#do i think this is a very bittersweet ending to a character whose desperation to keep his own morals costs him everything? also yes

[rutadales]

cfoolish morals are central to all the conflict he faces in such a compelling way. it's specifically the fact he holds himself to a higher moral standard then the people around him— he won't kill people and won't take revenge. and those choices cost him everything again and again and again and he keeps making them. he keeps choosing to be kind, to be forgiving, to be lenient, and throughout the story he loses more and more people— through betrayal, through distance, through loss of faith.

one of the most interesting to me is csam bc sam never hurts him, but it's sam's action in the prison that completely change how not just how foolish views Sam, but foolish's entire worldview. "Maybe you are right, maybe everyone's a scumbag". But this damages foolish's and sam's relationship to the point that the June 6th conversation is one of the last they ever have in canon. bc foolish's morals can't let him stomach being friends with someone who would do that. sam was his friend. And it's this loss of faith in his friend that shakes foolish to his very core— to the point he starts considering throwing everything he believes away, because why is he holding himself to a standard no one else is?

it must be so lonely, being kind in a world like that.

[denimbex1986]

'For a show that is often so optimistically forward thinking—and where change is baked into its hearts—Doctor Who often has a bittersweet view of its own past. Heroes and friends come and go, goodbyes are frequent and brief, and a lot of them are permanent, especially when part of the key to its longevity is that its main character dies every few years. But as a wise Time Lord once said, every once in a while, just occasionally, everybody lives.

“The Giggle,” the third and final episode of Doctor Who’s 60th anniversary specials, has a lot to do, between paying off the return and re-imagining of the 57-year-old villain Celestial Toymaker, climaxing this brief era of the 14th Doctor and Donna Noble, and, of course, grasping the weight of what it means to be a Doctor Who regeneration episode. Regeneration stories are not just the embodiment of Doctor Who’s ability to survive for decade after decade, but they also carry this dread weight of inevitability that often threaten to subsume the narrative framework they’re draped upon: they’re about the hero of the story dying. They are, especially in the contemporary iteration of the show, about how painful and tragic that is—metatextually, that a lead actor whose life has been defined by the series for a period of years putting an end point in their stewardship, but also textually, in that the Doctor has to grapple with this peculiar limbo of death and rebirth that sees them completely change their very self in a moment of fire and sacrifice.

The melancholy mood of regeneration stories perhaps has no better emblematic example than the last time David Tennant faced this prospect almost 13 years ago. Both parts of “The End of Time” are about the Doctor desperately struggling to avoid this inevitability, undergoing a two-hour grief process where the Doctor repeatedly stresses to the people around him, and to the audience, just how much this all sucks. The Tenth Doctor bitterly refers to regeneration to Wilf as someone else walking away, breaking down in tears. When the avoidance of the narrative becomes impossible, he wails how unfair it is before accepting it—and even then, the story becomes a lengthy epilogue of goodbyes, before climaxing in the maudlin moment of the Doctor, once again on the verge of breaking down, whispering with a quiver: I don’t want to go.

And so, here we are again. David Tennant must die, and although this time around his latest take on the Doctor is largely unware that he finds himself in a regeneration story in “The Giggle,” the brief tenure of the 14th Doctor has, as a whole, largely been about dealing with the weight of a long life lived. One of the key differences between this Doctor and the last time they wore Tennant’s face is how emotionally vulnerable and accepting of this weight the Doctor has been—the goodbyes, the sadness, the tiredness, and the trauma. Even if this time around it’s only we the audience that are aware that time is up for the 14th Doctor, his very existence has been defined by that sense of regenerative sadness anyway, and how it persists even as the Doctor changes faces. “The Giggle” isn’t just a regeneration story in this regard, this whole trio of episodes is.

Yet, they’re also a celebration of Doctor Who, and no one wants the birthday person to be glum on their big milestone. “The Giggle” is more akin to “The Star Beast” than “Wild Blue Yonder” here, a Davies-romp with high camp and a narrative weave that leans hard on performance and sentiment. The Toymaker, having escaped his realm of surreality to enter our own, has sown a seed of madness into every TV transmission—from the original John Logie Baird transmission in 1925 all the way to a 2023 where satellites have turned Earth into a truly online and connected planet—and is using this power to cause mayhem and chaos. Why? He’s petty. That’s pretty much exactly what it is, as much as he then goes on to frame this against the Doctor and Donna as some grand critique of the Doctor’s capacity to get people around him killed, that he is just as guilty of playing games as he himself is. It’s not really that deep, no matter how many creepy puppets of fallen companions he clunks down in front of them, even less so when he assaults UNIT HQ to perform a Spice Girls lip sync. The Toymaker is there because an episode of Doctor Who needs an antagonist, and as good as he is, as fun as he is, he’s not there to make a point. He’s there to pull a trigger, and get us to what “The Giggle” is meant to be about, what we expect it to be about, even in celebration—a beginning, and an end.

The actual twist then, more so than its seemingly game-changing methodology, is that “The Giggle” is a regeneration story, but it’s not a sad one. In fact, it wants to make regeneration freeing and transformative in a way the show has rarely touched on before: what if Doctor Who wasn’t about dying, but finding ways to live? As the clock runs out and “The Giggle” sets the stage for its grand execution—almost literally, as the Toymaker wins his “game” and shoots the Doctor clean through the chest during his UNIT assault with a giant laser gun—the Doctor this time embraces change, and is ready to say goodbye this time. Except, in doing so, just this once, they are given an opportunity, on their birthday, to have it both ways. The next Doctor is born, but the old Doctor doesn’t go away. With a push and a pull, out of David Tennant comes Ncuti Gatwa, immediately electric, fully the Doctor, and seemingly a product of Time Lord mitosis. And he’s just standing there. Next to himself! Everybody lives!

There are a million ways such an audacious idea could’ve gone wrong—not just for what this means logistically in Doctor Who from the perspective of its internal logic, but also the delicate tightrope of what it means to the audience, that you put the new Doctor, the first Black, queer man to play the Doctor, next to one of the most beloved actors to ever play the role, while saying that that actor hasn’t actually left the show (again). It speaks to Gatwa’s potential that he himself is unbothered by this daunting prospect, and neither is Doctor Who: from the moment he is born, standing up against a great foe in nothing more than a borrowed shirt and boxer shorts to play a game of catch for the fate of all existence, it is unequivocal that “The Giggle” is now his episode, not David Tennant’s. Surprised as he is to be there still, the 14th Doctor melts into the background at the 15th’s side, as he offers the greatest gift to this traumatized Time Lord he can give—a moment for the physician to heal himself.

This “Bi-generation”—as 15 puts it to both himself and the gathered, confused allies around him—is supposed to be a myth, a fantasy, but in a reality where a powerful being such as the Toymaker has already pushed the established rules of existence out the window by his very presence, Doctor Who finds itself in a potentiality where anything and everything could happen. The Toymaker is, indeed, pulling the trigger, but not this time quite so literally—he is the catalyst for Doctor Who to free itself, to say everything that came before and which we understood mattered, but also, that it doesn’t matter. The Doctor is free of this inevitable sadness, that their rebirth after rebirth doesn’t have to come at the cost of death and sorrow. Somewhere, out there, in another version of reality, in another timeline, in another interpretation, every version of the Doctor gets up from their regeneration story and walks away an unchanged person.

However you interpret it is not for Doctor Who to say, not because it doesn’t care—it’s clear that Davies cares deeply in playing with regeneration itself like this, in this moment—but because this is its gift to itself, and to you. Don’t be sad that your Doctor has gone if you don’t want to be, there is now this way for them to come back, to tell more stories. If that sadness in regeneration, and its representation of change and rebirth is important to you, it still is to the show; the 15th Doctor is not an offshoot or an outside technicality, he is the Doctor’s future, with everything that entails, including the eventual evolution of his past self into this current moment. The Doctor is free, and so are we, in this singular moment, to take whatever we want from it.

And what better way to celebrate everything Doctor Who has been for 60 years, than to unchain it like this? It allows wonders, not just in the fantasy of saying every Doctor we’ve ever seen and loved is still out there, somewhere, in some version of this ongoing tale. It allows a wonder specifically, for the 14th Doctor, whose time has been defined by grappling with the tragedies that have beset the Doctor since they last had this particular face, to pause, reflect, and rest. If the 15th Doctor is the future, and a representation of, as he puts it, Time Lord rehab out of order—a living, breathing example of showing himself that one day everything will be okay—then the 14th Doctor doesn’t have to keep running, and mourning. He can settle down for the life his past selves have craved, fully of love and family alongside his best friends, living out his days on his chosen homeworld. The Doctor gets to live, in both senses of it, 14 finding peace and the chance to heal the long way round from the ground, and 15 running off into the stars to see what’s out there, full of joy and life because of that chance to heal his own past along the way.

So “The Giggle,” and this very special celebration of Doctor Who’s past, its present, and its future, ends not with melancholy as we might have suspected, but this moment suffused with joy for everyone. Sitting around the Noble-Temple dinner table, the 14th Doctor tells his best friend in the whole universe that it’s the happiest he’s ever been in his life. Out there in time and space, the 15th Doctor is happier still, the whirling wheeze of the TARDIS reverberating out around him and a smile on his face, full of adventure. At this most special of moments, one carefully structured to only be able to come off out of this impossible context of this particular anniversary, everybody lives. And in doing so Doctor Who, 60 years old, 60 years younger still, allows itself the magic of having its cake and eating it too.'

[true-blue-sonic]

To the ask game... Shadow

An interesting choice! ^-^

do I like them:

Hmmm... kinda? He's not in my top 5 favourite characters, but I do think he is cool and I like his backstory.

5 good qualities:

I used to be quite scared of SA2's story (I was young and easily startled), but I have warmed up to it, and though I do know not everyone likes it I consider it to tackle quite a few topics I would otherwise not have thought about in an engaging and touching way. Like Gerald's desperation to save his dying granddaughter, the idea of weapons of mass destruction, everyone's fear of Shadow and what he can do as the Ultimate Lifeform, and so on.

I like how Shadow does not waste words on things that should not have words wasted on them. It's a nice contrast to Sonic, but it also shows how they are the same: Sonic is not above quipping and joking, but he knows how to watch his words in situations where it counts. Shadow just seems a lot more extreme in that regard.

This might be a very unpopular opinion, but I like how he buried the hatchet with GUN and now works together with them to ensure prosperity for the world. It seems like a bittersweet ending to the 50+ years of strive that spanned out between GUN, the Commander, Shadow, and Gerald, even if Shadow was frozen for most of those 50 years. I like to think that Shadow and the Commander managed to reconcile and both went on to make GUN a better organisation.

He also has a nice friendship with Rouge and Omega! They seem exactly like the bunch of misfits who hit it off together immediately, and it's nice to see how Shadow is able to make friends with others and form close bonds despite being somewhat misanthropic and very much preferring to be by himself.

And lastly, I like his vow to move on and no longer live for the past in the ending of ShTH. For a character whose story mostly happened 50 years in the past and who has very little remaining from that era, I think it is nice that he decides to live for the future instead.

3 bad qualities:

I honestly don't like how he is written in IDW. He feels needlessly rude and blunt, in a way that I cannot envision game!Shadow to act like.

While I wasn't around in the Sonic fandom when SA2 and Heroes were released, I do agree with the sentiment that it might have been better to wait one or two games for Shadow to have made his return. Heroes had a lot going on with four teams, and thus Shadow's plotline of amnesia and the Shadow Androids honestly got put on the backburner somewhat.

Why oh why did Sega make everything point towards him just murdering the Jackal Squad in Episode Shadow from Forces? Infinite states Shadow "destroyed [his] squad", Eggman states that "Defense Squad Jackal has already been completely annihilated" and "totally wrecked", making Shadow quip about how Eggman should have hired some defense squads for the defense squad. Sure, terms like destroyed and wrecked all do not explicitly state that he killed them ('annihilated' however is not just an "oh oopsie Shadow gave one a kick and now he's bruised but they're totes fine I swear!!"), but considering the way Infinite reacted, I do not think the Jackal Squad escaped with their lives. Considering how it set a large chunk of the plot of Forces in motion, this was one of the more dumbass moves on Shadow's parts, and I also find it somewhat uncharacteristically brutal of him after his character development.

favourite episode/etc:

I think he is very neat in Sonic Battle! His whole shtick as weapon of mass destruction who sees Emerl as the same is quite heartwrenching. I should play the game again, it's got a great story imo!

otp, brotp, ot3 and notp:

None for all of them XD

best quote:

I'm trying to think of one from Battle (I believe it is like "No-one should have to go through the things that I have!" aimed at Emerl), but I am not certain that was the quote and finding it might be a struggle, so let's go with a classic instead: "If the world chooses to become my enemy, I will fight like I always have."

head canon:

Has regular movie nights with Rouge and Omega. Rouge is in charge of which movie they watch (generally very sappy chick flicks), Omega makes the popcorn, and Shadow provides the occasional biting commentary about what is happening on the screen regarding contrived plot points and overall idiocy of the characters.

[chaoticreivingu]

tell me your pip headcanons and/or clyde :3333

Why not both?

For Pip:

Sexuality Headcanon: Gay, no doubt about it. Idk where else to put this but an interesting tidbit is that in the 19th century left-handedness was a sign of homosexuality, and Pip uses his left hand as his dominant hand a lot in the show, so make of it what you will.

Gender Headcanon: Cis, never really thought about it tbh.

A ship I have with said character: Bip, my soon-to-be 9 year old OTP, aka Butters x Pip. I have a lot to say about this ship but I'll make it brief. This ship,while seemingly saccharine on the outside, is extremely bittersweet not only in a meta context(Butters indirectly killed him not only in a meta sense, but also in being the first one to draw attention to Tom Cruise in 200), but in-universe as well, in the sense that even if they get beat up,insulted or abused, they still have each other, but how long until Butters realizes he wouldn't be getting so much mistreatment if he wasn't dating Pip in the first place?How long until Pip lets Butters take his repressed anger out on him because "there's no other way", or maybe he'd let him do anything because he's that desperate for attention, any kind of it?There's just a lot of things you can do with it and you could nurture it into a good ending against all odds or a gritty grimdark ending. Also it'd be funny to see Butters' parents react to seeing him date a more passive version of him.

Besides Bip though,Cartip aka Cartman x Pip is just a very entertaining ship for me, purely because their scenes together have a lot of dom/sub tension to them and also for its comedic value.

A BROTP I have with said character: Pip and Dougie are a good pair and it'd be fun to see what interests they could have in common, but it's super weird that they didn't interact once in Two Guys Naked in a Hot Tub, though that's probably because Dougie's kind of a third wheel in that episode. Pip and Stan might be very unlikely and Stan wouldn't want it for the life of him but I can see it as a one-sided thing.

A NOTP I have with said character: I really don't have one I think?

A random headcanon: His parents were killed in a home invasion by a frenchman, which is why anything french related is a trigger and why he hates french people so much, to him they took away his one chance at having a decent life, though he doesn't remember that his own parents hated him too.Also it'd be super funny if he was a Barbra Streisand fan so yeah.

General Opinion over said character: Pip's tied with Butters(my opinion on him is pretty complicated though) and Dogpoo as my favorite characters, so there's a lot to unpack here. He's a repressed Victiorian orphan child put into an uninhibited 90s setting, someone whose purpose is to be really cringe and annoying,but on the other hand the cringiness is what makes the gimmick with him funny, how deep can the cringe go and how much will his abuse escalate, and what does he truly think about it?(tbh this entire gimmick with him would most likely culminate in death so that was pretty obvious in hindsight)At the same time there's a sense of pity or worriedness about him as well,and it's really nice when he actually has friends who like him back in Butters and Dougie. In terms of his death it's so inconsequential and blink and you'll miss it that I normally don't think about it much when analyzing him, but ig it's interesting to think about where he'd go after dying?(the obvious fanon answer would be Hell, but Heaven was recruiting more people in season 9, but also his death was unnatural so maybe Limbo?)

Now onto Clyde:

Sexuality Headcanon: I'd say Bi but knowing Clyde he'd label himself as Questioning or Heteroflexible for a very long time.

Gender Headcanon: I view him as cis though maybe he'd question his gender identity too?I could see that but can't pinpoint exactly what he'd question himself as, maybe agender idk.

A ship I have with said character: Cryde, I'm really a sucker for "doppleganger" ships so this one fits the bill, but also if you look deeper into it you'd see that amidst the superficial similarities they have a lot of differences too. Also I really just love the bro vibe they'd give even after they'd start dating, they seem like they'd just be super chill together and wouldn't have many worries about big arguments. I think both of them could also benefit from one another?Clyde would let his insecurities go after he sees that Craig has no problem with how he actually is, and Craig'd probably like being with someone who doesn't mind being mundane.

A BROTP I have with said character: Cryde again, for the bro energy that I mentioned above, but also Twyde, they can be conspiracy bros together and talk about how the government wants to control everyone, though Tweek would be on the more supernatural side(like the Underpants Gnomes) while Clyde would go for the more sci-fi side(he didn't believe in supernatural zombies existing but had no problems believing Covid and QAnon conspiracies).

A NOTP I have with said character: Nobody really, at this point idk if I have NOTPs anymore lol, but Tyde when used just for the "Pair the Spades" trope maybe?But that's just how I feel about people doing Pair the Spades in fics in general.

A random headcanon: Even though Clyde is a naturally emotional person, his mom's strictness over rules made him supress said emotions and indirectly made him ashamed of being emotional and not the Cool Popular Guy he wanted to be(that and probably toxic masculinity in general). Because of this, he idolizes Craig, especially his attitude and coolness, and he's his ideal on what the Cool Popular Guy should be, so even though he had his own brand of deadpan and snark before, he started to imitate Craig's mannerisms more in an effort to seem cooler.

General Opinion over said character: Even though he's kinda inconsistent in the show, Clyde's a pretty interesting character to talk about and analyse on, I like him a lot though my interpretation of him is probably more of an Outsider Artist's view on things. For me, he's someone who is more middle of the road academically and socially, not that smart but not that dumb either, and even though he can be easily misled into a fall from grace and said downfalls might cloud his judgement until someone knocks him out of it, he's normally not ill-intentioned. However, he often lets his insecurities and self consciousness get the best of him, so he's at his best when dealing with said issues(Lice Capades is definitely my favorite Clyde episode).

[skiyoosmi]

post-break up heartaches

verse 1. in the car that used to drive us to our home

⤷ kuroo tetsurou, oikawa tooru — more characters coming soon

⤷ verse 2 | verse 3

⤷ play. never let me go by ghostly kisses, forget about us by clinton kane

commissions: open

⇢ KUROO sighs for the umpteenth time of the day. he was so fucking exhausted and his body's about to give in to sleep any moment now. work has been beating his ass; there was this newbie who kept on messing up the documents needed by the board and for the whole day, he had to be the one to fix said issues. it's not like he wasn't paid enough for that; if anything, his paycheck was one of the most beautiful things he laid his eyes on— but god, even his body has its own limits and yet...

"ya.... yer not supposed to do this anymore. y-ya left me, remember?" you slurred, index finger pointing right at his chest as he circled his arms around your waist, huffing as you practically dropped all your weight on him. here he was, suddenly given the task of having to take you home after your supposed-to-be designated driver, miya fucking atsumu, also drank his brains out with you.

"be patient. still heartbroken because of you, y'know?" kenma softly tells him despite the tipsy feeling lurking in the back of his mind, shaking his head as he looked at you, whose system finally shut down and were now dozing off in the black haired man's arms.

"..... still?" he mumbles, looking down at your figure and he feels his heart contract with pain all over again.

"you can't expect her to be fine immediately, kuroo. it was your wedding day, supposed to be the greatest day of her life and yet it became the worst one... you left her at the altar alone."

he didn't reply anything— or rather, he was unable to. because what can he say to refute the truth? nothing. instead, he proceeded to his car with you still in his hold. he places you on the passenger seat, locking the seatbelts before jogging to the driver's side.

the car ride was calm as you slept soundly with your head occasionally hitting the window lightly as it swayed from side to side. he was sure as hell that if you were sober right now, you wouldn't even have the thought of seeing him cross your mind. he just knows for sure that you despise him with your whole being... at least, that's what he thought until...

"i'm sorry, tetsu. please come back," you whimper in your seat, voice quiet but he heard it nonetheless, "tell me what i did wrong so i can fix it."

the pitiful sounds and mumbles you made struck kuroo right in the heart and which makes him pull over an empty but safe road, just a block away from your (previously shared) apartment. looking over your form, he finds himself reaching out to touch your face, caressing your cheeks as drops of tears fell down slowly on them, "you didn't do anything wrong. you were fine. you were so perfect."

you squint your eyes at him, probably wondering if this was real or just a part of your drunken imagination. nonetheless, you hiccuped, "y-you... you left me and i... i still can't even bring myself to hate you... i just wanna ask you why? i just want to understand."

he thought he also knew the reason why but every single time he thinks about it, he's only led to one conclusion: because he was a coward. no way was this any of your fault— it's definitely not your fault that right at that moment, as he stared at the mirror, wearing the black suit you chose for him, the sudden fear of commitment loomed over him. it's not like it was your fault he suddenly got scared of losing you the way his parents lost each other. but now he thinks it's ironic, because he lost you anyway.

maybe... just maybe, if he had just met you where you stood at the altar, instead of leaving you alone in it, maybe he would've been happier. maybe his days would've started more with a smile from you as you helped him fix his necktie before going to work. maybe, the working hours he spends in the shitty corporate world would've been more worth it if it meant he can come home to you at the end of the day. maybe... maybe he wouldn't have to be stuck with this lump in his throat as he wonders what could've been happening if he just chose to show up and vowed his life to you.

but he didn't.

"i realized i wasn't just ready to tie my life with anyone yet. that's all there is to it, yn."

so with a heavy feeling stuck in his chest and a quiet promise to never see you again for the sake of not hurting you further, he starts the car's engine again, ignoring the words you replied but he was sure they will haunt him for a very long time... again.

i can wait for you no matter how long it takes, tetsu, you know that.

⇢ OIKAWA gives you what seems like a guilty smile as he stands in front of you, opening his arms and gesturing you to come closer. but the stoic expression on your face takes him back to the reality that the last thing you wanted to do today was to actually fetch him from the airport. it just so happens that his three best friends were caught up with work that they had no choice but to send you, the main ex-bestfriend slash ex-girlfriend, to him.

why did you agree when you practically loathe him with your whole being? well, it was probably because you weren't the devil who would reject your friends when they were literally on their knees as they begged you and for some reason, you thought he'll look pitiful going back to his home country after five years with no one to welcome him. yeah, that's it. it's not like you're still in love with him or anything.

"my car's just around the corner," you begrudgingly walk towards the car park with him quietly following. at the moment, he knew better than to get on your nerves or else there would be war. he hates that this happened to the both of you but he can't blame anyone else but himself. because who wouldn't hate their ex-boyfriend if they suddenly broke up with them over a phone call?

tension filled the car as you both sat beside each other. perhaps, this was what other people were talking about when they say that it's impossible for exes to be friends again, to not feel any awkwardness because you were sure as hell that the word "awkward" was an understatement of your situation right now. nevertheless, your eyes couldn't help but wander to his figure as he adjusted his body, opting for a more comfortable position in the passenger's seat.

he looked more youthful and you felt bittersweet— proud that his whole aura screams of "success" which meant that gone were the days where he longed to get that winter cup trophy, nor the times when he overworked himself and put a strain on his knee which led to countless arguments with you. if anything, he looked happier and it sucks because you're not even close to feeling that way... not without him.

"i heard you've finally gotten yourself your own condominium? that's great, yn!" he exclaimed as soon as you began driving to your destination, a hope lit within him that maybe you might just respond to him. just one smile, that's all i need, he thinks.

but you remain focused on your driving, choosing to reply with a single nod and a soft "yeah..."

disappointment fills his heart as he faces the truth that your relationship has really been ruined, along with your friendship. all because he was foolish to think that he couldn't handle the physical distance between you two. realization dawns upon him that he just made that same distance worse as you pull your heart further away from him.

"... i actually bought it for the two of us, you know?" he whips his head to your direction in surprise, heart clenching as he watch you let out a sad chuckle, "i just... i thought it would be nice if we had a place to permanently stay at and for you to have a home to go to when you're at japan. but yeah... i guess things doesn't go our way sometimes, does it?"

"i'm sor—"

"it's okay. i'm fine now," you quickly reply, shaking your head but keeping your eyes on the road. he tries to ignore the tears that start to form in them because he has no right to stop them, knowing full well that he was the one who caused them in the first place.

as if on cue, you halt your vehicle in front of a familiar apartment and much to your dismay, you find yourself looking back in the past when you used to live in that same place, making wonderful memories with the chocolate haired lad with you. you clear your throat to stop the sob that desperately attempts to escape your throat, "uhm... we're here."

"oh, yeah. we're here," he numbly states, already missing you despite the mere inches of space separating the two of you. you just felt so far away and he hates it. but this was the path he chose so he gets out of your car along with his things, turning to you once more, "uhh... thanks for the ride, yn. i know you probably hate me but yeah... it's very nice of you to put that past us and i guess i just want to say sorry for hurting you... i just..."

"i don't hate you, tooru," you softly tell him, "i just don't want anything to do with you anymore. to see you this happy, without me, is like a slap in the face because i'm not. it still hurts and i'm not fine. i just hope this will be the last time we'll see each other. be safe on your trip back to argentina. welcome home."

and with that, you start the car's engine again, no longer having the energy nor the strength to hear his reply. but he wishes you did because as he watches your car drive further away from him, he can't help but wish that he can take back time so that you don't have to go to that condominium and instead, go inside the home you once shared with him.

but i'm not happy, yn. because how could i call this place my home when you're not here with me?

at that moment, unbeknownst to the two hearts that long for each other break at the same time, you finally let out the tears and cries that you've been keeping since you saw him, knowing that no matter how much you try, you'll never be as happy as you were with him— simply because he left you with a hole in your heart that no one else can fill.

© SKIYOOSMI, 2021. reposting, translating, editing, copying and any kind of plagiarism are strictly prohibited, thank you.

[tma-ficrec]

Five All Time Mod Recs

To start off this blog, we decided to submit ourselves to the mortifying ordeal of being known and show y’all our TMA top fic recs!

These are fics of very different premises and categories that stayed with us and soothed our souls. Feel free to ask for more recs (or more specific stuff) because we’re definitely not done. Enjoy!

Mod Ami:

Statement Ends  by @martivist 4k words. Jonmartin. Angst. Post-canon AU. Ending Speculation. Lore speculation. S5 AU.

"Final statement of Jonathan Sims. The Archivist. Statement given… I think it’s June? We haven’t done very well counting time since the days stopped. Summer 2019, call it that. Statement begins.

We’ve found a way to send them back where they came from. All of them."

Forty-some years after the apocalypse abruptly ends, the final acts of Jonathan Sims and Martin Blackwood come to light.

Mod note: This fic... goddamit this fic. I read it halfway through s5 and I genuinely think this is one of the best endings the show could have had. It hit all the points Jonny made and then some. This fic is pain, yes, but the best kind.

Ninety Feet To Home by @judesstfrancis 33k words. Jonmartin. No Powers AU. Baseball Players AU. Fluff. Pining.

Jon isn’t really Martin Blackwood’s biggest fan. And he knows it’s a him problem, because it’s not like Blackwood is a terrible person or like he loses on purposes just to ruin Jon’s life, but he can’t help it. In his defense, if you were on a hot streak and the same person kept coming in and ruining it for you every single time, you'd harbor a bit of resentment towards them, too.

Mod note: I’m so obsessed with this AU that I broke my vow of not making fanart for TMA and made fanart of it. Yeah. Sue me. It’s the perfect levels of pining, ridiculousness and it brought me (an argentinian whose only baseball reference is the HSM musical number) tremendous joy. As the us-statians would say: home fucking run. ALSO, MARTIN BLACKWOOD IS LATINOOOOO.

Maybe not the stuff of legend by imperfectcircle. 14k words. Jonmartin. Post-canon AU. S5 AU. Ending Speculation. Lore speculation. Angst with a Happy Ending.

Martin forgets slowly at first, and then all at once. One moment he's grasping at memories, desperate without knowing why to retain even a single image of an angry, scarred stranger saying incomprehensible things about eyes, and the next, nothing. He can't even remember what had him so anxious just now. A car alarm, probably, or a dog barking in the distance. He's always startled easily.

Mod note: I still quote it to myself from time to time. ‘’Martin, you ate the megalodon’’ makes me giggle and also terribly sad. This is an excellent way of exploring entities lore, as well as grief and hope. 

the garden of forking paths by @bibliocratic. 49k words. Jonmartin. Post-canon AU. Ending Speculation. Angst with a Happy Ending. Use of Spiral Doors.

Whatever he had predicted might happen, Jon wasn't expecting to survive upon demolishing the Panopticon. He certainly wasn't expecting to be rescued.

Instead, he wakes up in an alternative universe where he's never been the Archivist, and Martin Blackwood doesn't exist.

Martin Blackwood wakes up somewhere else entirely.

Mod note: I’m argentinian and the major element in this story is a Borgues book. OF COURSE IT’S HERE. This fic is an absolute ride and so so so beautiful - multiple universes and Jon and Martin doing the same thing over and over and over again, with hope of finding each other.

Family, Found  by Dribbledscribbles. Gen fic. 9k words. S4 Divergent. Canon Divergence. 

It’s Basira who catches onto it.

The collective shift that seems to come over them when heading in or out of the Institute. Not just the oppressive sensation of being observed, their every move catalogued for the voyeuristic cravings of some unseen Eye(s). That feeling remained with them even when they left the Institute these days, but it was always stronger inside its walls. That wasn’t the change. Nor was it the point.

The point was: making life worse for Jonathan Sims.

Mod note: Do you want to hit the Eye? Do you want all the Entities’s plans to be twarted by the power of found family? Do you want everyone who blamed Jon for everything in S4 to sit down and apologise? This is your fic.

Mod Ebby:

the apple of the eye by  gocrazygostupid. 2.8k words. Fluff. Lore speculation.

TELL ME, ARCHIVIST

WHAT IS YOUR FAVOURITE SONG?

i'm not sure. i don't really get the chance to listen to music

if i told you, what would you do with it?

Mod note: I am absolutely weak towards any fic that gives the Entities some form of sentience, no matter what canon said. Especially when these interactions are so surprisingly soft. 

I WOULD PLAY IT

I WOULD LISTEN

in the chillest land and on the strangest sea by  imperfectcircle and raven (singlecrow). 19k words. S4 Divergent. Canon divergence, in the space between 159-160

Jon remembers a statement he read years ago given by a Jesuit priest, who said that the shortest prayer he knew was, just, fuck it, as in fuck it; it's in God's hands. He takes Daisy's hand and trails on after her.

or; hope is a thing with feathers.

Mod note: Everytime I read this fic, I end up at least a little teary eyed. It’s not exactly happy, more bittersweet, considering, but I still love it.

Come Love This World (Come Hate It, Too) by cedarbranch. 3.3k words. Character Study, fluff and angst, spans s1-5. Canon Compliant. 

Jon never liked poetry, until Martin.

Mod note: Yes I am picking fics that personally came for my heart one way or another, not much else to say, besides that “it feels like loving you” haunts me still to this day, in a good way.

i love you, i'm glad i exist by kissyourlocalmoth. 1.7k words. Scottish safehouse period. Fluff.  Established relationship.

Martin was thinking of a poem. It’s name sat on the tip of his tongue, aching to get out. It was a lovely one, too: something about how life felt easy now, at peace; how the small things felt like everything, a poem about… the importance of the little moments. These last few days had been like that, he thought. He couldn’t stop smiling to himself recently, and even Jon teased him about it sometimes, though he was hardly less giddy. He thought of the immense joy the little things brought him now, the mugs of tea they made for each other, how he would lay in their bed late at night staring at the ceiling, his love nestled against his chest, overflowing with so much contentment and fondness he did not know what to make of himself.

Mod note: Short and sweet, it was the first time I read that particular poem, and now it’s forever intertwined in my head with little scenes of jon and martin in the scottish safehouse before 160 happens.

exit wound by autoclaves. 3.1k words. Post-canon AU. Ending speculation.

Suppose there is a house on a hilltop. Suppose there is a story. There is always a story, and every universe is always expanding.

Mod note: I would’ve liked to tag this more, but it would probably spoil the twist it has. Reading back on it, the narration reminds me of the statement from 196, which I find fitting and a funny coincidence, considering. 

[ultrahpfan5blog]

Brooklyn Nine-Nine: Season 5 Retrospective

Finished season 5 rewatch a few days ago. Season 5 was an eventful year for the show, on and off the screen. Off screen the show got cancelled on Fox, had a huge public outcry over the cancellation which included several celebrities, and then got picked up by NBC all in 48 hours. It was an exhilarating time as a B99 fan. Lot of stuff happened on screen as well, Jake and Rosa were in prison, team got them out, Jake and Amy got engaged, Rosa came out as bisexual to the precinct and her parents, Holt was in the running to be NYPD Commissioner, Amy became a Sergeant, and then Jake and Amy got married. Eventful season to say the least. Its also my favorite season of the show.

Honestly, this season is about as close to perfection I felt with a season. In other seasons there are at least an episode or two which I felt were meh or problematic. Season 5 is near flawless. I think Return to Skyfire is the weakest of the episodes but its still pretty fun. There are several episodes of season 5 that all rank in the top 10 B99 episodes in my opinion. The show also takes some risks with a couple of experimental episodes. There are episodes with a lot of heart, there are episodes that absolutely hilarious, there are ensemble episodes, there are two hander episode. some excellent new guest stars, and many great recurring stars.

I think the two prison episodes are pretty interesting. Tim Meadows as Caleb is absolutely amazing. He is so likable and low key hilarious that the fact that he's a cannibal who eats children always feels like a dark surprise. He and Andy Samberg make for a fun duo. The first of the two episodes is particularly fun. The show doesn't hesitate to show the danger of Jake being in the prison, especially the situation he finds himself by the end of the premiere. The show does connect one story to the next pretty seamlessly with the end of the Melanie Hawkins story connecting the the Seamus Murphy story which then connected to the Holt commissioner story. There are also a couple of really good experiments in experiments and story with The Box and Show Me Going. The Box is B99 at its most confident. Apart from Gina very briefly at the beginning and Boyle very briefly at the end, the entire episode really hinges on only three characters. Jake, Holt, and Sterling K. Brown's Dr. Davidson. Its a brilliant showcase for all three actors and all three characters. I believe Brown got a Guest Actor Emmy nomination for his performance and he's brilliant as the smarmy Dentist who really is in control for majority of the episode. Braugher and Samberg were old pros with their dynamic at this point and this is fantastic Jake and Holt episode because you completely get why Jake wants so badly to prove that he's right in front of Holt why being cast as the screw up and the idiot in the interrogation frustrates him so much because we know how much Holt's approval means to him. We also see why Terry call Jake his best detective back in season 1 because of how he riles up Davidson to get the confession at the end and getting the approval of Holt that he wanted. Its an incredibly satisfying episode and one of the show's best imo. Then there is also 'Show me Going' which is a surprisingly tense episode in which nothing tense actually happens on screen. The episode does a great job working with the fact that the only knowledge the squad has is that Rosa is on the scene of an active shooter situation. Basically we are in the same situation as the characters. Since all the characters are on edge, so are we. The show does a nice job balancing humor and recognize the danger of the situation.

The season has probably my favorite B99 episode and definitely by fav B99 Halloween episode with HalloVeen. Whereas the last three Halloween episodes were predictable or spoiled from the promos, this one actually threw a genuine surprise. I knew Jake and Amy would get engaged some point in the season, but I expected it to be on the much hyped 99th episode. Instead it can much earlier with HallowVeen and its a delight from start to finish. Its great to rewatch the episode because you pick up little signs that Jake was a bit more desperate to win than usual. First when he says that planning for the heist is what got him through prison time, and then when he says to Boyle that he has to win this time and this heist is way too important. On first watch, these details just slip by as regular overzealous Jake but they have additional poignancy on repeat. The actual proposal moment is handled beautifully in a very peraltiago way where it is both funny and romantic, with Charles' reaction being the cherry on top. There are quite a few strong related episodes that follow. The Venue being a fun return with the Vulture, Two Turkeys being a TWW reunion with Smits and Whitford returning as Amy and Jake's fathers. Its a better Thanksgiving episode than the previous season Smits appearance. Bachelor/ette party is another glorious episode with wild, fun shenanigans with Reginald VelJohnson appearing as himself. Jake & Amy is a very typical wedding episode where everything goes wrong but its perfect in all the right ways. Its heartwarming and sweet. You get more examples of how Jake and Amy are perfect for each other with Jake knowing the inside and outs of how Amy stresses out, and then ending on a wonderful B99 wedding with Fred Armisen returning to make a cameo appearance as Mlep(clay)nos. The episode was designed to work as a series finale since the potential for cancellation was there and while it leaves the season on a cliffhanger about Holt's job, its the sort of cliffhanger that we could have interpreted positively if the show hadn't gotten picked up by NBC.

The 99th and 100th episode of the show were also memorable. The creators chose to acknowledge the 99th episode in a way that most shows acknowledge the 100th episode, in true 99 style. Its a full ensemble episode barring the absence of Chelsea who would return on the 100th episode. Its a typical road trip episode which kickstarts the Holt commissioner storyline. It also is the episode where Rosa comes out as Bi to Charles. This was obviously a big story for Stephanie since she is bi as well and she championed this story. It gets explored in further depth next episode, but Stephanie Beatriz gets to do some of her best work in these two episodes, showing her vulnerability without losing her toughness. Game Night honestly feels very true to not just coming out as Bi to your parents but true to any child who has to confess something that would be against their conservatives parents' values. I think Game Night is a fantastically bittersweet episode and Danny Trejo is brilliantly cast as Rosa's father. The episode positions him as the parent whose reaction Rosa is most worried about and I love how they show that while its difficult for him to grasp the concept bisexuality, he comes around to accepting it and accepting Rosa. But the episode is still bittersweet with Rosa's mom not having come to terms with it. Its also an excellent Rosa and Jake episode where we see Jake endure incredibly uncomfortable situations to help Rosa. Its a characteristic that helps make Jake so endearing that he's willing to cross all limits for his friends.

There are lots of fun and hilarious episodes in between. Craig Robinson shows up as Doug Judy in The Negotiations which is another fun ep. Kevin and Jake get a great episode dealing with their dynamic in Safe House. Rosa and Amy have some fun in White Whale as the Sleuth Sisters. Pimento returns in Gray Star Mutual for some more crazy shenanigans. Gray Star Mutual also has my favorite cold open of all time with Jake leading a suspect lineup in a rendition of 'I got it that way', totally forgetting the crime that he's got the lineup for. Its pitch perfect and I've lost count of how many times I've seen that cold open on youtube. It basically has its own fanbase and introduced so many people to B99. We also get to see Naseem Pedrad as Jake's sister Katie and the end up having a cute dynamic. David Fumero shows up in The Puzzle Master. There are also pretty funny episodes dealing with some serious subject matter such Jake dealing with his own doubts in his ability to do his job after Prison in Kicks and Holt dealing with gambling addiction in Bad Beat. All handled very sensitively.

All in all, this was a fantastic season for the show. I had a blast rewatching it and it ended the Fox era in spectacular note. A 9.5/10. Now on to season 6.

'

[hanjo-love]

Now I became selfish and I hope the shard is showing Hanji being saved by Kiyomi or something. She go the worst treatment and if Isayama was afraid of the backslash like you said why make it even worse with those parallels with eremika? Is he preparing the Fandom for another levihan moment? I'm tired of EVERYONE surviving but her, Kiyomi's kindness really??? And Onyankopon, while I don't hate him, he survived a plane crash and he doesn't add much yet he is there for being the editor's favorite, Yelena is there after all she did and she adds even less, and the people titanized will revert to human (or at the very least Isayama's favorites will).

Oh anonie, you and me both my friend, you and me both 😔 Beware, a long rant-ish meta is ahead of you lol

I have absolutely no fucking idea why Yams decided to treat Hanjo like shit. You know, after a long time of denying her death, I was starting to accept it, because she was finally free, free of the burden and pain and finally reunited with the people she missed and longed for the most. But then Yams decided to slap us all in the faces saying there's no happy & peaceful afterlife in snk and Hanjo was probs only hallucinating because of her 4 years long depression? Well then, fuck you Yams! What was that even for? Isayama never backed off of showing us the horrors of death in snk, no matter how important the characters and how brutal their deaths really were. Still, he never showed us Hanji's actual death or dead body. He kept it misterious and his vague answers only made it worse. So it's only natural for us to expect a plot twist, right? That's the reason all of us gathered various hints in the manga, anime and his interviews. And lemme tell you, these theories are far more logical, better explained and have less plot holes than the entire final arc smh (yes I'm salty, fight me lol)

I hate to admit it, my inner self is still in denial and fighting, but Hanjo ain't coming back folks. We won't get any background story and the misterious shard will never be explained to us either. Yams had more than enough time to bring Hanjo back, if he truly wanted to. But he didn't. And now with only one chapter and so many unanswered questions left, there's no time for Hange's return. Why would he even do that anyways? Hanjo isn't important to him or to the story anymore. To us she is, always was and always will be ❤️ You know, I'm so fucking desperate to see her again, I'll even take one last panel of Levi remembering her, just like in ch136. Yams just let us see Hanjo one more fucking time 🙏🏻 I need to say my proper goodbyes to my one&only comfort character, who's influenced my life like no one else ever did ❤️

Back to Levihan (I don't think I can answer an ask without my biased and trashy shipper ass butting in lmfao): the question why Yams confirmed Levihan as canon if he didn't intend to bring Hange back and reunite her with Levi to make us him happy again? Well, isn't it obvious? This man is the devil incarnate. THIS MAN HAS NO FUCKING CHILLS lmfao JK y'all before someone declares war on me and my blog haha Well anonie, I feel like Yams really wanted to confirm his initially planned ships as canon, before the manga ends. And he chose the safest way possible. Easy as that. Also he said he is going for a bittersweet ending and what's more tragic (in this literal hell) than separating lovers, ergo Eremika and Levihan.

Now to something else, that's been bothering me for a while now and I'll use your ask anonie to share my thoughts with the world even though nobody asked lmao tbh I'm a bit disappointed with Armin. I love him, I really do. He's my precious cinnamon roll and my fave 104th kiddo. But honestly, I was expecting a bit more of the alleged "hero who will safe humanity". In fact, I'm sure Hanjo only died for Armin to become the new commander. That's it. That was the reason she had to die. Yams glossed over her to make Armin shine. But in fact, Levi's the one who's giving orders ever since Hange has left them. I might me salty, but I really hope the talk with Zeke (and probs Ymir as well, we still might have a chance to see the dialog that made Ymir change her mind) and his titan nuke weren't the only things he did as "humanity's hero" in this final arc. For some people this might me enough, for me it isn't. It wasn't worth Hange's sacrifice. Also what made me really sad was Armin himself glossing over Hanjo when he remembered Erwin Danchou, but not her. Like she didn't just pass away an hour ago to save their pathetic asses. Ugh this is making me hella mad, ngl. Hanjo didn't deserve this treatment! She gave her all for this! To save the alliance, to "pay the price" for her "sins" as the SC commander and to save humanity. I can't deal with how all of them and the fandom apparently forgot about that.

Now on to "Kiyomi's kindness" lol I wasn't really mad at Gabi for saying this as most of the fandom was. I won't go into detail why she isn't really a rationally thinking character (yo guys, you do remember she's a 12 year old kid, right?), but it's a fact that she didn't care for Hange enough to mention her. I mean, why would she? She barely even knew her. Also we don't really know what's gonna happen with Yelena, Kiyomi and her delegation. I don't know if I'm reading too much into it, but I feel like Kiyomi accepted her death with saying "that's not enough atonement for what I did anyway". I mean they don't know if the alliance will win (they probably think they won't) and they're in the middle of literally nowhere. So I feel like Gabi said that because Kiyomi sacrificed herself (and the others on that ship) willingly, for Gabi, Falco and Annie getting a little chance of surviving and helping the alliance. But I get the rage of the fandom. Especially because no one, except for Levi, remembered Hange after her noble sacrifice.

As for Yelena and Onyankopon, there obviously has to be someone from outside of Paradis to survive the rumbling, otherwise it wouldn't make a lot of sense, I guess. I like Onyankopon a hecking lot ❤️ precious boi was literally crying for Hanjo 😭 Yelena on the other hand deserves what she got. Death would be too easy and kind for her tbh. She has to live with the consequences, just like Kiyomi, so I'm actually glad they survived. So my guess is, it's not really about who's Yams' favorite and what these people are contributing to the story, but it's rather about a logical ending and a good conclusion of the story.

I agree with you about the ones who have been titanized. They'll for sure revert back to humans. It's not really Yams' style to kill of an important character like Gabi, whose character development he's been forcing on us for quite a while now lol. I'm pretty positive about an ending with the titan curse being broken and bringing the titanized people back to human beings (probs also the millions of colossal titans?). It's only natural for Yams to end the story with the titan curse being lifted. Otherwise it wouldn't make sense to end his story at this point. But let's not forget what a big ass troll Yams is lmao you never really know what he's up to, so let's prepare for the unimaginable lmfao

I'll probably never forgive Isayama for what he did to Hange, his best written character, how he completely ruined her and threw her away as disposable, just to make other characters "shine". HER DEATH WAS POINTLESS AND IT DID NOT FUCKING CHANGE ANYTHING! That's the harsh truth y'all. Yams betrayed Hanjo and us AND FOR WHAT?

Thanks for the ask anonie and sorry I turned this into my personal rant lmao hope you still enjoy reading my thoughts on this ❤️

[modlisznik]

Dankovsky thoughts let's goooo

(judging by the shards of Discourse reaching me despite all the blocks it's literally the worst time to publish this, but well)

Now, I'm supporting this interpretation mostly on Patho 2 and Marble Nest and I'm aware that the moment the Bachelor's route sees the light of day (WHEN???) it all can turn out wildly inaccurate and frankly just my wishful thinking... but hell, it's certainly no less skewed and personal than all the other takes flying around. Besides, it's all just an interpretation of this one humble actor, Mark Immortel gave me the permit, sue me.

What I often see discussed in fan spaces is "what if Daniil wants to defeat death because (personal_reason)". What if it's supposed to prove his usefulness to the powers that be? What if he grew up as an overachieving kid with strict parents, and now he feels he's a fraud and a failure unless he literally does the impossible thing? What if he suffers from thanatophobia, so it's a fight against the source of his very real fear? What if there's a personal tragedy, someone dead who he desperately wants to bring back? Now I'm not here to bash anyone's interpretation, we're all valid here and I love seeing all these ideas, that's what the fandom is for. But what I, Mo, wish to see in this character is a little different.

First, the dying - it's about control. Danko is all about control, whether it's how quickly he jumps into action and assumes a directive role, how frustrated he is about people disregarding orders... and that lovely Latin quote in Diurnal ending; while Artemy mostly goes with the flow and trust his intuition, Daniil wants to seize control of the situation and play his most optimal scenario. With the way he talks about his work in Thanatica, I don't get the feeling that their goal was full and total immortality, complete eradication of the phenomenon of dying (think about all the folk tales about closing Death in a bottle and the mayhem that ensues), but rather understanding and, ultimately, controlling the process of dying. To give people means and tools to decide whether they *want* to die at this point or not. And... it's a good thing? And not at all selfish, mind you, he's not like a lich in D&D, he doesn't seek to stop his own death. Or even the death of someone he loves. From what we know, his goals are genuinely altruistic. To stop people from dying unless they want to is a good thing, that's a benefit to humanity as a whole. And it's a benefit not lesser than the gift of flying, of defying gravity; just like with flying, it's not about eradicating the gravity (because it has certain benefits lol) but about controlling the fall. The whole idea might sound stupid, fantastical, utopian, but hey - we made some progress in this field already since the times Patho - presumably - takes place, we now understand death as a lack of brain functions rather than lack of heartbeat; who knows what's next. We should study it, we should ask questions. But it wouldn't be interesting if Daniil was just a humble lab-dwelling scientist. Since he has all this dramatic aura of a mad scientist around him, since he speaks about his study in the terms of "fighting death", he invites questions about his motives. At one hand, I get it - people who are happy and feel fulfilled don't pick impossible fights so yeah, it's fair to speculate what kind of damage made him this way. But on the other hand... there's this idea that every time we get a character whose aim is to disrupt the status quo we're almost conditioned to assume that they are somehow damaged, hurt, broken, that under all their ideas lies some trauma that we can point our fingers at and say "aha, so that's what it was all about, see, you aren't happy in this world because you are broken. The world is fine as it is, let's get you some therapy". I just don't vibe with it, and I disagree with the idea that every attempt at the betterment of mankind must come from the place of trauma, must be fuelled by trauma; I don't want to think that the only kind of motivation is the negative one. There are beautiful stories to be told about that, but I don't want for them to be the only story.

I want Daniil who actually, genuinely loves humanity. I want him to really be exceptionally intelligent, well educated and decide that since he has these extraordinary means, it is his duty to put them to the best possible use because you can demand the most from those who have the most and what goal could be nobler for a doctor than to give people an upper hand against death? I want him to have that aura of the XIX scholars who still unironically believed in progress (and were more than a little into occultism). I want him to dream about growing apple tree gardens in the desert (to hell with sustainable agricultural practices lol) while recognizing that people still need bread, even if they need dreams more. And I want him to be a vain, petty dandy with short temper and a capability to be a tiny wee murderous, because people are allowed to be messy and contradictory

So he loves humanity, but has troubles loving, or even relating to particular people. He's self-absorbed, and his focus is at the same time too wide and too narrow, because while he fights the fight of the largest possible scope - against death, against god and nature for the betterment of all mankind - he fails to take into account all the mundane struggle of the people around him. I don't believe that he despises people, as the Death says in Marble Nest, but rather underestimates them. As many of the truly passionate, he can't believe that the people around him could NOT recognize the importance of his work, realize that he's doing it all for them and at least not get in his way. He assumes that people are, at their core, rational and will behave reasonably - or rather, the way he expects them to, the way he himself would behave, because he has trouble putting himself in someone else's shoes. And he ends up disappointed, over and over, when his ideas about what would people do clash against people being, well, people with their own agendas. When the Plague strikes, he does what's rational - orders a quarantine, forbids people from leaving their homes and so on -expecting people to recognize the level of danger the same way he does and comply for their own good; lo and behold, his safety measures are being broken left and right. When the corpses pile up, he expects people to understand the sanitary hazard the same way he does and recognize that the very real threat of *another* outbreak is more important than the words of a distressed girl living at the graveyard. He wants them to disregard their personal plans and customs because that's what he would do. At the same time yes, he is arrogant, he assumes he knows best, he immediately puts himself at the very top of the responsibility ladder - but I get the feeling that it's not because he thinks so poorly of anyone else, rather so highly of himself, expects so much from himself. And as a result of seeing himself as the most crucial person around - to fight the plague; I don't think he considers himself important because of who he is but what he does - he ends up with this patronizing attitude that he considers others his helpers, the extension of his will, or not at all. where I'm getting with this? I'm not sure; I really don't have list of themes I want to see in his route, I trust in the devs to handle it with the same care that hook me in the Artemy's route. I'm curious about what kind of story they want to tell. But in the meantime - we all know it's going to be bittersweet at best and something something about flying too close to the sun and how every miracle is paid with blood. Still, we need people dreaming about these miracles and for once, I wish that this dream was born out of love

[mirach]

Good Omens recs

Here are some of my all time favourite stories, but be warned that my taste is rather specific and can get into darker themes. I especially like hurt/comfort focused on Aziraphale, but that’s not the only thing you’ll encounter in this list.

The Strong Tower by @aziraphalelookedwretched  (M, 41,458)

After the failed executions, a vengeful angel takes it upon herself to neutralise the threat presented by Crowley and Aziraphale.

All stories by BuggreAlleThis are wonderful even if they get very dark in places. There (almost) always is comfort that’s more than worth the hurt and I love them all, but this one remains special to me as one of the first stories I read in this fandom and awaited every update eagerly.   

White Walls and Dead Air by BabyHoldMyFlower (G; 3,382 words)

It’s after the fourth day that he decides he hates God. He’s too tired to hold it back. Too miserable. Too busy dying. He knows he’ll go back on it later. He knows that he’ll repent later, and he’ll mean it, he thinks, once he gains some perspective, but there is nothing that could stop this bone-deep agony from churning and rising into something ugly. He’s not supposed to feel this way. He’s an angel, he really shouldn’t be thinking these things. Blind obedience is what they were created for. It’s in this moment that he can admit to a flaw in the Almighty’s design. If she wanted soldiers, she shouldn’t have given them the capacity to love.

Beautifully written and bittersweet, with lovely wing grooming and insights into the characters.

A Demon Would A-Wooing Go by @shinyhappygoth (G; 301 words)

“Heigh ho,” said Anthony Crowley, and just drove anyway.—Good Omens

Filk of "A Frog He Would A-Wooing Go".

I just love a silly take on a silly folk song that was actually referenced in the book, okay?

Flaming Sword by Bookwormgal (T; 8,576 words)

A dark shape in the not-quite-empty darkness. Dressed in black robes. Humanoid. Skeletal. Then wings unfolded. Angel wings, but not ones of feathers. Wings of night. Wings that Aziraphale could sense more than see in this strange place. And even if the thin thread didn't truly exist except as a concept to better understand what was happening, one skeletal hand rested on the weakening connection. Waiting patiently.

Azrael. Creation's Shadow. The Angel of Death.

"Oh," he said quietly, his voice swallowed by the emptiness.

Aziraphale remembered what happened. He remembered moving. He remembered the blade sliding in, sharp and sudden. He remembered pain. And then…

"I died, didn't I?" he asked.

I like the exploration of the theme of self-sacrifice here. This is just my personal pick from several of my favourite stories from this author.

Courage by Anonymous (E, 21,595 words - WIP)

Ten years after the world didn’t end, Heaven and Hell want to punish Aziraphale and Crowley for their treason.  Gabriel decides that the perfect way to punish both of them is to torture Aziraphale and force Crowley to watch; Hell agrees to the plan.  Aziraphale and Crowley are kidnapped from their South Downs cottage and taken to a neutral location; Aziraphale is tortured and raped and Crowley is forced to watch; they are then returned home, Aziraphale critically injured.  

This is the Prologue (the first three chapters; all of the violence is confined to chapter 2, which can be skipped).  

The real story begins in chapter 4; it’s the story of how Aziraphale and Crowley recover from the trauma.  They are both profoundly traumatized; it takes a long time, but they work through it together, and their marriage recovers.  There will be a happy ending.  

Aziraphale and Crowley heal each other.

This story is a WIP, but it already got to the part where things are getting better. It’s very (very!) heavy, but absolutely beautifully written, it’s giving me goosebumps.

Love Seeketh Not Itself to Please by die_traumerei (T, 14,645 words)

After Aziraphale is left gravely injured by a summoning, Crowley must take him to heaven and bargain with the angels for his life. It doesn't go as he'd expect. 

A hurt/comfort story that’s focused on the comfort part, really satisfying to read!

Evolution by @lady-divine-writes (M; 1,455 words)

Five times Aziraphale wasn’t the most confident Dom, and the one time it finally clicked. 

Again I’m only picking one story, but there are so many more from this author that I love! I bookmarked this one because I don’t usually see Aziraphale as Dom, but here he is fully in character and gets there through conscious effort, and it feels very empowering.

The Longest Night by @charlottemadison42 (series rated T-E, 34,747 words)

The night the Apocalypse doesn't happen, an angel and a demon share a bus bench on the way home to face their fates. This is the story of their evening spun out line by line, all the little moments that carried them through the night they knew might be their last.

A wonderfully written series giving a detailed account of the night before the trials, complete with drunken talk, with wonderful grasp of the characters. Again just a personal pick from the stories by a really great writer.

Who Needs Heaven (when we have each other)? by Kat_Rowe (series rated G-M (so far), 48,057 words so far)

Now that they're independent of Heaven and Hell, Aziraphale and Crowley become even closer. Friendship eventually turns to romance, and emotional intimacy to physical. (Slow-burn friends-to-lover fic series.)

A very gentle series starting with wing grooming and continuing through the exploration of a relationship in which one of the partners (Aziraphale) is asexual.

Fancy Patter on the Telephone by @hotcrosspigeon (G, 12,854 words)

A series of telephone conversations between Aziraphale and Crowley during the Lockdown.

They get steadily more desperate and ridiculous as the weeks go on.

Featuring a moping demon, a teasing angel, a pub quiz, an explosion, extraordinary amounts of alcohol, a bubble bath, awkward flirting, several love confessions... and an ill-conceived bet on who can last the longest without seeing the other.

What could possibly go wrong?

HotCrossPigeon is an amazing hurt/comfort writer who writes absolutely delightful Aziraphale ahurt/comfort from Crowley’s spot-on POV, so definitely check their other stories as well, but I just had to pick this one that’s actually humorous and doesn’t contain even a drop of blood because I couldn’t stop laughing with it.

Feathers by @29-pieces (series rated G; 23,247 words)

Pre-Apocalypse shenanigans. In this AU, when an angel and a demon fight, the victor customarily takes a feather from their opponent signifying victory over them. Usually followed by killing them, naturally. But sometimes the defeated angel or demon is left alive, minus a feather, so that everyone KNOWS. Neither Crowley or Aziraphale ever took part in that sort of thing because it's really just a mean thing to do.

A series of three stories, two with hurt Aziraphale and one with hurt Crowley.

5 Times Aziraphale was Almost Discorporated and One Time He Actually was by @charliebrown1234 (series rated T-M; 29,011 words)

This series is an absolute match for my need of Aziraphale hurt/comfort, just like their more recent story Ex Infirmitas, Sinceritas. One of the authors I’m subscribe to and read everything they write.

The Whole Sky Fell by @thepaisleyelf (T, 9,692 words)

“Okay, Aziraphale, out with it,” Crowley said finally. “What’s wrong?”

Aziraphale blinked. He suddenly seemed very interested in looking anywhere that wasn’t at Crowley, fiddling with the napkin in his lap.

“I don’t -- I’m afraid I don’t know what you mean.”  

Aziraphale really was a terrible liar. Under other circumstances Crowley might have found it charming, cute even, but his concern had been growing ever since he’d picked Aziraphale up for breakfast that morning....

Same as above, Turcote just knows what I love to read. Definitely check their other stories as well!

Desperate Ground by @desperateground (M, 55,883 words)

After they prevented the apocalypse and escaped execution, Crowley and Aziraphale thought they were safe from the machinations of Heaven and Hell. But there are still some demons with scores to settle - and since the angel and demon have made it clear to the world how far they're willing to go for each other, Hell has plenty of leverage on them.

A breathtaking story with torture and unwavering loyalty of the characters to each other.

***

And if you find these recs to your taste, then you might also enjoy

Back to the Roots by me (M, 90,946 words)

"We always knew it would end. Like mortals know that they'll die." Crowley closes his eyes, finding the stare of his own reflection unbearable. "When you're immortal, you can afford to pretend and hide and go slow. And then, when you finally figure it all out, it turns out that what you have can end anytime. It's unfair..." ---------- The morale in Heaven and Hell is low after the failed Apocalypse. Punishing the traitors (effectively this time) seems like a good idea to raise it for both sides - the angels would see what awaits them if they dare to disobey and the demons could just use some fun. And then there is someone else as well - someone whose grudge is even more personal. 

Also torture and unwavering loyalty, breaking the characters and then putting them together with great care. This is the darkest from my stories, so if torture is not your thing, you can check my other ones (mostly Aziraphale hurt/comfort too).

[msfbgraves]

I see you, villain? The problem of Percival Graves

Thinking about the othering of villains, of course I thought of Percival Graves (because when do I not think of Percival Graves, aight) - and the problems he creates if you present him as a villain. Because in the world Rowling created he cannot have that function. In fact, Percival Graves a living, breathing indictment of JKR’s morals.

More under the cut because this is going to be long!

Simply put, a villain has to embody everything the narrative, and the audience, instinctively and collectively knows is wrong. In-story, a few characters can understandably choose their path, but for the most part - no. What they do is antithetical to the morality of the audience. Yetr what Graves does, for most of the movie, is not clearly villainous. In fact, hardly anything he does is.

Hang on, though! He wanted to kill Tina and Newt without so much as a trial! And we know she is good, right? She works at  MACUSA, she tries to protect the wizarding world, she likes our hero, her sister is a sweetheart...

Graves also works at MACUSA. Queenie works at MACUSA. So that cannot readily code them as evil. Graves also works to protect the wizarding world. He’s shown to be a kind man to Tina, at least - he is not an all out bully. He is also more openmindend than the leader of the supposed good guys, Seraphina Picquery.

Then, maybe, the point is that MACUSA is not good, and aligning yourself with them is an evil thing to do. Fair enough, but if that is the case - what does that make Tina and Queenie at the end of the film?

Getting back to the fact he wanted to kill Tina and Newt...

Yes, he wanted to execute Tina and Newt. And as such, was exercising powers that the institution they both represent, sanctions. Again, the institution our heroes support, and if not do not actively oppose, condones this. In that light, is Graves the only villain? Or is he supported by a greater evil our heroes also align themselves with? To the audience the execution order is a great big no-no, but in-story, Graves is completely within his moral rights to do what he does.

But Graves is manipulating Credence.

Yes. Graves is manipulating Credence. And in doing so, is doing more for him than anyone has ever done for him before, including Tina. There’s little Modesty, but even she turns away from him in the end, and, being ten, there’s not much she can do for him up until that point. Tina went after his Ma once, and that changed exactly nothing as he was made to forget the whole incident. (The script implies that he hasn’t but that wasn’t made clear other than in one look, so it’s hard to take that as fact.)The rest of the wizarding world has left him to rot for his whole life. Graves wants something from him, yes - but he also promises him something in return and does him smaller favours: he listens to him, more than once (”You’re upset. It’s your mother again. What did she say? Tell me.”) he heals his wounds, he puts a meal in him (in the Lego movie at least) and he gives him physical affection.  Conditional love is an abuse tactic, but in context, this can hardly be seen as a villanous action, not when our ‘good guys’ are worse than useless.

Graves wasn’t going to make good on his promises to Credence, though. He dropped Credence like a hot potato when he didn’t need him anymore.

Yes. Graves’ in-story, truly immoral flaw is that he is racist towards Squibs. But you know, so is almost the entire wizarding world. They also condone the subjugation of non-human magical creatures, as Newt is all too aware. Graves is certainly no hero, but this alone also can’t make him a villain in the context of the world he is in, because then everybody is.

He hit and verbally abused Credence.

He did (poor boy). It wasn’t a random moment - more of a ‘Snap out of it, we have no time for this’ we’ve seen people do in movies before, but that was inexcusable. That’s his society’s racism in full view.

He went after Newt.

Of course he did. Newt was a fugitive trying to tamper with a dangerous beast - it really was kind of his job.

He went after Tina.

Again, fugitive trying to tamper with a dangerous beast. Kind of his job.

He tried to manipulate Credence again

He tried to save his life. In order to use him later, perhaps, but he might have absolutely made good on his promise to get Credence a place in the wizarding world now he knew he was a wizard (and his racism thereby no longer a factor). (”You are a miracle. Come with me. Think of what we could achieve together.”)

The Graves we’re presented with is a manipulative, dangerous man, complicit in an evil system - but so are they all. In this system, human life, wizard or no, is extremely cheap. Yes, Graves can execute on a whim, but so can, and does, Picquery. She too takes life for some perceived greater good, just as we already know Grindelwald does.

The one who calls this all out? The one who refuses to be complicit? Is Graves!

If the wizarding status quo is as rotten as it is, being opposed to it cannot make a character villainous. And yes, when Graves is revealed to be Grindelwald - and as a visual shorthand is immediately othered more (he is made uglier and is spouting nonsense) this point still stands. Yes, he’s killed people to further his objectives. Well, so has MACUSA! They’ve killed Credence! They would have killed Newt and Tina. And is there any justice for the non-magical people that get killed due to MACUSA’s negligence? (Chastity Barebone? Shaw - he may be an asshole, but what of his Dad? All those other people Credence’s unchecked magic has injured or killed?)

JKR desperately wanted to write a good-vs-evil dichotomy, but what she has actually written is a chaos-vs-order dichotomy. True, a lot of what codes our heroes as good is their rejection of of the established, inhumane order, but so does Graves. Yes, he is ultimately a worse person than our heroes because he is a racist and abuser where Tina, Queenie and Newt are not. but that is not what the movie is about. Our heroes are not trying to fight for magical and non-magical integration - that is supposedly what Grindelwald (and so too, Graves) is doing. They are trying to restore order. That’s what the whole conflict is about. Order vs chaos. In the beginning, Newt’s creatures cause chaos that needs to be stopped. Credence causes chaos that needs to be stopped. Well, they succeed - in the end, Newt’s creatures are caught, the non magical people neutralised, Credence is killed, and Graves - who has declared his opposition to order openly - is defeated.

That is also what technically makes Graves the villain of this story - he is very much trying to further chaos by using an Obscurial. But when order is inhumane, trying to disrupt it cannot be seen as evil.

That’s why Grindelwald, as a villain, really doesn’t work. The audience isn’t convinced the current order should survive. After all, what good does it do? Why perpetuate an institutional evil?

In the second film, they have to ramp up the otherness of Grindelwald - he is uglier and very much more chaotic and he kills more people than the established order does - at least, so we’re told. He goes on causing massive chaos, and this actually, is coded as one of the Crimes of Grindelwald - but the audience doesn’t buy it. Going back to the first film, what we’re presented with as the villain is a handsome, extremely competent, eloquent, manipulative and abusive (granted), but at times merely friendly influential man who is the sole source of comfort for a suffering teen, whose life he tries to save. (For his own ends, ok, but Credence himself is also not entirely pure - he does cause multiple deaths.) Graves then goes on to rebel, magnificently, against a morally corrupt world order, because he could not save Credence’s life. 

I kind of stan that last bit, too.

Now, I’m not surprised that JKR’s subconscious believes that order should be protected against chaos - she is a middle aged white billonaire trans exclusionary radical feminist. But the rest of the world really isn’t that on board with her “The world is fucked but let’s  keep it that way” worldview. The end of the first film still kind of works because both Newt and Tina are rebels at heart who are falling in love and Queenie is also saying “Kindly fuck off” to the established order. But it is a bittersweet ending, because a young troubled man could not be saved and a handsome, badass rebel turned into a bleached pineapple.

Or did he? Where is he?

Where is Percival Graves...?

[morningsound15]

hi! i’m a major fan of yours across several fandoms (bechloe, fuffy, hermione/anyone 👀) and i’m always really impressed with your ability to jump around fandoms while telling these very complete stories with awesome characterizations. any chance you’d be willing to share what your process is like for preparing to write a story? thank you for sharing your work! really enjoy it.

asks like this are so so sweet! compliments AND writing process questions at the same time is just *chef’s kiss*

i got a similar question to this in a comment on one of my stories a few weeks back, i hope you don’t mind that i’ve lifted some of this from that answer!

when i’m starting a new fic, these are the 3 basic things i focus on (not always consciously, this is just how my brain works):

characterization (who is the story about/why is the story being told)

plot (what story is being told)

and form (how is the story being told)

(this is long! more under the cut)

CHARACTERIZATION: the first thing i do is try to get a feel for how the characters think and speak. so the first thing i’ll write is usually something light and banter-y between two main characters. i find that story beats, reactions, emotions, etc. (all important parts of scenes) flow from me much more easily if i have a good feel for the characters and how they interact with each other. for example, the first scene i record in a voice note on my phone or dump in a word document might be: character A and B are eating breakfast the morning after sleeping together for the first time. they haven’t talked about it yet. they are trying to hide what they did from the other people in the room while trying to subtly see how the other one is acting

writing a scene like this would help me figure out a few important things about my characters, like how they interact with each other when they need to be covert (are they embarrassed? flirty? ashamed? cold? nervous? blushing?), how their friends might or might not pick up on their dynamic, and most importantly it lets me practice the pace of how the characters speak and the basic nature of their conversation styles with each other (do they crack jokes, are they unnecessarily cruel, do they openly flirt, is there a competitive undertone, exasperated fondness, etc.?).

people should be able to understand everything important about your characters from the way they speak and hold themselves in a scene. having the characters’ voices, rhythms, and interpersonal banter down is really important in making sure that whatever is happening in your story is compelling. if the characters feel real, the plot will feel real, and you can hook people into reading stories for fandoms they otherwise wouldn’t.

PLOT: this is kind of cheating, since i GUESS technically ‘plot’ is the first step to preparing to write a story, but to me, the most fundamental thing you need to have down to write fic is an understanding of the characters. you can use whatever tried-and-true soulmate/fake dating/bed sharing/alternate universe tropes you want, but the thing that makes or breaks a story is its characters, so that’s why i put that part first.

but okay, talking about plot. for me what comes first is less ‘plot’ than ‘situation’. 

here’s an example: i decided a while back that i desperately want to write a sansa x margaery hogwarts au. has it been done before? yes. does it sound fun? yes, and also, i love writing hp universe, and i love sansa stark. but the idea’s been done before, so what am i hoping to write that contributes to the genre/trope? what’s my hook? what’s my angle? what’s my read of the characters and how do i want to get them together?

i settled on this: Sansa is the first Stark in five generations to not be sorted into Gryffindor.

suddenly bam, i’m off and running. i’ve got a story universe, i’ve got a couple of characters whose voices i’m starting to settle into, i’ve got a whole cast of characters i have to suddenly squash into this alternate universe, think about what roles they should play, how THEY should speak and interact. suddenly i’m drafting scene ideas to make sure that i highlight the sibling dynamics i want between the starks, the tension between sansa and arya, sansa’s alienation and the family’s pride.

the next step is thinking about story beats. what are good tropes in hp universe stories (spell casting scenes, hogsmede scenes, quidditch scenes) -- how can i write some of these with a new fun twist? similarly, what are good tropes in romantic stories (jealousy/pining, being forced to work together when you don’t want to, romantic rivals) and how can i use these characters to pull off these tropes in a way that feels natural and novel? and of course, hugely important — when should the characters kiss for the first time? (every story’s gotta have a good first-kiss scene.)

.

i like my stories, generally, to have 2 main plots going: the romance plot between the two main characters, and the maintext plot/situational hijinx they’ve gotten themselves into. figuring out how to weave those storylines together (and ideally to have the Big Climax Scenes Converge Somehow) is tough. so i write in bursts, jumping around between chapters and paragraphs and scenes, cutting whole sections and shuffling them around constantly.

FORM: the first drafts of my chapters are mostly dialogue; i go back in and add actions and internal monologue as some of the last things that i do. scene transitions are also some of the last things i write, or beginnings/endings to scenes. that’s just a personal preference.

i don't tend to write linearly. i guess you could say i write in a vignette style; that’s why most of my fics are organized with individual scenes divided by a textual break, rather than long continuous stream of consciousness/linear time. this allows me a lot of freedom in my writing; if something isn’t working at the end of a scene, or if i can’t figure out a way to transition between moments/times of day, i can just add a text break in. easy as pie. it keeps my stories tighter (lol i know they’re so long who am i kidding) and lets me move things along.

while i jump around a lot, writing scenes that strike me when they strike me, filling in the gaps here and there as i go along, i do like to make some important decisions early on. i think about tracing the arc of the main relationship — are they interested in each other right away, what are the obstacles to them being together, is there going to be an issue with sexuality/queerness or is that a non-issue in this universe? — stuff like that. i think really important scene ideas to have early on (if i’m writing fic, obviously this applies strictly to writing fanfiction romance stories, which are already pretty trope-filled (that’s not a read i love tropes)) are the scenes that Change the direction of the story: the get-together scene and the plot climax. having an understanding of how those crucial scenes are going to play out means that i can make sure that all the writing before those scenes is building in the correct direction.

that doesn’t mean i stick to my outline, or that i’m afraid to change things up! on the contrary. i like to have an idea of where my story is going to end up as i'm writing, because then i can shape the characters and let them grow in a way that naturally arrives at the conclusion. but of course the conclusion is usually just an idea, a vague notion (‘they break out of the curse dimension’ or ‘they’re going off to college uncertain but hopeful’). i avoid writing the end of the story until the very end because the natural conclusion changes as my story goes through more drafts and i get a better feel for the characters. i also like to see how the readers are reacting to the story, what they're noticing, what questions they still have that i need to answer, if there are any scenes that aren't coming across the way i want them to, that sort of thing.

.

and one last note for fic writers -- this is what i always think about as i’m writing/about to write a story: why am i writing this story? what am i trying to say, how am i trying to better understand the characters or deepen my understanding of canon with this? am i adding to canon or just repeating it? is this personal catharsis, meaningless smut, a bittersweet fix-it?

readers are smart, and most importantly, they’re fans! they’re coming to fic from consuming the original product! they don’t want what they’ve just seen regurgitated to them. take risks in your stories! know the characters, dig deep into their relationships and get inside their heads. if you’ve got the characters down you’ve got everything you need to write a good fic.

mostly i just hope people come away from my stories satisfied by what they've read.

.

you all know me, i write for any fandom i want to with no rhyme or reason. i have a lot of ideas and varied interests. but i don’t speak a TON about my role as fanfic consumer, so i wanna do that.

fanfiction, for me, is a way of better understanding these things that i love. i come to fanfiction after i finish a show or video game, if i’m revisiting childhood movies or books. ao3 is one of the first places i go after i finish watching something, because i am enchanted by the way fans take characters that exist and with just a few twists of a word or a look, they change the meaning completely, elevate canon, or flesh out side characters that basically had nothing going for them. and because when i finish something i love i don’t want it to be over. sometimes that means i write, sometimes that means i read, but i always go to fic. i love it, it’s comforting and beautiful.

.

phew! that was long-winded. thanks for the ask!! sorry for the word vomit

(also yes hermione/anyone aka hermione/happiness)

[thebibliomancer]

Essential Avengers: Avengers #230: THE LAST FAREWELL!

April, 1983

“Yellowjacket no more!”

Aw, dang! Hank got raptured!

Captain America, Thor, and Hawkeye is a weird collection of characters to be staring forlornly at the empty Yellowjacket uniform.

Thor hasn’t really expressed much about the Yellowjacket situation in comparison. You think they could squeeze Wasp into the shot. Just her ex-husband is all. She’s just the team leader is all.

Put Wasp on the cover, you cowards.

So last times on Avengers: Hank Pym got himself kicked out of the Avengers and out of his marriage and pretty much deserved it. He was tricked into committing treason by his arch-nemesis Egghead and sent to jail. He sat in jail for, like, a really long time. The wheels really spun on the arc.

He was kicked out of the Avengers/walked before he could be kicked out in #213. He was arrested at the end of issue #217. His trial was in issue #228.

He was kidnapped from his trial by the Masters of Evil. Then in #229, he turned the tables on them all in quite a satisfying manner and slugged Egghead in the egg head.

Then Hawkeye manslaughtered him. He’s dead.

Hawkeye arrowed the science gun to stop Egghead from shooting Hank in the back and then the science gun backfired and microwaved that egg.

This makes Hank’s victory a little bittersweet for him.

Hank Pym: “I defeated the Masters of Evil single-handed... but more than anything, I wanted to bring Egghead to justice. He was a thorn in my side for so many years. I was never able to defeat him for long, not when I was Ant-Man... and not even after I became Giant-Man! He bedeviled me in every identity I assumed. He did me the greatest wrong when I was Yellowjacket. I’d already ruined my Avengers career, when he tricked me into committing a federal crime!”

Hawkeye too is set to thinking by what happened. Maybe humming a bit of Bohemian Rhapsody to himself too.

Hawkeye: “This is unreal! I’ve never killed a man before! I never planned on anything like this happening! Yeah, but I can’t feel sorry for Egghead! If anyone deserved this, he did! My brother Barney bought the farm, stopping Egghead from killing the Avengers. And if I hadn’t acted when I did, Hank Pym would be dead! If I had to do it again... I would!”

Hawkeye: ‘Eh, fuck ‘em!’

hah.

But Hank laments that with Egghead dead, so goes his chance of proving his innocence by turning him over to the law.

Hank Pym: “Egghead was always getting away from me, Hawkeye. It’s almost as if he’s pulled the ultimate escape!”

Fun fact: There doesn’t seem to be an Ultimate Egghead! Why would there need to be? Even more than in the 616, Ultimate Hank Pym is by far his own worst enemy.

Hawkeye basically tells Hank to buck up and that there’s basically incriminating evidence lying all over the place.

He doesn’t say it but even Egghead’s dead deceased corpse is kind of like evidence. Evidence that he wasn’t dead until recently.

Captain Marvel shows up because someone finally came looking for Hawkeye.

Hank is surprised, much like others have been that this is Captain Marvel. He knew the old guy, the super saiyan. And I guess he didn’t hear there was a new one.

Hawkeye: “We’ve had a few changes since you went in the slammer, Hank. C.M. is an Avenger in training.”

Huh. Captain Marvel doesn’t even react to the dead body. Then again, there’s a lot of bodies lying all around the place.

And while Hawkeye is introducing the new Captain Marvel to Hank, one of those bodies stirs.

Moonstone has regained consciousness and assesses the situation. She could blast Hank, Captain Marvel, and Hawkeye with her coherent light pew pew but that’d just weaken her.

Like in the previous issue, Moonstone is one of the few supervillains who knows when to fold ‘em.

So she decides to skeedaddle while the getting is good but whoops.

Getting wasn’t good.

The rest of the Avengers have shown up and cornered her while she was pondering.

So Moonstone decides ‘eh fuck it’ and promises to spill all the beans if it gets her a lighter sentence.

So days later, the mostly off-screen trial of Hank Pym finally ends.

A loooot of new evidence suddenly popping up led the prosecution to withdraw all charges.

The lead prosecution witness, Trish Starr, suddenly reversing her testimony after putting on Tony Stark’s magical mental-scan helmet kind of tanked the case, really.

Wait, they really did just admit the use of the helmet in the trial when its new, unsubstantiated technology whose inventor disappeared?

Damn, I knew the Marvel legal system was wild (considering comic books as legal documents as explored in Dan Slott’s run on the character) but still!

Although it makes sense. Egghead got Trish to incriminate Hank by using the bionic arm to alter her memories. The helmet Tony invented undoes that kind of alteration. This connects the dots quite reasonably. Glad Stern was paying attention when preparing to finish this arc.

Moonstone and Beetle confirming that Egghead was using Hank as a tool also helps.

In fact, not only did the prosecution drop all their charges, the judge also dismissed all the charges. Which feels redundant? I dunno much about law, really. Just the She-Hulk version of law. Which, again, uses comic books as legal documents.

Apparently happening at around the same time, Hawkeye also had his day in court.

Literally a day.

It wasn’t a trial, just a hearing to investigate whether he was guilty of wrong-doing in the death of Egghead.

Newsman with a newsplan: “Though he was threatened with contempt-of-court charges a number of times -- Hawkeye was found innocent of any wrong-doing in the death of Dr. Elihas Starr -- the self-styled Egghead.”

Yeah, I bet Hawkeye was threatened with contempt-of-court a bunch. And I bet you anything that at least one of the times he rejoined with “No, you’re out of order! This whole damn courtroom is out of order!”

And then the judge probably just sighed.

I mean, look at that unbelievable Hawkeye in the bottom left panel.

Anyway, I think Stern must have felt a little pent up having to start his Avengers run finishing off someone else’s story, especially having to devote a recap issue to it since the plot had been interspersed with fill-ins.

Because in the middle of concluding this arc, he throws in two plot beats that I have to assume are to set up stuff of his own.

A day after the trial, the Beetle is being escorted to a cell in a Western Pennsylvanian federal maximum security prison when he bumps into another prisoner.

What neither the Beetle or the guard notices is that the bump to “Sam Smithers” has peeled off some skin on his arm and revealed THAT HE IS ACTUALLY MADE OF WOOD!

Suspect possibly a living puppet.

And elsewhere but samewhen, IN SPACE, specifically on Saturn’s moon Titan, Thanos’ brother Eros is basically complaining about being bored.

When Captain Mar-vell died of having a lot of cancer, he asked Eros to look after Mar-vell’s... uh... -google- robot girlfriend?? Elysius.

Eventual mom to Genis and Phyla-Vells.

Soooooo, Eros has done as Mar-vell’s deathbed wish was and spent an agonizing several consecutive months hanging out in Titan’s beautiful inside forests and just having a real hard time caring about one thing for such a long period of time.

I’m not even being unfair to him.

Eros: “This is the first time in ages that I’ve spent so many consecutive months on Titan! I have ever been a wanderer! I’ve sought out adventure across the wide cosmos. Frankly, I have known romance on more worlds than most sentient beings could imagine. That’s part of the problem. Our friendship has been wonderful, but I’m having a hard time adjusting to it. My previous relationships have all been of a fleeting nature.”

‘Look its not you, its me’ except for attempting to dump someone as a friend, instead of romantically.

Not dump, even. He just kind of wants to ditch her and is asking in a roundabout way if she’s emotionally stable enough to ditch.

She goes, yeah sure, go off and have fun. And maybe she’s getting tired of his company too.

Elysius: “Look... you’ve been a great comfort to me these last few months, but now I need to be alone for a while with my thoughts.”

Geez, how clingy has he been this whole time while desperately wanting to be anywhere else?

Anyway, since she’s fine with him fucking off, he does fuck off. Right to the Hall of Science.

Where Eros’ dad is like ‘oh ffs’ when Eros tells him that he needs to use the LIVING COMPUTER Isaac to look up planets with the highest adventure potential.

Mentor of Titan is a man deeply disappointed in both of his sons for very different reasons.

Anyway, would you really be surprised if I told you that Earth was in the Top 3 planets in known space for adventure?

You wouldn’t, right?

Meanwhile, back at the plot, Hank Pym is on a boat with Trish Starr.

She wants to apologize for that time she incriminated him but Hank isn’t going to blame her for being as much a pawn in Egghead’s scheme as he was.

Trish: “Yes, uncle was like that all of his life. I think he really enjoyed using people.”

And she remembers the first time they met in Marvel Feature #5, where Egghead tried to drain her mind to power his machines. Because. Batteries hadn’t been invented? Because he’s just not happy unless he’s screwing over someone else?

Second one sounds likeliest.

She also remembers the time he car bombed her car but siphoned out most of the gas first.

Trish: “He didn’t want to kill me... only maim me. Nice guy, my uncle.”

Yeah. Its stories like that why its only Trish and Hank also Fred Sloan on a boat at Egghead’s funeral. Yeah, by the way, this is basically Egghead’s funeral.

Fred is only here for Trish.

Hank reacts to Fred so I wondered if he’s important in some way or if Hank recognized him but I checked the wiki and his main importance seems to be... this issue? So I don’t know why Hank reacts to the guy.

So Fred is just here for Trish. Trish is here out of duty, since she was Egghead’s only known family. And Hank is also only here out of duty but more archnemesis ‘can’t believe that asshole is dead and I don’t even get to feel good about it’ duty. I assume.

Hank even gets the honor (?) of laying Egghead to rest. By dumping his ashes into New York harbor.

Mostly because it doesn’t seem like Trish wants to?

So Hank quotes some Mark Twain and dumps the ashes.

Hank Pym: “‘Death... the only immortal who treats us all alike, whose pity and whose peace and whose refuge are for all -- the soiled and the pure, the rich and the poor, the loved and the unloved.’ Farewell, Egghead.”

Trish: “It’s awful to say this -- but I can’t find it in myself to be sorry. I think I’m glad he’s dead.”

And that’s Egghead’s legacy. Mourned by no one. And his death is only not cheered because the only people that cared feel shitty about feeling glad he’s dead.

ANYWAY, there’s some other loose ends to tie up.

So Hank takes a taxi to the Avengers Mansion and I guess finally explicitly explains why the mansion has seemed to change positions over time?

Hank Pym: “I never thought I’d be coming here again. The place has certainly changed since the day Jan and I met here with Iron Man, Thor, and the Hulk to draft the Avengers charter and by-laws. And I still recall the time Iron Man and Thor moved the mansion back from the street to give us more privacy. What a project that was!”

Sounds like a heck of a noodle incident, Hank.

... Why just Thor and Iron Man? Did they... did they literally just shove the mansion back from the street? ... There’s... basements and caves under there. How does that work? That seems like a massive architectural project.

Hank, pls, I need to know more details. You can’t just drop that information and casually stroll away. HANK!

Captain Marvel meets Hank at the door and escorts him inside, captain marveling at how calm Hank is despite everything he’s been through.

Hank shows up to the Avengers meeting and-

Oh god, She-Hulk looks like she wants to punch the suppressed emotions right out of Jan. She-Hulk, pls.

So, Wasp is super formal, calling Hank Dr. Pym and telling him that they want to use the mento-scan helmet to see if he was under outside influence when he did all the very bad things he did.

All of the Avengers are harboring their own concerns.

She-Hulk: “I’ve read legal briefs that were more informal! She’s cool on the surface, but inside -- ! Jannie, why are you doing this to yourself?!”

Are you guys already at the cute nickname stage of your friendship or is that just the way She-Hulk be?

Cap is worried that this is rough on Jan but that she’s doing what she needs to do as the Avengers chairwoman. But he’s more worried about the absence of Iron Man who is still missing and who ignored three calls to assemble.

Thor is just internally like ‘just do the helmet, my dude.’

Hawkeye is literally biting his lip at the tension.

Hawkeye: “Jan divorced Hank after his last breakdown. If we find out that he wasn’t to blame, what’s it gonna do to the both of ‘em? I hate this! That stupid court hearing was a breeze in comparison.”

Huh, Hawkeye has a point. Even if outside influence is proven, its not as straightforward as Jan and Hank instantly getting back together, no harm no foul. There was harm. And the problems with their relationship were deeper than one incident. But it would also create this possible expectation that they should get back together because the specific incident wasn’t Hank’s fault.

And Captain Marvel is still looking at this from an outsiders’ perspective.

Captain Marvel: “They’re really hurting over this... all of them! They all care so very, very much. If I ever become a fully active Avenger, I pray that I can live up to their example.”

So Hank very calmly agrees to use the helmet. But...

Hank Pym: “Sorry... no outside influences. It would have changed a lot of things if there had been, wouldn’t it? But no, I made my own mistakes... and I have to live with them.”

Thiiiiis was the best decision for the story arc. It may seem, in retrospect, the worst decision in the long run, but I can respect the story for standing by what it has done and standing by the growth Hank has had as a result of everything that happened.

I think a lot of more modern marvel comics have gone a little wild with letting the heroes do all kinds of dubious things and also die because it can be easily undone. It was a Skrull, they were being mind-controlled, it was an AU Nazi version of them created by a cosmic cube child. Or by giving the hero some big redemptive moment like Iron Man wiping his mind to make up for doing Civil War. Or Iron Man dying to make up for Civil War 2. You can explore whatever scenarios you want without worrying about dealing with the consequences long-term.

But in this era of Marvel, they were concerned with the long-term. Not to say that there weren’t cop-outs back in this day too. But since books were expected to keep going indefinitely instead of being cancelled and relaunched, there’s less of a sense of ‘this thing is only here to play with for a little while.’ If you wrote a thing, another writer was expected to follow up on it.

And I miss that a little.

So not giving a cop-out bullshit thing that undoes Hank’s actions was bad in the long run for his image as a character. But that’s a long way from now problem, exacerbated by writers like Chuck Austin and Mark Millar who wanted to wallow in it.

For an arc where Hank fell from grace and proved himself again, taking ownership of what a garbage fire his life can be was necessary.

One among many reasons I probably won’t like the Crossing when I get to it, haha.

With Hank’s actions proven as being Hank’s actions, Hank says there’s one more loose end that he wants to help tie off.

He wants to participate as witness when the Avengers hold a court of inquiry for Hawkeye killing Egghead.

This comes as an absolute surprise to Hawkeye, who I guess never read the bylaws. Which honestly, is very in-character for him.

But it being brought up, he insists that all he has to do is enter the findings of the state judge and be done with it.

Hank insists he participate though.

Hank Pym: “Hawkeye is faced with charges because he acted in my defense. It’s only right that I act in his.”

So, the Avengers go to the first floor library, which is apparently the court of inquiry room. I feel like we’re suddenly getting a lot of details about the layout of the Avengers Mansion in recent issues.

So Wasp convenes the court all formal style, so formal style that Hawkeye thinks that stickler Cap(tain America) couldn’t have done a better job. The purpose of the court of inquiry is to determine the validity of the charge of “unreasonable use of deadly force” and determine what if any proper disciplinary action should be taken.

I think Hawkeye is annoyed at having to go through with this (read the bylaws, my dude) because when Wasp asks if he has anything to add to his claim of innocence of the charge, he says he already gave the court copies of the court transcript that cleared him of the same charge, but also decides to speechify a little, because he wasn’t accused of contempt of court enough today.

Hawkeye: “I have already given the chair copies of the transcript of a hearing of the state courts... a hearing which found me not guilty of the same charge. And I have something else to say as well!”

“I don’t deny that my actions caused the death of Egghead. But in no way did I use undue force! I found Hank Pym in mortal danger, and I used the necessary means to save him... period. After all, we are supposed to be the Avengers, right?”

Luckily for Hawkeye, the Avengers are more willing to put up with him than a state court so Jan just goes ‘ok, noted.’

Captain Marvel also has a minor change of heart on Hawkeye. I don’t think we’ve gotten her in-depth feelings on him before (although he did get pissy about her joining the team, we didn’t see her response to that) but she’s impressed because she thought he had more wind than conviction but is seeing that isn’t so. And she’s also impressed by Serious Mode Jan who she thought was kind of flighty.

Captain Monica Marvel seeing all kinds of new sides of the Avengers lately.

Also, this isn’t important and you won’t be able to see what I mean unless I included more caps than I wanted to, but in the panel establishing the court of inquiry, Monica is just standing off to the side. But in the next panel she appears in, she’s moved over to sit on a couch instead.

I think its a framing thing but its still kind of funny to imagine her going ‘wait why am I standing up’ and heading for the comfy couch.

With Hawkeye’s statement given, Wasp invites Hank Pym to speak his piece.

And Hank gets up and gives an entirely unnecessary but probably appreciated defense of Hawkeye.

Hank Pym: “Ladies and gentlemen... I have not always been on the friendliest of terms with Hawkeye. Point of fact, we nearly came to blows a number of times... back in the days when I was an Avenger. But in all the time I’ve known him, Hawkeye has never used undue force.”

“I realize that this inquiry is little more than a formality. I have no doubt that you will find in his behalf. He did, as he said, act only in my defense. Unlike my own recent case before you, there is not the slightest hint of misconduct or negligence. The only thing Hawkeye is guilty of is being a good Avenger.”

“When I last spoke before this body, at my court-martial, I was not in a rational state of mind. I was unfit to be an Avenger. You wisely expelled me. I never expected to speak before you again. And now, I can think of no finer final statement than this... It has been my sincere honor to have known Hawkeye’s fellowship... as it has to have known yours.”

Okay. So. Half a defense of Hawkeye. And half... just a general good-bye and a demonstration that he actually does know how to deliver a defense at a court-martial. Cool.

I imagine if he had a mic, he would have dropped it.

Probably not, actually. Hank isn’t that exact blend of cool and inconsiderate for a mic drop.

Jarvis intercepts Hank on his way out and asks that he come with him to the second floor study. Jarvis has taken the liberty of gathering up the personal items Hank just kind of left in the mansion and packing them for him.

One suitcase has a bunch of Hank’s clothes that he had stashed in the mansion over the years. Including some wacky ties for wacky tie Fridays and a shirt that Hank had just plumb lost.

The other suitcase is a spare Yellowjacket outfit. In case Hank ever needs it.

Then Hank and Jarvis shake hands, Hank thanking Jarvis for everything that he’s done for him and the Avengers. He asks Jarvis to take care of himself because he knows he doesn’t have to ask him to take care of the Avengers.

This is a very touching scene. Its so touching that Jarvis excuses himself to go get misty eyed.

This is a Jarvis appreciation blog because I appreciate Jarvis as well.

Then, as Hank heads back down the staircase, he is intercepted by Thor, Captain America, and Hawkeye.

Yeah, the court of inquiry resolved off-screen because of how forgone a conclusion it was.

The three Avengers basically fall all over themselves to pat Hank on the back. Hank actually looks somewhat panicked by the positive affirmation.

That’s some mixture of funny and sad that I can’t identify.

Hawkeye tells Hank how much he appreciated his unnecessary defense. Thor clasps Hank’s shoulder and tells him he’s a class act, but in Thor-y words. And Cap extends an offer for whatever the Avengers can do to help Hank get back on his feet.

Hank thanks him for the offer but he’s already received an offer from a small research foundation in the Midwest.

Seems like getting exonerated of a treason charge is the best resume of all. That and Hank’s actual impressive resume.

But Cap has some stuff to work out re: Hank because he starts off on the stuff he put on the back burner back in that Ghost Rider issue.

Cap(tain America): “Hank... I know Iron Man would agree, if he were here, that we’re all sorry about the way things worked out. We should have realized the pressures you’d been under, prior to your breakdown. I was group leader at the time! I should have -- !”

Hank Pym: “Hold it right there, Cap! What I did, I did to myself! If I could have admitted that my problems existed... If I’d been willing to open up to you folks... Well, ‘if’ can be a big word sometimes. The fact of the matter is, I screwed up. And you did the only thing you could do! I don’t blame any of you.”

Hank has boarded the personal responsibility train and goddammit he’s riding it to the end of the line!

Good for him. Good clarity for the arc to have in its last issue.

But having started to slightly shout at the Avengers that he’s taking responsibility dammit! (he looks a bit pissed when he’s responding to Cap) Hank awkwardly excuses himself.

Cap tries to stop Hank from leaving because he has reached the bargaining stage of grief, I guess.

Cap: “Hank, wait! It doesn’t have to end like this! We could make a special amendment to the by-laws! We could reinstate you as an Avenger! You could be a special reservist -- !”

Hank: “Thanks, Cap. But no thanks. Trying to play super hero was the biggest mistake I ever made with my life! I was only fooling myself in ever thinking otherwise. But if you ever really think you might need a Yellowjacket again some day...”

He hands Cap the Yellowjacket suitcase.

Hank: “... Here! All you need is a good man and what’s in this case!”

I would hope, anyway. It’s going to be awkward if he opens it up later and its full of wacky ties.

The funny thing, although not really funny ha ha, is that Yellowjacket is the one codename of Hank’s that never really catches on outside of him.

You have multiple Ant-Men, a couple Goliaths, at least one other Giant-Man. There was a second Yellowjacket, eventually. But she didn’t make a big splash.

Despite Hank’s attempt here to pass the torch, Yellowjacket is a codename that remains inextricably tied to him. Which might be the problem. If there were another, more successful or at least more endearing Yellowjacket, Hank’s infamy in the role would not stand out so much.

Alas.

She-Hulk and Captain Marvel try next to intercept Hank. They don’t know him very well but they wanted to say their goodbyes too, despite not really knowing him that well.

Its the thought that definitely counts, probably.

But Hawkeye has some social awareness for a change and draws their attention to Wasp who is hanging back, but who clearly wants to talk to Hank.

So the rest of the Avengers quickly vacate to let Hank and Jan finally have closure. Or re-closure. “I want a divorce and to never see you again” is a kind of closure.

The situation has changed, however.

They both try to apologize to each other and then laugh at the awkwardness.

Hank: “Janet van Dyne, you are one in a million! After all that I put you through, you want to tell me that you’re sorry?”

Wasp: “I think we both made some mistakes along the way, but there were some good times... weren’t there?”

Hank: “Yes. But you can’t base a marriage on just a few good times. I fell for the young lady who reminded me of my first wife... and you thought you’d found the strong, silent hero. But I was never that strong, Jan. You know that now.”

Wasp: “Uh-huh.”

Damn, his prison time really did bring Hank a lot of clarity. That or the pile of therapists Tony kept throwing at him.

Hank also kind of talks over Jan here. Or at least steers the conversation. I don’t know what Jan would have said because Hank tells her that they both have other lives to lead and tells her to take care of herself.

Maybe its for the best, if, like Cap, she was going to try to shoulder all the blame for Hank’s bad decisions.

Hank walks out the door and finds Trish and Fred from the boat waiting to give him a ride to the airport. And then he is gone.

Like in the final image of the COURT-MARTIAL issue, Jan watches at the window.

“The last time Henry Pym left these walls, Janet felt like crying... but couldn’t find any tears. Today, at last, she has found the tears... for her former husband... for her team... for herself. Today, there is pain and remorse and release. There will be time enough for joy and hope tomorrow.”

Emotional catharsis can be like that.

In that the book kept going ‘Jan is really holding her emotions in and that’s probably not overall great for her’ its good that she can let it out now.

Kind of laughing at Captain Marvel and She-Hulk who only recently just met Jan being the ones going there there while the men she has known for years are just awkwardly standing in the background.

And that’s the fall and rise of Hank Pym. Apparently collected in trade as The Trial of Yellowjacket, which is a decent enough name too.

Overall, a good arc. That is kind of hampered by the need for filler and a writer change near the end. But honestly, Stern catches the ball and runs with it. He concludes the arc just as good as Shooter would’ve.

This arc is all kinds of iconic for Hank, although, unfortunately, most people are only aware of the beginning and maybe have a hazy understanding of what the ending does.

Although. This is a really good send-off for Hank. A really, really good send-off that would have worked best if he did like he said and quit superheroing forever.

That’s not to be, obviously, not in a perpetual narrative machine like Marvel. But it feels like it could have been and maybe should have been the last word on his character.

I enjoy Hank in Busiek’s Avengers and in Avengers Academy. And also, conceptually, Hank telling Reed “it’s on, bitch.” I very don’t enjoy Ultimate Hank Pym. So its a balancing act. The perfect exit for the character vs but I like some stuff when they brought him back.

Anyway.

After this, Stern gets to move on to his own material. Which he already planted the seeds for in this issue.

That’s a pun.

Follow @essential-avengers​ because of my bad puns. Also like and reblog, if you like to reblog.

[medusinestories]

Black Sails Confinement Challenge - Prompts

Here it is! The list of 50 prompts to inspire confined fic writers to write about confined characters. Here’s how I broke them down:

The General (G1 - G25) prompts only contain ideas for settings and sometimes simple plot ideas. They can be used for any ship or character. Please fill these prompts as closely to the general idea/mood as possible.

The Specific (S1 - S25) prompts tend to be more detailed and contain a ship request. If you choose a specific prompt, please write the ship/main characters requested in these prompts, whose names you have been bolded for your convenience.

Tomorrow I’ll be posting a form to let authors claim prompts. Prompts can be claimed anytime during the challenge but prompts are granted on a first-come, first-serve basis (this list will be updated to reflect which prompts are currently claimed). Specific prompts can only be claimed once. General prompts may be claimed several times AS LONG AS the writers are working on different characters/ships (they will be asked who they plan on writing in the submission form). There is no deadline or minimum length, but authors must make some progress within one month of claiming the prompt (ie, at least an outline and a few paragraphs). Prompts for which the author has gone radio-silent or made absolutely no progress in one month will be put back up for grabs. Authors can fill as many prompts as they like, on the condition that they claim one prompt at a time and finish each prompt before starting working on another.

As always my inbox or PMs stay open if you have any questions about this challenge!

And now, without further ado, let yourself be inspired by these prompts and choose your favourites (1 main, 2 backup) for signup tomorrow! (write down the FULL code, fx G5 or S22)

GENERAL PROMPTS (any ship/character)

G1 Place: inside a whale Reason: the whale swallowed them Mood: banter, done with this shit, crack-y

G2 Place: a subaqueous lab Reason: the inaccessibility of the lab Mood: UST and a tinge of horror Extra: the heater is malfunctioning and they have to huddle for warmth

G3 Sexy times feat. character 1 being tied up and waiting for character 2 who's left them alone for a while.

G4 Place: a safehouse  Reason: they're in witness protection  Mood: sexual tension, banter, funny?  Extra: Character 1 is in witness protection but hates it, thinks it's unnecessary and is trying to leave. character 2 is personally responsible for their safety.

G5 Place: at the Oglethorpe plantation Reason: fear of disease Mood: bittersweet

G6 Place: a part of the ship Reason: punished by the crew Mood: cracky, ust. Extra: there is only 1 hammock

G7 Place: an elevator in an office building Reason: it broke down, nobody's responding and it's Friday night Mood: banter, arguing, enemies-to-friends-to-more? Extra: one of them isn't feeling well because of a medical condition (can be claustrophobia) but is trying to hide it

G8 Place: at the top of a Ferris wheel Reason: power cut Mood: funny, bickering

G9 Place: a supposedly haunted house Reason: the door is mysteriously stuck Mood: creepy, funny, possibly UST/smutty

G10 Place: a closet/wardrobe Reason: they're hiding from someone Mood: ust/smut

G11 Place: a tent Reason: it's pouring with rain Mood: first time, smutty

G12 Place: a store (grocery, book, clothes, you decide) Reason: they got locked in after closing Mood: funny, cracky, fluffy

G13 Place: a ship Reason: becalmed Mood: angsty, delirious, desperate

G14 Place: Miranda's house Reason: someone is sick/wounded Mood: angsty, hurt/comfort, confession (no death please)

G15 Place: mysterious Aztec/Mayan/Inca ruins Reason: they were looking for the Eldorado and got lost/trapped in the ruins. Mood: adventure, friendship, maybe hurt/comfort Extra: there's a jaguar lurking about

G16 Place: the Otherworld (heaven, limbo, hell… you choose) Reason: the last thing they remember is getting hit on the head. Mood: thoughts about the Afterlife. Could be as dark or as cracky as you like. Extra: The Good Place AU?

G17 Place: a library Reason: someone dared them to stay in after closing time  Mood: fun, cracky, adventurous

G18 Place: two houses far away Reason: quarantine Mood: longing, lonely, horny, smutty Extra: they're writing/texting/talking on the phone to keep in touch but It's Not Enough and it's driving them nuts

G19 Place: a steampunk Jules-Verne-ish submarine Reason: there's a giant squid outside Mood: spooky, adventure

G20 Place: a lighthouse Reason: a terrible storm with crashing waves Mood: intense, passionate

G21 Place: a cabin in the middle of nowhere Reason: zombie apocalypse (or other supernatural invasion/pandemic) Mood: horror, tension Extra: Character 1 arrives at the cabin after having fled the monsters, thinking it's empty. It's not, and Character 2 isn't all that happy about the intruder.

G22 Place: Skeleton Island Reason: marooned or left for dead Mood: spooky, angsty, paranoid

G23 Place: a hut on Maroon island Reason: Hurricane Mood: ust, angst, comfort

G24 Place: the Fort in Nassau Reason: they took the fort but now they're besieged Mood: bickering, going stir-crazy

G25 Place: a room in the brothel Reason: they're hiding from someone/something Mood: pining, ust Extra: everyone is having sex around them but they're not (yet) and it's driving them nuts

SPECIFIC PROMPTS (specific ship/character)

S1 Ranger trio is stuck in space prison and have to try to escape ft. Space ship Captain Vane, Anne with blaster shooters (or maybe a lightsaber if it’s a star wars au) and hacker Jack. Mood: Funny.

S2 Thomas and Silver are stuck in James' flat... without James. They're stuck there separated from James until the shelter in place order is lifted (pick your poison - pandemic? Bad storm? Dangerous escaped convict on the loose?). Sexual tension ensues.

S3 Inspired by S4: Madi and Eleanor are confined together in the hidden cellar of Miranda's house when Spanish troops are invading the island (and this time they don't get assaulted/killed). Unresolved sexual tension, unresolved sibling-like rivalry. Bonus: just some angry ✂️✂️✂️ 

S4 Eleanor is imprisoned in England and thinks about Max. Mood: angst, broken heart, angry.

S5 Silver is stranded at Miranda's house, could be with or w/o the captain. Reason: suspect outbreak on the Walrus, Silver can't go back on board, Flint doesn't want his map wandering around Nassau. Mood: funny, smutty, up to the writer.

S6 Israel Hands + character of your choice. Place: a ship, in a locked room Reason: misbehavior? crew shenanigans? Mood: writers choice.

S7 Utley pisses off a superior officer and gets locked in with Flint. Place: the cell in the fort. Mood: ust, smut!

S8 John Silver and the companion of yr choice. Place: an island. Reason: marooned by a pissed off crew. Mood: up to the writer (not too tragic?)

S9 Flint is stuck on shore and runs into someone he knew (and liked) in his old life. Place: a terrible tavern or a room above. Reason: too stormy to return to ship. Mood: friendly to smutty? I just want Flint have a little bit of happiness.

S10 Miranda comes to meet Flint but gets stuck at the brothel as things get dangerous on the streets. Reason: some kind of unrest, riots. Mood: fluff or smut or anything as long as Miranda is not miserable.

S11 Modern au first meeting Silver & Miranda. Place: Elevator. Reason: breakdown. Mood: up to the writer.

S12 Muldoon is sick and no one knows what with. Silver is worried and Flint extends a rare offering of comfort.

S13 It's 1721. James and Thomas are still incarcerated at the plantation but at least they live together in a separate little cabin. With smallpox spreading from Boston to the rest of the colonies, Oglethorpe shuts down work for a few days and has everyone shelter in place.

S14 Silver showed up on Flint and Thomas' doorstep and the reunion isn't going well. Just when Silver is about to leave in a huff, they get stuck indoors (b/c weather, plague, authorities looking for Silver, etc) and Thomas is stuck with Flint and Silver's angry/awkward UST. He knows the only way to resolve this is in bed, and starts dropping less-than-subtle hints. 👉🏻👌🏻 Mood: funny, smutty.

S15 A scientific research station in space (Solaris AU but with a happy ending!). Flint is sent to investigate a space station after receiving some weird reports. Silver is one the few remaining members of the crew. An incident make them unable to leave without some major repairs. Angsty, slow burn, where Flint slowly accepts to move on after the death of Miranda&Thomas. 

If you're not familiar with Solaris (book or movie) check wikipedia but: the space station is doing research on a mysterious planet covered with an ocean; but that ocean gives the crew some strange "side effects". Their secrets/fears/guilt take a material (often human) form. Flint sees Miranda (or Thomas, or both, as you prefer) for example. As Flint learns to deal with the loss of his loved ones he grows closer to one member of the crew, Silver.* Their bond help them break from the planet's melancholic influence, give them motivation to repair the station and finally leave together. *That could be a great opportunity to write about Silver's (probably very dark according to the BS writers) past!

S16 Silver / Flint - modern era, fake dating for some reason, now they're stuck together for a long time. Place: Somewhere travel related like a hotel room. Reason: quarantine like we're in now. Mood: angsty, UST.

S17 Flint's cabin on the Walrus. Silver is recovering from the leg amputation and discovers Flint has locked him in the cabin. Mood: angsty, angry, fluff if you want?

S18 Flint and Silver captured by the Spanish and Flint learns the truth about Silver’s past. Place: The plantation. Reason: Took control but hit some problems. Mood: Hurt/comfort or angst with happy ending.

S19 Silver & Flint reunion fic – they are stuck together in the room because of the snow and there is only 1 bed. Place: an inn. Mood: UST

S20 horror movie au (not really scary) silver & flint spend the night at a scary cabin after reading one too many ghost stories. Reason: someone locked the keys in the car and there's no signal. Mood: cracky.

S21 Silver and Flint in a magical au get stuck together by either a spell gone wrong or a curse and they find this frustrating in every possible way but have to get on the same page to reverse it.

S22 Flint and Silver are neighbours, but haven't spoken before. They both have gardens and can see each other through gaps in the fence. During the lockdown (because of a disease), Silver and Flint become aware of each other in close proximity but separated by the garden fence. So begins an odd flirtation involving sunbathing and topless gardening and water fights. Mood: Sexual tension. Flirting. Maybe voyeurism?

S23 Place: a house with large backyard (probably farmhouse?) Reason: Snowstorm for a week. Snowstorms happened and they had blackout in the house. Silver doesn't like darkness and he keep clinging to Flint. Flint doesn't like Silver's but he had to because Flint doesn't remember their house (floor plan, I mean) and ended up spending their time in other bedroom. Mood: sexual tension, confession, first kiss and first time.

S24 Silver and Flint bicker about emergency prep and then make up. Place: modern apartment. Reason: some disaster.

S25 Silver is talking to Flint, Flint is avoiding De Groot and so Silver finds himself manhandled into a very small compartment he'd never noticed on the Walrus. Mood: silly, ust

[fanfic-corner]

In response to Misha’s tweet

First of all, I have two things to say, and if you stop reading immediately after that then I don’t care, but please:

Do not attack Misha, any of the other cast, or the writers. 

We don’t (and probably never will) know why Misha posted that video - whether it be ordered by the network or not - but even if you are feeling angry or betrayed, there is no excuse for attacking anyone.

And do not be distracted from the real target!

The network desperately want us to direct all our anger at someone else so that our cause runs out of steam, fails to make any real difference, or can be labelled as ‘crazy fans sending hate mail’.

Okay, now I’m gonna go into a little bit more depth, but they were the most important points to get out of the way.

Before all these shenanigans started, I was writing a paper on queerbaiting and the trope of ‘bury your gays’ using Supernatural as the main example. Then, we got the last three episodes, and I’m pretty sure people are getting sick of me talking about this, but I have been doing my research. I’m just going to go through all the important points of Misha’s video, and deconstruct it a bit.

Okay, first of all, we have the announcement that there ‘never was an alternate ending of 15x18′ but there was a ‘rouge translator’. I know absolutely nothing of how shows are dubbed or translated, but I do think this is one of the funniest things said in a while, because it is either an elaborate cover up OR someone actually did probably sacrifice their job so we could get requited Destiel. Someone buy that translator a drink. Maybe this is true, maybe it isn’t, but I think that people were more suggesting that scenes/lines had been edited out, rather than an entire alternate ending.

Then, Misha says that he is ‘proud’ of Cas’ ending, because it was ‘intentionally inclusive’. Misha absolutely should be proud of Cas’ confession scene, because that is genuinely some of the best acting I have seen in a long time and - as an actor - he really got to prove his skill and ability in arguably one of the most moving scenes in the show. To have Cas come out as queer was amazing, but in my opinion it was not inclusive, because Cas was not included in the ending.

Misha goes on to say that Cas’ confession was ‘done of his own volition with full knowledge of the consequences of his actions’, and this is where I think I start to see the problem. Misha is talking about the scene from the point of view of someone in the Supernatural universe, rather than a scene which has an audience. If no one had been watching that, if it was a real thing that happened, then yes. Castiel’s ‘declaration of love’ was beautiful and he chose self-sacrifice to save his love, and there is nothing ‘insidious’ about it, just a moving and bittersweet end to a phenomenal character. But the problem is that people were watching it. People who loved these characters, people who had been roped in by the possibility of queer representation for years, people who got that representation, only to have it ripped away from them only thirty seconds later.

The definition for the trope ‘bury your gays’ is the ‘presentation of deaths of LGBT characters where these characters are nominally able to be viewed as more expendable than their heterosexual counterparts’. In other words, queer characters are more likely to be killed off, because the writers/ show runners/ network/ audience see them as more expendable. Cas’ death is a prime example of this, and although I know he is mentioned as being out of the Empty in 15x20, he was still more expendable than Dean and Sam, and certainly expendable enough - even though he has been a main character for years - to not appear in the finale at all, other than two very brief mentions of him. Just like Charlie’s death was bury your gays - a lesbian whose death barely served the plot at all, other than to give Dean and Sam some angsty scenes.

Misha ends by saying ‘I wish we could just take a moment to celebrate the good of this show’ and I only have one problem with this. This show (as far as I am aware) has done nothing good. What good has been done has been almost entirely the fans. A prime example of this is The Castiel Project (along with every other fundraiser started after the finale) because the fans have raised over $50,000 dollars for an LGBT charity out of pure spite. Most of hated the finale, and yet we have managed to channel that anger into amazing things. 

Let’s do one last amazing thing as a family. Let’s burn the network down.

[always-and-forever-a-killjoy]

Hey fuckers! So I wrote this all today and liked it enough to post, please enjoy this minimally edited mess of a fic! But read the warnings carefully!! You also may want to read the other fics in the series to understand this? But it's not super necessary. (First three fics here, here, and here, mind the warnings.) Also shoutout to @wishiwasthemoon-tonight for encouraging my angsty bullshit, for this fic and many, many others.

Title: the last thing i see

Wordcount: 1734

Summary: Cherri Cola has died before.

It’s not a big surprise to him when he dies again.

Warnings: blood, violence, major character death, implied self harm, referenced suicide and suicidal thoughts, and a fuckton of swearing as usual. (How did I fit that all in less than 2k words? Talent.)

Taglist: @wishiwasthemoon-tonight @sleevesareforlosers @stressed-depressed-emo-mess @tasteofamnesia @dagger-queen (message me, send an ask, or reblog/reply to one of my posts if you want to be added or removed)

AO3 Link

(Actual fic under the cut)

Cherri Cola has died before. 

He remembers what it was like, his breaths growing more difficult as the hot sand burnt his skin and everything hurt-hurt-hurt. He remembers how cold the darkness felt, the oblivion it promised. He remembers fighting against it, remembers the fear and the pain and the voice in his head screaming ‘I don’t want to die alone’. The helplessness, he remembers, too, his arms aching from the cuts he put there himself and the way he had forced them to try and drag his weight. Helpless and alone, and scared. He knows what it’s like to die in the desert.

Cherri Cola has died before.

It’s not a big surprise to him when he dies again.

The Girl leaves him by the water cooler, saying she’s going to Dr. D’s for the night. He doesn’t believe her, not after her words at the concert, but Cherri Cola is wise enough to know that he has to let her go. Much as he would like to hold her and protect her forever, he’s already failed to do that when she really needed it. So all he can do now is support her in what choices she makes and not think about how he’s failing to protect her like he failed to protect the killjoys who died to save her.

She doesn’t come back, and Cherri knows he’s already failed. He leaves to help her anyways, that day, when the dreadful news comes that mom and dad are coming home at last. It’s broadcast on every radio station, a cry, a call, a desperate scream for help. 

For the first time in over ten long years, Cherri picks up a ray gun, the weight familiar in his hands. He flicks the safety off, ready to shoot, and flips the switch from stun to kill. Although it takes precious moments he can barely afford to waste, he takes the time to fire a few practice shots before he tucks it away in the holster. He can’t afford for his skill to be compromised at all for this mission- a single slip could cost the lives of many of the young ‘joys of the desert, hardly more than children. So once his ray gun is ready to fire, he pulls on his mask. Die with your mask on if you've got to, just as Dr. Death Defying said all those years ago.

He will die with his mask on, that day.

Cherri arrives to chaos, and he doesn’t hesitate a second before jumping into the fight. Within moments, he can see Motorbaby crouched, looking like she’s been hit by a stun shot as a Draculoid stands over her. There’s not a single second to think, so he doesn’t. He just acts, taking down the drac with a single well-placed shot. Cherri ignores the stares of the ‘joys around him, every ounce of his focus on the Girl.

“Cola?” Her voice is weak, but it’s present, and he breathes a tiny sigh of relief.

“I’ll take care of this.” He’s failed her so many times, he won’t fail her this time.

“Cola, Val killed D. I didn’t get there in time to stop him, I-“ Cherri’s heart breaks at the anguish in her voice as she steadies and goes on. “I shouldn’t have left you like that. I’m sorry.”

“It’s okay.” It’s more than okay; it’s his fault, really, but he doesn’t have the time or the words to express that. “Dr. Death Defying will be with our other friends soon. Now stay down!” 

It’s all the reassurance he has time to provide her as plasma bolts shoot past his head. Drac after drac falls to his ray gun, as easily as ever. Killing comes far too easily to him, or did. Now, it’s not quite the same, but he soothes the guilt that rises to choke him with whispers of ‘it’s for Motorbaby’. 

And he hardly has time to think, hardly time to breathe, before the Girl is trying to warn him. “Cola…behind you…”

There isn’t a second to move or dodge as a bolt hits him squarely in the back, and he knows he’s dead. Out of all the ways that he could have died, this one hasn’t been in his head for a long time, now. In his earlier days, in the Analog Wars, ‘in a fire fight’ would be a probable way for him to die, one he thought about often enough that he wouldn’t have been surprised. But by now, he’s been thinking he’ll fall at his own hands, not a scarecrow’s, for long enough that he’s still surprised as he topples to the ground. 

Dying in a firefight is nothing like the ways he’s died before. It hurts, of course it does, but in the detached way that means he’s already dead or close to that. It’s not a slow, painful death, it’s quick and fiery. Pain arcs through him, and he’s dead before he hits the ground. And despite the hint of surprise, he knows that he was never going to survive this fight. Like the Fabulous Four before him, he knew he would die for the Girl.

Cherri Cola dies, and he does not regret it.

The only thing he regrets now is that he can’t be there for the Girl as she stands up- or, rather, her spirit does. The Phoenix Witch scooped his mask off his face, and so Cherri is there too, but she keeps a firm grasp on his soul. There’s nothing he can do, nothing he can say, to the Girl his friends loved so and he loved just as much. They are not in the spirit world, nor even the borderlands, and Cherri is helpless once again. Helpless to speak, helpless to comfort her, helpless to resist as the Phoenix Witch sweeps away with him and countless other souls.

This time, there’s no Newsie to save him. She fell some three years back, and Cherri was not brave enough to quest into the Phoenix Witch’s domain as she did for him. Newsie wouldn’t have been able to save him anyways, he knows. This was his last chance, the Phoenix Witch told him oh-so-many years ago. His last shot at life, granted to him by the love of his sibling.

There may be no Newsie to save him, but when the Phoenix Witch crosses the last boundary of the borderlands where he once stood, there is a Newsie to welcome him. 

They laugh, presumably at his stunned face, running over to give him a tight hug with a “Finally, fucker!” 

“Newsie? Newsie, I’m sorry-“

“Why the fuck are you apologizing? You’re finally fucking here!” Newsie freezes. “Cherri, you didn’t-“

“I died fighting Better Living Industries,” he promises.

“Oh thank fuck. How is it out there?”

“Bad, Newsie, it’s bad. Motorbaby is alive, which is a ray of hope, but some asshole named Val killed D-“

“Oh, yeah, we know. He showed up and immediately started giving Pone shit for making the afterlife glittery.”

“I don’t understand it!” Dr. Death Defying is there, all of the sudden, looking quite distressed. “How do you even make the spirit world glittery?”

“Ey’s Pony, D.” Cherri can’t help but smile. “Ey can’t just not glitter-ify places.”

“That’s because I’m the gayest Pony in the desert!” Show Pony flashes him a smile as ey skates up.

“Sure are, Pone,” Cherri says softly.

Next is Hot Chimp, grinning as she gives him a small wave. “Hey, brother-in-law.”

“Hey, sister-in-law. Nice to see you again."

And finally, four familiar figures who he hasn’t seen in far too long step out, looking exactly how he last saw them but minus the grim determination. Instead, Party Poison is grinning as Kobra Kid gives him a small nod, and Jet Star’s gentle smile is just as wide as Fun Ghoul’s toothy grin.

“I’m sorry,” Cherri tells them.

“We forgive you,” Poison says with surprising gentleness. “We never resented you much to begin with, even if you are an insufferable bastard. We’d never ask you to die for us.”

"I would have." It's important that they know that; he never go to tell them when they were alive.

"We knew that." Poison cracks a small grin. “Pepsi.”

Cherri isn’t even sure if ghosts can cry, but they must be able to because his cheeks are wet and words suddenly seem very difficult as he takes a few shuddering breaths.

“Oh Witch, I think I broke Pepsi,” Poison mutters. 

Newsie flips them off and gives Cherri a playful glare. “Come on, don’t start crying now, asshole! We’re finally all here, or mostly, anyways!”

That only makes him cry harder, burying his face in his hands just as he did the day the Fabulous Four died. It's been a long time since he's cried like this, utterly vulnerable but happy for once, a bittersweet cry as opposed to one of sheer pain.

As it turns out, ghosts can’t only cry, but also hug, and Cherri finds himself wrapped in so many sets of arms he can’t even tell whose are whose. He thinks it’s Newsie’s shoulder that his face ends up buried in, is pretty sure that the hands rubbing his back are Jet’s, but he really doesn’t know. It doesn’t really matter, in the end, because he’s here with his family and that’s all that really matters.

Later, they’ll trade tales of what happened while they were all apart and Cherri will tell the Fabulous Four everything about the Girl he can remember, from her cat to the fight with the exterminators. He’ll pretend not to notice Poison sniffling or how choked Ghoul’s voice is, and they’ll pretend not to notice how his voice breaks when he talks about the day they died.

Newsie and Hot Chimp will update him on all the ‘tea’ of the land of the dead and how Newsie almost punched the Phoenix Witch, and D will give him a surprisingly (given the fact  that they’re both dead) warm hug, and promise that it’s not his fault for failing to stop Val. And of course, Show Pony won't let him get away without a little bit of shittalking his fashion sense and catching up on what's happened since eir death.

But all of that will come later. For now, Cherri’s family holds him tightly, and that’s all Cherri needs.