” You shake your head at him, “questions are good. I don’t mind,” you ramble like an idiot, mentally face palming yourself. Talking about your ex made you nervous, you didn’t want to say or do anything that made Matt distance himself. 

An anxious chuckle falls from his lips, “maybe I made some assumptions too soon,” he states before pinning his bottom lip between his teeth, “I really like you. I don’t want you to think I’m not into you for any reason.”

His words take you by surprise, and you open your mouth to speak, “finally being straightforward,” you poke at him. Matt being so to the point, telling you how he felt about the situation, was new. The little time you had known him, you always found yourself searching for answers without actually asking questions. Maybe it was because he was too interesting to you. He could tell you his whole life story, and you’d still want to know more. A smile creeps onto Matt’s face, “figured I’d try something new,” he jokes, keeping the same playful tone as you. The butterflies in your stomach dance and your face heats up a bright shade of red, “well I’m glad you told me 'cause I definitely thought you hated me after last night. I snapped on you, I’m sorry. I felt really bad afterwards.”

Matt scrunches his face, shaking his head, “don’t apologize. The attitude was on point,” he tells you, holding his fingers up to form an okay sign. You giggle, “you like ‘em a lil spicy, huh?” 

Matt snorts, letting a small laugh escape his lips, “only the kind of spice you have.” He lets his face contort, cringing from his own words, “sorry, that was too much,” making you burst into laughter. You double over holding your stomach, “no, that was cute - a little cheesy - but cute.” Your infectious laugh brings a bright smile too his face and he quickly joins in with you, “cheesy pick-up lines are a given with me, just to let you know.” 

“At least I’ll get a good laugh every day,” you coo back at him, running a hand through your hair before pushing yourself off the counter and approaching the stove that he’s standing next to. You stir the sauce gently and bring the spoon up to your mouth for a taste test, “yeah, I’m a chef. Let Gordon Ramsey know I’m coming for his spot!” you exclaim before taking another spoonful for Matt. Blowing on it a few times, you cup your hand under the spoon as you guide it to his lips. Matt locks his eyes on your, taking a slow slurp from the spoon. The intensity of his gaze makes you want to break eye contact and hide your face like the true shy girl you are, but his piercing blue orbs are too strong to let you look away, keeping you in a trance as your face lights up and goosebumps form on your arms. 

Your eyes widen a bit, but you quickly try to play it off, relaxing your face as you pull the spoon away. “Wow, that’s really good. Somebody needs to put you on top chef,” he jokes, clearly not picking up on the effect he had on you. Lust swirls around in your gut, making the words struggle to get out of your throat, “th-that good?” 

“Oh yea,” he confirms before plastering a kool aid like smile across his lips. “I’m really impressed. You're gonna have to cook for me more often,” he tells you, inching so close that you can feel his body heat radiating off you. It was clear by now Matt had a certain effect on you that nobody has ever had before. Little things like Matt holding eye contact or forcing proximity between you two made you wonder if he knew about the butterflies he placed in your stomach every time he spoke to you or accidentally brushed his arm against yours. You felt like a seventh grade girl obsessing over her first crush, except you were a grown woman crushing on the boy next door. 

Matt knew exactly what he was doing. Being the gentleman he truly was, half the time he didn’t act on his impulsive behaviors. If it was up to him, he’d have you all to himself, telling you how much he really cared about you. Matt felt the same way about you as you did about him. The past relationships and random hook ups you two had weren’t anything compared to this weeklong bond you formed. As pathetic as it sounds, the connection had Matt in a chokehold and you in a death grip, not letting either of you go, and only leaving you both wanting more each time one of you pull away.

After last night, he went home and talked to his brothers about you just like he had been doing every night since the first interaction. Matt was worried something fierce about you exposing the fact you were four months fresh from a three year long relationship. He feared your ex was still in the picture, that he would text you any moment and you’d be on your way back to Seattle. Nick and Chris feeding him comments along the lines of - “so what, man? Go get some ass. You haven’t been laid in months, it’s starting to scare me,” and “you barely even know the girl. Stop worrying about her ex,” but when his bothered expression didn’t budge from his face, his brothers quickly took notice, “holy shit! You like her?!” Chris teases him immediately and Nick balances it out by saying, “leave him alone, Chris. He barely likes anyone.”

If Matt was being completely honest, he was just waiting for the moment that provided the right space and opportunity to tell you - and show you - how he really felt. When you passed by him on your morning jog, he could feel the vibes were off. Unknowingly being in tune to your energy already, negativity was practically oozing out of you, and Matt took notice right away. The torn expression on your face mixed with beads of sweat dripping from your brow, Matt felt horrible for how he reacted the night before. He had to come up with a plan to get you in the same room as him again, and once he remembered how much you loved to cook, he decided to test the waters. Luckily for him, it was working out perfectly. 

“Just have to drain the pasta,” you announce before covering your hands in oven mitts and picking up the pot full of boiling hot penne noodles. Carefully taking a step back, your body comes to a halt as you crash into Matt, who didn’t take cue that you were moving with caution. The hot water splashes, coating your oven mitts, and you jut your body outward, hissing from the contact. Mentally praising yourself for using the mitts, your hands would be covered in burns if you hadn’t.

“Fuck, I’m sorry,” Matt blurts out before taking the hot pot from you, not caring if it was too hot to touch, and carelessly setting it on the counter. He quickly turns his attention back to you, pulling off the oven mitts, and inspecting your hands. “Are you okay? Sorry, I was just looking at you, wasn’t paying attention. It didn’t get you, did it?” he rambles, taking your hands and turning them every which way to make sure there were no visible burns. 

“No, no, I’m fine. Those are some thick oven mitts,” you joke trying to ease his panic. You thought it was cute how much the idea of you being hurt put him in a frenzy. “Are you sure?” his words laced with concern, and a worried look etched across his face, as he continues to inspect you. The warmth of his hands makes you suck in a sharp breath, nodding slowly, “promise.” 

Matt finally looks up at you, his eyes glancing towards your lips. He takes a step back, swallowing hard like he’s physically holding himself back from his next action. You watch as he leans over the stove, flipping the burner off you had thoughtlessly left on before taking a step closer to you. His hands snake around your waist, pulling you to him. The way your bodies fit together like two missing puzzle pieces makes a familiar weakness buckle at your knees. “I feel so bad,” he confesses. Matt sways side to side, gently rocking you with him as he plants a kiss on your forehead, “I’m really sorry.” 

You pull back from him slightly, only so you can show him your hands, “no burns. I’m all good,” you tell him honestly. The worriment still plastered on his face as you wrap your arms around his neck, gently rubbing a thumb along the nape of his neck. “You’re sure?” he presses his lips in a thin line, trying to fight off a smile that was pulling at his lips. Playfully furrowing your eyebrows at him, “only if you promise I walk out of here in one piece.” 

As much as Matt wanted to take you to his bedroom and leave you crawling out of his house, he knew it was the wrong thing to say. No promises. “Promise,” he lets his smile break through and yours follows soon after.

Matt lets his eyes explore, drifting from your eyes to your lips, and back up to your eyes again. You were fascinated by the meaning his held, they locked you in every time. His eyes were so blue, you felt like you were drowning every time he looked at you. You and Matt stay lost in time for a few seconds before you make your move, tiptoeing to press your lips to his. Not like other times when Matt would pull away rather quickly, letting his nerves get the best of him. Instead, he digs his fingers into your waist, pulling you so close that your body is pressed against his. He trails a hand up your arm until he's cupping the back of your neck, walking you backwards, the only thing to stop you is the edge of the countertop protruding into your back. 

The built up sexual tension has your tongues dancing together like two ballroom characters from a Disney movie. In a way, this was your real-life version of Beauty and The Beast - pressed up against Matt’s counter as his hands explored your body and his tongue inspected every inch of your mouth. You didn't know where you and Matt stood, you didn't know the title of your relationship you shared with him, but you knew you enjoyed every second spent with him and you didn't want it to end anytime soon.

🏷️ - @lvrsturniolo @unknvhx @m11rx @ribread03 @emely9274 @thepubeburgler @loveparqdise @frickin-bats @sweetshuga (If I'm missing anyone or if anyone wants added, just let me know! Also pls remember to turn your tags on if they aren't already!)

[maniacwatchestheworld]

Hey! As a fandom and community, can we please please PLEASE talk about searchfortheblindeye more!???

It's obscure! It's considered noncanon! But I also think that it's interesting and worth looking at! Especially if you fuck with Fiddleford and the Society of the Blind Eye as a concept at all! I personally think that it's the first instance we have and can see Fiddleford being Alex Hirsch's very special man and Blorbo for his own series and honestly I love that for him! I also think that it was Hirsch's first unofficial testing ground to see how far he could push the cryptogram stuff, what the fandom could solve, whether we would actually engage with that kind of stuff at all, and is basically the spiritual predecessor the Cipher Hunt and ESPECIALLY thisisnotawebbedsitedotcom.

I URGE you to read the Gravity Falls wiki page about it because I have my own thoughts biases and blind spots concerning the page! The website no longer exists, but was thankfully fully archived on the Gravity Falls wiki, so go read it to understand it and the kind of experience that it was! But I guess that I should give a summary for newcommers who can't be bothered read it right now to describe what it is and why it is interesting, even if only on another surface level.

So at the end of Gravity Falls' season 1 finale "Gideon Rises" the audience watching is given a cipher. Search for the Blindeye. Later this would be revealed to relate to the series of animated Gravity Falls shorts that Disney would release between the ending of Season 1 and the start of Season 2 known as "Dipper's Guide to the Unexplained" that would reveal the symbol that would later be revealed to be the symbol for the Society of the Blind Eye in piecemeal sections.

A day before Gideon Rises had aired a website had launched. Searchfortheblindeye.com. How curious. It was a website that Alex Hirsch had addressed before in a handful of ways while it was online. Hirsch specifically said that it was not affiliated with Disney... But he didn't say that he didn't have anything to do with it! And we sure do know how much Hirsch likes to mess with the Gravity Falls fan community when he can!

On the surface, it really didn't seem like searchfortheblindeye had much going on. It featured a gif of Bill floating and had the remixed iteration of the main Gravity Falls theme that was featured at the end of Dreamscaperers as the website's audio. But in the source code there were encrypted messages! The messages seemed to feature 2 characters who didn't like one another very much. One is pretty undeniably Bill Cipher and the other seems to be the person hosting/programming the website. I'm going to be fully honest, I think that the other person, the person who is presumably the site's programmer is Fiddleford. One of the very first messages on the site was "LIAR. MONSTER. SORT OF OK DRESSER. TRUST NO ONE." Which establishes this person as someone who is aware of Bill, the Journals and what is written in them, but is decidedly NOT the Author (Ford)! Given the name of the website, the person running it has to be someone that is entirely fine with being associated with the Society of the Blind Eye. And again, they are someone who can program a website, and- from what can be gleaned from the person running the site and Bill's interactions- very much dislikes Bill (the feeling is mutual), and is quite the intellectual. Fiddleford meets all of these criteria! The messages and things on the website would foreshadow things that would show up/happen/be said in the series itself long before they would actually be seen or happen. I think that it's pretty damn safe to say that someone who worked on the show was involved with this website if Alex Hirsch wasn't behind it himself! So it might not strictly be canon... But it IS a lot of fun and is interesting! And I think that it gives us an interesting insight into what was happening as Alex Hirsch and the rest of the people who worked on Gravity Falls were thinking as they were fleshing out Fiddleford as a character! And I think people should at least mention it sometimes! Also fun fact, the website features Gompers' backstory lol. Like the Gompers backstory stuff as it appears in searchfortheblindeye.com still gets vaguely mentioned in new Gravity Falls media sometimes. So while it may not strictly be part of Disney's Gravity Falls' canon... I like ti imagine that the website and the things featured on it are kinda sort of part of Alex Hirsch's headcanon lol.

In any case... If you want more drips of sweet, sweet Fiddleford content and context, read the wiki on the website!!! If you want to see Bill and Fiddleford directly interact with one another on a speaking level, read the ciphers as they were catalogued!!! And... Well... If you're not a coward and enjoy FiddleBill or want to see the appeal of the toxic love triangle disaster polycule's least popular and least loved side, read the wiki on this website because I seriously think that you will get a kick out of it!!! Also it might be the most we may ever get out Cult Leader era Fiddleford! A part of his life that I find deeply fascinating and for which I scream to heaven high that we don't get to see more of!!!

Basically... PLEASE LOOK INTO THIS THING! I WANT TO SEE PEOPLE PLAY WITH THE IDEAS IT PRESENTS AND SEE PEOPLE ACTUALLY TALK ABOUT IT SOMETIMES AND NOT JUST MEEEEE!!!!! Also I think that I might have solved a mystery that went overlooked about it...? But that's neither here nor there

[nickrocketrodriguez]

Hello, Nick! Can you share with us some of your favorite scenes into the writing process of Jurassic World: Chaos Theory? Or even some scenes that didn't end up on the show but you liked it?

Gosh, we wrote these so long ago it's so hard to come up with specifics. For the episodes I wrote, I loved writing the scenes in "Halfway Home" between Daniel and Kenji. I have a relationship in my own life that mirrors (to a certain extent) theirs, so to be able to put all of myself into that episode -- my first as a staff writer on a TV series -- was very special for me. It really allowed me to completely open myself up to working with other writers to intimately. I also get a giggle out of the part where Kenji doesn't have the words to describe Daniel's ultimatum, so he just grunts -- I didn't know if it would make anyone else laugh, but it seemed to, so it stayed! That was pretty fun.

"The Drop" was a bit tougher for me, as it was a pretty pivotal moment between Darius and Kenji. In their scene where they struggle over possession of Brooklynn's phone, I really wanted Darius to rear back to take a swing at Kenji, but for some reason, in a show where people are eaten by dinosaurs, throwing punches (or even implying it) was a no-go, but what ended up in there was still really fun and to the spirit of what I was trying to do.

"Batten Down the Hatches" was sooooo much fun to write as a horror and action fan -- I feel like the team really took what I wrote and ran with it in the best possible way! Seeing that one at SDCC with a group of like 800 fans was something I will never forget. People laughed, gasped, shouted at the screen -- it was just such a cool moment for me.

But getting to introduce Soyona Santos was also such a special thing for me. As I've said in the past, getting to write for Dichen Lachman was such a fanboy moment for me, I'm so glad I got to reintroduce her to the world and help usher in a more three dimensional version of the character than there was time for in Dominion. I love the cat-and-mouse vibe of their conversation. There's also the bit that I'm not sure many picked up on where Santos is the one who uses the term, "limb difference" for the first time in the series. Our consultants had taught me that phrase, and I thought it was an interesting choice for Santos to introduce it to Brooklynn. The thinking was somewhere along the lines of, in her quest to get deeper into the trafficking of dinos, she probably didn't have a ton of time to look into how she was really feeling about losing her arm, let alone find anyone else who'd introduce that phrase to her. So when Santos uses it, there's a split second where Brooklynn kinda connects with it. I think it shows that Santos isn't just a mustache-twirly type of villain. She's intelligent, she's hip to how language has evolved, and she might even be a good person in another life. There was a moment where it was called into question whether or not Santos would use the phrase, so I'm especially glad we got to keep it in there.

And don't even get me started on the episodes my amazing colleagues wrote for the rest of the series. They all did such an incredible job, I don't even have enough words to express how awesome their episodes turned out, not to mention how awesome all of the rest of the crew did in bringing the show to life!!

[keferon]

I’m done. Full story below:D

Tw descriptions of blood and gore

"Be careful with that mech. Don't let it kill you."

First Aid frowns

"I thought pilots were supposed to do the killing, not mechs. Judge not the spear, but the man who threw it, and all that."

Ambulon laughs as he adjusts his cap and claps his hands together nervously

"You're new here, aren't you? I kept thinking someone else would tell you..."

He puts his hands in his pockets.

"...We think this mech is possessed. The superiors don't approve of that kind of talk, and there's no way I can explain it to you scientifically. The engineering department has been trying to find an explanation for a long time, but... uh..."

First Aid leans forward curiously. He had always been interested in gossip, no matter how realistic it sounded.

"But?"

Ambulon sighs

"A long time ago, before you, there was a pilot working here…Vortex. Medics say he was brought into the program as a child and raised as a soldier. Crazy psycho, the whole department hated him."

….

"But he was good at what he did, you know. One of the best. Hated his superiors and seemingly everything alive, but on the battlefield he was unmatched."

Ambulon hesitates and looks away.

"He died. I'm not sure why, but it wasn't pretty. The cockpit took a long time to clean up, everything was covered in blood and...well..."

First Aid waits patiently.

"...since then, his Mech has had over a hundred pilots."

That's...a hell of a lot even by the standards of the mecha program....

"We don't know why. Anyone who gets in that cockpit has to be pulled out piece by piece. It's like the machine is avenging the death of its pilot."

Ambulon shrugged uncomfortably

"What I'm trying to say is, be careful. Don't touch the controls, don't get in the seat. And don't even think about turning it on. Any part of it. If it's dark inside, bring a flashlight."

First Aid feels the skepticism rising in his mind

"You sound very superstitious..."

Ambulon puts his hands on First Aid’s shoulders.

"Last week one of ours was doing some cleaning in there and turned on the electricity in the cockpit to use the ventilation system. The damn thing slammed shut on its own, jamming his leg into the windshield. He just turned on the ventilation! Please, First Aid. Promise me you won't touch anything."

That still sounds like something out of the mysticism category. Or a technical malfunction. One idiot who didn't figure out the buttons and paid for it.

First Aid bends over for a bucket and brushes. He unfortunately doesn't have all the time in the world to listen to creepy stories.

"Okay, I heard you. Don't touch anything, don't turn anything on. But I still think you're superstitious."

Ambulon sighs in relief.

"You'll see. You'll see for yourself and you'll know what I mean."

"I don't think so."

_____—————_____

First Aid sees.

First Aid looks.

And the more he looks, the more he realizes.

It's brown bloodstains. But not the ones First Aid was just sent to clean up. No.

These are old, really old stains. In the seams between the metal plates, in the narrow gaps between the components, in the ventilation grill and inside the hinges. All places that are very hard to reach with a brush and cleaner.

There was blood in this cockpit, then it was cleaned up, but not all of it. They left some in the crevices and tight corners, figuring it was enough to keep it looking decent.

Then it happened again.

Dozens and dozens of times.

Enough so that the disgusting dark layers had to be chipped off rather than washed away.

First Aid runs his finger along the bottom, hard-to-reach side of the console. A disgusting stain remains on his glove. He wonders what kind of death you had to die for your remains to leave stains THAT far inside the cockpit.

There are scratches everywhere from hard brushes and ugly pale stains from using strong cleaners.

It smells like death and solvent in here.

The cockpit of this mech resembles a morgue.

The edge of the retractable visor has barely visible brown streaks just about on level with where each person would be required to pass if they were to enter the cockpit. If you squint, you can see that the stripes are layered on top of each other, some older than others.

This mechanism is not just faulty.

This mechanism destroys its pilots often enough for it to imprint on it's surface. How many people have been killed when that shell was slaming shut, slicing their spines in half? Based on the color of the stains First Aid can guess at least five.

There are a lot of ugly scratches around the emergency eject button. There's also a paper stamped nearby that says the mechanism has passed all the necessary safety tests and inspections. So at least within the test sites it works perfectly….. but every pilot sitting here seems to be desperately struggling..

First Aid suddenly feels a rush of exploratory interest and climbs down to check out the emergency release mechanism. On mechs whose pilots have ejected, this mechanism always gets exposed to the outside environment and inevitably has to be cleaned of soot, dirt, or alien remains.

Considering how dirty this mech is, the hinges there must be caked in filth.

He carefully pulls aside the panel and shines the flashlight inside and

The ejection mechanism is covered in dust.

But that can't be right! No pilot is good enough to always finish a mission intact. Especially when you consider how many pilots have gone through that mech! He doesn't know for sure, but he'd bet half of them were fresh out of the academy...

The flashlight in his hand begins to shake faintly as the realization comes to him.

Perfectly passed safety tests.

An ugly smashed and scratched emergency eject button.

And the mechanism that hasn't moved once since it was confirmed to be perfectly functional.

A metal monster chewing through its pilots one by one.

First Aid puts the panel back in place with unsteady hands and looks around the cockpit, suddenly keenly aware of being watched, even though the power is off and the cameras are physically inoperable.

And yet…

"What the hell…..”

_____________________

When months later, First Aid holds the order for his enlistment into the pilot staff, the first thing he thinks about is that fucking button.

When they take his measurements, give him a new suit and explain safety procedures. When they pat him sympathetically on the shoulder and wish him luck. When everyone he knows acts like they're seeing him go on his last ride.

He sits in the pilot's seat and he feels his blood run cold. He folds his hands in his lap so he won't be tempted by the buttons and screens. He closes his eyes and sighs deeply.

This is the first time he's come into an already pre-cleaned cockpit, but he knows it's an illusion. He knows where to look, he's examined every seam and hinge a hundred times. No matter how clean these walls are. There's nothing in this little bubble of darkness that hasn't been touched by death.

He opens his eyes and involuntarily looks at the button again.

A broken piece of fingernail is sticking out from under it.

He pulls it out, tucks it into his pocket, and folds his hands in his lap again.

There's a smell of death and cleaner all around.

He knows the monster must be hungry.

Imma just put the link to the little mecha Texaid thread I’m writing realquick:)

[tsartistry]

I love the Niobe kidnaps Lester AU! I’m already so invested in it! But I have many questions…

1. How does Leto (aka mama Leto) feel about this?

2. What is/how are the Apollo kids feeling? Are their powers not working as much or what?

3. How is Olympus doing? Is someone doing apollos work? Are they trying to investigate or are they trying to pretend that nothing is happening?

4. Did Lester/apollo gain their powers back before Niobe kidnapped him? And since he’s being brainwashed did he forget he does have powers if he gained them again or are they just completely gone?

5. Will Lester/apollo have a love interest?

And last question for this post I swear lol does Lester/apollo ever show signs of their powers once and awhile? Like for example if their hair starts to go blonde suddenly?

Sorry for so many questions, I’m just so invested in this AU ever since I discovered it lol I keep going back to this tag just to reread everything :3

1. How does Mama Leto feel about all this?

in a nutshell?

For the past several thousand years, Leto's had a lot of trust in Zeus. Even during Apollo's trials, while she was begging him to end the trials and restore her son's divinity, she still trusted him. Surely if Apollo succeeded at his trials, then Zeus would keep his word and restore him to Olympus. And if he failed -- she did not want to think about him failing, but she still trusted she would see her son again. Somehow.

But now, it's not a matter of success or failure; Apollo is just gone. Leto can't find any trace of him, and suddenly Zeus isn't giving her any answers. She can't exactly bring wrath down upon the King of the Olympus the way she did Niobe millennia ago. All she can do is ask everyone she knows for help finding her son, and stew in her worry as she waits for any scrap of information.

She's not doing great.

(Whenever she finds out about Niobe's involvement, all that anxiety turns into RAAAAAGE)

2. What is/how are the Apollo kids feeling? Are their powers not working as much or what?

Their powers are weakened, but still working! Their spirits... not so much. It's not like Apollo to give them radio silence. When they ask the other gods for information, they provide no answers. But where Leto was filled with anxiety, the Apollo kids are on the cusp of despair. The only thing they're holding on to is Nico saying he didn't feel Lester die; But if that's the case, where is he?

3. How is Olympus doing? Is someone doing apollos work? Are they trying to investigate or are they trying to pretend that nothing is happening?

I hadn't thought about who was doing Apollo's work, but thinking about it now, it's probably either Hermes or Artemis. Maybe they switch off? Hermes has a precedent for handling Apollo's animals, and Artemis would want to ensure her brother's position as sun god is cared for and not usurped. She saw what happened to Helios, after all.

But Olympus is tense. Zeus is convinced that Apollo went into hiding, perhaps hoping that Zeus will come begging for him to come defeat Python --

Oh, yeah, Python's still around, by the way! He's still digesting the power of the Triumvirate, and still has complete control over Delphi, and there is now a risk of him using his power and position to start taking control of fate. With every day that passes, the serpent's power grows, and the tension among the Olympians builds.

Unfortunately, fate has decreed the absent Apollo would be the one to defeat the serpent. But Zeus will not stoop to begging Apollo to come back; That would be showing weakness! He's fine waiting out his son's little tantrum. He's just making it harder for himself, after all; Every day Python grows more powerful. But that's Apollo's problem. Why should Zeus be worried about an evil serpent possibly taking control of fate itself?

Yeah, Zeus is panicking. He pretends to know where Apollo is, but he's as clueless as everyone else, and it's terrifying. Even in the guise of a mortal, what could make an entire god disappear so suddenly? And could Python pull the strings of fate to force the Olympians to fall?

Despite his efforts to look cool and collected, the other Olympians are starting to see the cracks in his facade. Poseidon especially is starting to smell blood in the water, so to speak.

4. Did Lester/apollo gain their powers back before Niobe kidnapped him? And since he’s being brainwashed did he forget he does have powers if he gained them again or are they just completely gone?

I wouldn't say they're gone, but I would say he does not have access to them. The power still exists, but he cannot reach it.

The brainwashing and the lost powers are two separate things that were done to him. Niobe actually did some magical shenanigans (with the help of a Greek goddess I won't name just yet, it's someone who has never appeared in the Riordanverse) to actually remove parts of Apollo's soul to prevent him from accessing them.

5. Will Lester/apollo have a love interest?

I don't have any plans to write any romance for Lester, but who knows, maybe as I'm writing I'll get struck with inspiration! But the story's already complicated enough, haha, romance might tangle it up even more.

And last question for this post I swear lol does Lester/apollo ever show signs of their powers once and awhile? Like for example if their hair starts to go blonde suddenly?

Yes! While he's lost access to most of his powers due to Niobe's meddling on top of Zeus turning him mortal, she overlooked his music powers! It's actually a plot point that he can use music and rhythm to guide people's emotions and movements.

I like to imagine that if he practices hard & concentrates, he can trigger an entire diegetic musical number. The kind where he can get a whole crowd singing and dancing together. Unfortunately that sort of thing is difficult to convey in writing.

Sorry for so many questions, I’m just so invested in this AU ever since I discovered it lol I keep going back to this tag just to reread everything :3

aaa that makes me so happy!! Please don't feel bad about asking questions, it helps me fill in details I hadn't thought about before :D

speaking of Apollo's music powers, here's a bonus doodle