#does that make sense? its that kind of situation

[andromeda-collective]

i have multiple and im going to mention all of them but im starting with THIS FUCKER HERE (blade from honkai star rail) AND I HAVE A VERY STUPID REASON FOR IT

there was an minigame thing with a character named march 7th (dont ask) and there were little events you could encounter throughout it and one of them was that you had to choose between a red and blue pill (or the third option of giving a nonanswer) and since my choice didnt matter at all i went with the red pill because i know that the matrix is a transfem allegory and i also hc march as transfem but then another character made a little comment that blade would ALSO pick the red pill which completely makes sense for his character but since i was still on the transfem allegory mindset i had the thought of "wait does this make blade transfem??" so shes transfem to me now 👍

estrogen would NOT save her. not even REMOTELY. he's a suicidal immortal who physically cannot die because of a ritual his old friend-with-romantic-implications tried who he now wants dead more than anything else. hes basically possessed by evil plants that revive him every time he dies and he goes fucking feral. hes a mass murderer with a bounty of over 8 billion. nothing can save him. but transitioning might make her miserable life slightly more manageable? plus i mean.. throwing your old name away and being a new person? obviously a metaphor for being trans /j

boothill! this is slightly for shipping reasons (turning a het ship wlw for funzies) but mostly projecting my gender-nonconforming transness onto the only southern disabled character i know of. are we different kinds of southern? yes. are we different kinds of disabled? also yes. do i care? absolutely not. (also because butch southern women make the world go round)

also sampo because the idea that this fuck is a cisgender ANYTHING is laughable. this is a nonbinary transfem boymoding for shits and giggles who randomly switches to the girl voice when talking to someone JUST to fuck with them because nobody else would believe them and the person would think theyre losing it. typical masked fool stuff. gaslight gatekeep girlboss.

and then from genshin impact: zhongli. who has CANONICALLY used shapeshifting to become a woman. and has likely done so on more than one occasion. this guy is CANONICALLY GENDERFLUID WHETHER PEOPLE LIKE IT OR NOT. and you can obviously be genderfluid and transfem at the same time so why the hell not :D

most other characters i hc as transfem i dont have much of a reason for, but im gonna list them anyways cause hell yeah

argenti (hsr) - she can have a little estrogen as a treat

dr. ratio (hsr) - no reason i just think it could work

sunday (hsr) - something something religious-trauma-and-giving-into-what-you-once-believed-to-be-sinful

diluc (genshin) - fanfiction on ao3 changed my brain chemistry

kazuha (genshin) - also no reason i just think it fits

sebastian solace (a game on roblox called pressure) - im gonna be honest with you op, i just like putting this fucker in situations. and i would love to see the struggle of medically transitioning when you've been forcibly had your body and dna altered to the point of no longer being human. even ignoring for a few seconds the thought that maybe hrt wouldnt have the same effect (or any effect at all) due to the experiments, how could you will yourself to alter yourself medically in any way after the horrific trauma you've experienced? its between fucking with your already fucked up body or having the dysphoria kill you from the inside out. i am rotating her in my mind even harder now.

p.ai.nter (from same game) on the other hand? a lot simpler. make the ai with guns a girl. also just a funny idea: you know that "put eyelashes on it to make it obvious that its a girl" thing? yeah. painter doing that.

^ TELL ME SHE WOULDNT.

i would apologize for the essay but you did say i was legally required to share so this is your fault /lh

anyways i hope you enjoyed the women

If you see this post you’re legally required to tell me at least one trans woman headcanons you have for a canonically male character, I never get to see transfem headcanons like that, give me them, and for equality of my own please know estrogen could have saved Insector Haga and Dinosaur Ryuzaki I will not elaborate, also Yuya.

[essektheylyss]

idk I kind of feel like I'm an idiot bc I actually enjoyed cr 3 from the jump to the end but like the blogs who follow bc I feel they are definitely more articulate and insightful than me are like "the whole thing was meaningless and pointless! matt fumbled everything!" so maybe I'm wrong to have liked it all? I'm not really sure where I'm going with this sorry

I think one thing to keep in mind is that many (and in fact, I would argue, most!) people who are critiquing the story and construction have also generally enjoyed the campaign as a whole! Certainly I don't know anyone who stuck it out through the end who did not overall enjoy watching it, for various reasons; I know there are people who hate watch, which I think is an absurd and honestly really stupid waste of time, but from my experience they are normally making snide and vicious tweet-length posts rather than long considerations of what isn't working for them.

There are also a lot of levels of critique—I've greatly enjoyed a lot of moments in isolation that I simultaneously felt weakened, contradicted, or even actively undermined the structure of the story as a whole, but those moments were still really fun and interesting beats. The Arch Heart's cameo comes to mind, as does, in hindsight, some of the construction of the post-Solstice split, but there are plenty of others of higher or lower impact on the story. In the finale the Raise Dead falls into this place very strongly, so I'm going to talk about it at length for a moment, since it was an absolutely stellar moment for me personally and as such I do think it serves as very illustrative of an example where I simultaneously fucking love a moment while finding it worth significant critique. I think it also touches on the critiques you're referring to, which I would summarize overall as the idea that many of the outcomes feel influenced negatively by pulled punches on the part of the DM rather than a flaw of one player or another. (Also, I want to talk about it cuz I love it. :3) This got very long but I think that to your point, it is worth examining in this amount of depth.

First, the good: it is an absolutely phenomenal culminating point of an arc that was only really concluded in summary; I have, as noted earlier this week, written at length about how Essek is never situated as a protagonist, which is functionally fine and even good. He ends up tied very strongly to Caleb's arc, and moves in the narrative in such a way after 2x97 that allows Caleb to reach a concluding note, and strengthens that narrative. So we only really hear about the outcome of Essek's choices, his inevitable leave from the Dynasty, in the summarization of the campaign 2 epilogue. This is not inherently a problem, because he is not a protagonist. But this moment does functionally create a material representation of that denouement, and in particular the tension between the outcomes of his poor choices and the better—potentially even good!—person he is trying to be as a result of the Nein's influence, which does strengthen his arc in its own right.

This moment also, hilariously, bears out my argument from this post. That the resurrection should only work with this intervention, particularly while the Nein are involved, does follow through on the Nein's general positioning within Exandria. Essek's leave happening without a fight (and, frankly, with only one attempted Counterspell) both makes for a very well-paced moment and also maintains the overall sense of story that the Nein impart when they are on screen; I'm thinking again of how their Ruidus episodes feel, much like their campaign and their post-campaign one-shots, like an intrigue action thriller series, and this fits well in that framing.

So overall, it is a fantastic moment... for the Nein. The Nein are not the protagonists of this story. They exist in the world, and are such active agents that they do continue to develop and exert motion on the narrative into this campaign, and frankly, I think this would have been fine if the party given ownership of this story and campaign did not abdicate their responsibility for it with unfortunate frequency. They do not exert a strong control over their story, which is at odds with the fact that the Nein do, and are present and also involved by the nature of their ending. It completely overshadows Ashton's heroic moment, in that the culminating action beat of this sequence is Essek getting away, which kind of takes the wind out of the sails of the Hells' involvement in the gods' outcome. It doesn't negate it, certainly, but it does refocus the story from them to, for some reason, Essek. So in this sense, it occurs at the expense of the Hells.

I find that while the handwaving of using dunamantic intervention to push Raise Dead beyond its limits (if indeed the reason it didn't originally work was because Ashton's brain was essentially gone) fits fine and even well within the framework of the Nein's story, and an NPC being able to do so without a roll is fine, since NPCs are vehicles the DM uses to guide the story, this is a significant divergence from the overall mechanics of the world at large; even the Nein had to do a full ritual for the resurrection of their tiefling. Matt put those mechanics in place specifically to create narrative meaning behind resurrections, which can feel very unmotivated and like a get out of jail free card in D&D, and while it's been noted that this would've really strained the runtime beyond its existing length, prioritizing it at the cost of, for instance, more truncated end notes for the Nein and Vox would've bolstered the Hells' presence in an ending to their own story that even many of their fans felt was ultimately lacking.

Giving the resurrection full weight would've also given Ashton's sacrifice and the Hells' involvement more narrative weight; the reason the other parties are involved at all is because the Hells were truly running on fumes by that point, but any lack of involvement this created could've been alleviated by having them directly involved through pre-established ritual elements that are not contingent on them having any mechanical offerings. So this moment sits within the context of critique that I agree with: that it felt like a pulled punch that ultimately also served to decenter the Hells within their own narrative, when it could've been used with more deliberate narrative force.

At the same time, I fucking love it, and watched it four times in a row yesterday, because it is so good—and it is, as I described, narratively and thematically coherent in one sense! And I think that is one issue of the campaign: many, many great moments are excellent and coherent in a certain framework but are weaker to varying degrees when considered as one piece of a larger whole. There are so many frameworks at play in this narrative, and not enough direct intervention to manage those as frameworks rather than as a single story, but at the same time, I think those frameworks are far more apparent if you're really looking for them, and that's much more difficult, if not impossible, when you're in the midst of them and telling the story.

I also don't think this means one cannot critique this; in fact, I would say this is more an issue of being a serialized narrative than an improvised one, which is often how critique of it has been pushed back against within the fandom. I was thinking about this as I'm currently in a course on, quite literally, how to critique comics, and we discussed this week how Marjane Satrapi said in an interview after making the film adaptation of Persepolis, which was first a serialized comic, that she ended up preferring the film, and I speculated that was because with a film, one has the ability to make a more cohesive narrative purely by virtue of the fact that with a serialized form, you cannot go back and make retroactive edits when new developments come to light. This is something that long-running comics must constantly navigate (as do many long TV shows), and in extreme circumstances such as decades-old comic franchises, ends up resulting in infinite timelines and hand-waving, which becomes so ridiculous that at this point it's a meme. In that scenario, though, it is not presented as a non-contradictory story, let alone a cohesive one.

Many of the critiques of campaign 3 are operating within the idea that this is presented as one overarching narrative. (And honestly, comics and other narratives that don't utilize that presentation are also still critiqued on that merit by people who greatly enjoy the texts they're critiquing anyway.) Within that context, I feel that the framing of the Raise Dead, as well as much of what would be my critique of the other pieces I referenced (the Arch Heart's cameo and some of the party-split sections) if I was to do the same kind of rundown of those, actively undermine this presentation by introducing and forefronting too many conflicting frameworks that are not interwoven well enough to create a single, cohesive overarching narrative.

This is a very long-winded way to illustrate my point, which is that I would really encourage reading critique not as a lack of enjoyment of the campaign, let alone a suggestion that no one should've enjoyed it (and if you did, then you're not smart enough to know better), but as a way to engage with the text(s) as presented within one framework or another. I think this is sometimes obscured in online fandom spaces, where we're not engaging in critique in as formal of a sense as one would in, say, an academic setting, where the norms generally dictate the framework one is using is explicitly stated if not fully delineated within the critique, but it is, more often than not, still implicitly present within the critique.

And as a final note, I would also really urge everyone reading others' opinions on something they enjoy to resist the urge to elide their own opinions from the conversation, even if you don't feel as articulate or as well-versed in critique. Critique is a trained skill, so it is certainly something one can pick up if they are inclined, and at the same time, someone doing it does not mean they are inherently right—and in fact, with all argumentative writing, it is up to the reader to consider the argument and decide whether or not they agree with it. (You can decide that you disagree with me about the Raise Dead! Just because I wrote a thousand words on it does not inherently make my interpretation truth; it's just an interpretation. You get to say whether or not you think my interpretation makes sense based on the evidence presented.) Even here I'm using the framework of some critique that others have made, but I don't delineate in full myself. In doing do I'm not presuming that you agree, but I am presuming that you've read it and know what I'm referring to. Strictly speaking it's also not even saying that I take that critique as true; it's saying that I feel the conclusions drawn are applicable as a basis for my argument. If you wanted, you could even say that you feel that my argument is irrelevant to you because you don't feel those critiques are true! But you ultimately do have to be the one to decide any of that, which does involve a balance between a confidence in the formation of your own opinions on the text and an openness to entertaining others'.

[kitthenameless]

It's Omeluum time! And by that I mean, let's talk about some of the things many people don't seem to know about Omeluum and some of the things that commonly come up when people compare it to the Emperor.

(As far as I know, Om exclusively uses it/its, so that's what I'll use.)

One way in which the two illithids differ is that the Emperor doesn't have the same choices or opportunities as Omeluum to escape elder brains. He's a lot more at risk of being controlled again. Om just happened to be lucky enough to be born with magic that helped it.

Omeluum then worked with a lich. The Emperor eats criminals, and though we can't be sure that's all he's ever eaten, there is evidence in the game to support his claim. Did Om and its lich friend try to stick to criminals? We don't know. But even if they did, that still makes Om equal with the Emperor in that regard. And if they didn't, well, if Om felt like it couldn't stop the lich, maybe it figured this was at least less waste. Or maybe it didn't care either way. The point being, I wouldn't call this any more ethical than what the Emperor has been doing. (I'm not arguing about the ethics of eating brains in general, just that Om's choice is not ethically better than the Emperor's.)

After it tells you about that, Omeluum then ominously says it now eats people who "act against the Society's goals." It even pauses to carefully consider its words, and the words it chooses leave a lot of leeway and room for interpretation. (Such an underrated line and delivery. I love it.) Technically YOU are acting against the Society's goals if you refuse to give the gith egg to Esther, since it's the Society that wants the egg.

Omeluum sees itself as part of illithid-kind in a way the Emperor doesn't, using terms like "we" and "our" when talking about them, even referring to illithids as its ancestors after you tell it about the nautiloid.

Omeluum seems detached and more curious than anything about your problem and the whole situation, at least when you first meet it. But that's speculation, I can't say for sure what it's feeling.

It does however eventually realize that this brain taking over would be a bad thing for the entire plane. Which is in part why it is willing to die in order to save the Duke in the Iron Throne. This makes sense from a ruthlessly pragmatic standpoint---the Duke's life is more important for the city---and pragmatism is a very mind flayer thing (though I still can't imagine a typical mind flayer enthralled to a brain would think another race's life is worth more than its own). Omeluum is willing to risk or sacrifice in some scenarios to achieve its goals. The Emperor is also willing to risk his life in some scenarios to achieve his goals, like going with you directly into battle to fight the brain. Neither wants the Grand Design to actually happen.

And that ring it gives you (or rather makes you pay it for in some form, unless you persuade it otherwise)? It lied about that. But it did so for what it felt was a good reason, just like how the Emperor withholds info and lets you discover some things for yourself, in order to not overwhelm you and make you lose hope.

Ultimately, Omeluum gives you some elixirs or whatever if you save it and then gets out of town and lets someone else deal with the nether brain problem. Om is a scientist, not a fighter. Just like the Emperor is not a scientist and hence isn't trying to create a brain substitute the way Om is. They each have their strengths.

Last but not least (actually it is sort of least), Omeluum won't trade with you unless you do its quest first, which I find more annoying than anything the Emperor does 😅 And it doesn't give you the aforementioned reward until you help it in Act 3. Which wouldn't normally be a valid argument, but people say the Emperor is evil because he won't help you unless you help him. Well, Omeluum won't either.

But I did laugh at these few lines I found, though I'm not entirely sure it was being funny on purpose.

And we don't really know anything about Omeluum beyond that.

Anyway, my point is only that the constant comparison between it and the Emperor with the conclusion that "Omeluum = Good Mind Flayer, Emperor = Bad Mind Flayer" doesn't hold up in any meaningful way and lacks nuance, especially when there's so much misinformation. (If I've gotten any facts wrong, feel free to let me know, I don't want to add to the misinformation.) Neither one is a typical mind flayer, and we can love them both!

[satellite-evans]

closure

Pairing: Carlos Sainz x ex!reader

Summary: you don't need Carlos' closure.

Word count: 2k+

Warnings: angst, based on the Taylor Swift song

A/N:

This my third fic for the folkmore series, and it is with none other than Carlos Sainz! This is my first time writing for him so I was quite nervous, please tell me what you think!

English is not my first language, so I apologize if I made any (grammar) mistakes. Feedback, requests, talks, vents, recommendations or just simple questions are always welcome.

Happy reading xxx

I do NOT give permission for my work to be translated or reposted on here or any other site.

It arrives in your inbox at 2:17 AM, the timestamp almost mocking the stillness of the night. The world outside is quiet, the kind of silence that fills your room with its weight, pressing against your ribs as if the very air knows what’s coming.

The email subject line is simple.

Just wanted you to know.

For a moment, you just stare at it. The words are innocuous, almost casual, but your heart knows better. You’ve seen that phrase before—at least in the way it echoed in your mind, in the way you tried to convince yourself you’d be fine without any more explanations.

And for some reason, you already know what it’s about. You don’t need to open it to feel the heavy, familiar knot tightening in your stomach. The ache in your chest that had dulled over time, the one you had worked so hard to ignore, throbs with renewed intensity, as if it’s alive and remembering the shape of old wounds. It’s as though your body recognizes him before your mind even does, and it reacts accordingly—a reflex you can’t outrun.

Your hands tremble slightly, the familiar sensation of fear and longing mixing in your veins, but you can't bring yourself to look away. The old ache becomes a weight in your throat, too, and for a moment, you're almost paralyzed by the gravity of it. You know this isn’t just a message. This is a door opening, an invitation to face something you buried deep. But you click on it anyway, drawn in by something you can’t explain, a part of you still hoping that maybe—just maybe—this will be the thing that makes it all make sense.

I just wanted you to know I hope you're doing well. I know things ended messy between us, and I hate that. I really do. I never wanted to hurt you, and I know that I did.

I’m sorry for how I left. For not saying enough. For saying too much. For everything in between.

I hope you’re happy. I really do.

- Carlos.

The words stare back at you, flat on the screen, sterile and detached. They sit there like a sentence of finality, as if they’re not even meant for you, but for someone who doesn’t carry the weight of your history with him. It’s just an email—another digital scrap of text sent into the void of the night. But after everything, after all that’s passed, this is what he gives you? Does he think that you’re just a situation that needs to be handled? A string of hollow words with no breath behind them, no warmth, nothing that even remotely resembles the person you once knew. No, not even that. The person you thought you knew.

It was almost ironic how the shape of his name still spelled out pain. Every letter, every syllable, carried a weight that dug deep, as if each time you thought of him, the wound reopened. It was strange, how someone you once loved could still manage to hurt you, even in their absence. Everything about him—his words, his actions, even his silence���had caused so much damage that it was honestly a little concerning.

You hated him. No, despised him. The anger simmered under your skin like a constant burn, always just beneath the surface, ready to erupt. The audacity he had, the way he thought he could just walk away, leaving destruction in his wake—it was almost unbelievable. He was wrong in so many ways the day he broke up with you. The way it all went down, how he acted like it was the easiest thing in the world, how he twisted every word you’d said into something it wasn’t—it was wrong, all of it. And by the looks of it, he probably knew by now. He had to. The way time had passed, the way people talked, the way you’d changed—he had to know the damage he’d done.

Your mind replays the last time you saw him. You can still picture it so vividly—the way he had stood in the doorway of your apartment, arms crossed over his chest like a shield, his eyes dark with something you couldn’t read. He looked smaller somehow, the exhaustion wearing him down, hanging off of him like a second skin, like he was carrying the weight of the world on his shoulders, yet he couldn't find it in himself to care about you anymore. The lines in his face were deeper, like time had been more unforgiving to him than you ever realized. The way his jaw clenched so tightly when you had begged him to just talk to you, that desperate plea falling from your lips like a prayer, but he wouldn’t listen. His silence had cut deeper than anything he could have said. The way he hadn’t looked back when he walked away. Not once. Not a single glance. Like you didn’t exist. That was when you realized he had put a distance between you two ages ago that you were finally seeing—a sea you were too tired to cross.

The door had clicked shut behind him with a finality that shattered you into pieces you weren’t sure you could ever put back together. That sound—the click of the lock—wasn’t just the end of a visit, but the end of everything. The end of any future you thought you’d have together. You didn’t just lose him in that moment. You lost the life you’d built around him. And you’ve been trying to rebuild ever since.

And now, months later, this. This email. A quiet, late-night message, sterile in its simplicity, like he was trying to offer a neat little bow to wrap up the wreckage he left behind. But there’s no ribbon to tie, no neatness to this. What he gave you wasn’t closure—it was a reminder that, for all his talk of wanting to make amends, he’s still incapable of meeting you where you need him.

You slam your laptop shut, too quickly, too harshly, as if the words might physically reach out and strangle you if you don’t. For a moment, your fingers linger on the lid, shaking, the intensity of your pulse drowning out the quiet hum of the city outside. The night has become suffocating, and you can’t tell if it’s because of the email, or because you’re finally confronting what you’ve been trying to ignore for so long. The pain hasn’t gone anywhere, and neither has the ache. It sits with you like an old friend, one you can’t seem to shake.

It’s almost laughable, really. You can’t help but chuckle bitterly to yourself as you stare at the screen. He thinks he’s giving you closure. That this carefully constructed email, this rehearsed apology, is supposed to fix something, to heal the rift that’s been eating away at you for months. That it will somehow mend the fractures in your heart as if it’s something that can be neatly patched up with a few well-chosen words. But the truth is, it doesn’t even come close. No, this isn’t closure. This isn’t even an attempt at healing—it’s just an afterthought, a last-ditch effort to clear his conscience without ever truly facing the damage he caused. And it’s almost insulting.

Closure isn’t an email at 2 AM, casually dropped into your life as though he’s just checking off a box. It isn’t a collection of words stripped of warmth, void of real feeling, written at a distance, with no regard for the time, or the place, or the person it’s supposed to reach. Closure would have been a conversation. A real one. A face-to-face moment where he would have stayed, where he would have stayed long enough to listen, to hear you, and not just walk away the moment it got hard. That would have been closure. But he didn’t stay. He left you behind with nothing but the echoes of your unanswered questions.

Your breath catches in your throat, and for a moment, you struggle to steady yourself. You take a deep breath, but it shudders on the way in, uneven and sharp. It feels like your lungs are betraying you, like they can’t hold the air in anymore, and you’re left gasping in the void between anger and heartache. Your throat is thick with unshed tears, but you refuse to let them fall. Not again. Not for him. You’ve cried enough tears for him already, enough for a lifetime. You promised yourself you wouldn’t do this anymore, that you wouldn’t let him be the reason you hurt.

You want to reply. You want to scream, to let him know how deeply he’s failed you, how his absence is still an open wound, festering in the corners of your mind. You want to tell him that, even now, you still wake up in the middle of the night, expecting to hear his voice, expecting to feel the weight of his arm around your waist. You still reach for him in the dark, your fingers grasping at air, and you realize too late that he’s not there. You want to tell him that every time you see red—Ferrari red, that damn red, the color of his car, of everything he used to be to you—you feel like you might break all over again, like all the pieces you’ve tried to pick up and put together have shattered into even smaller bits.

But he's not Ferrari red anymore. He's Williams blue now. You’d probably be a new wrinkle in his life, a person who wouldn’t fit. Heck, you didn’t even fit when he was in Ferrari. You could answer him back, tell him you forgave him, that you both could be friends again. Maybe that would iron everything out nicely.

But you won’t. You won’t give him that satisfaction. You won’t give him the power to pull you back into this mess, into this space where you lose yourself every time you think about him. He doesn’t deserve that. You don’t deserve to let him keep doing this to you.

The frustration, the hurt, the unanswered questions—they all feel like they're swirling in a storm that won't quiet. You crawl into bed, pulling the blankets around yourself as if they could offer the protection your mind and heart desperately crave.

You are fine. Everything is fine. You had your beers, your occasional crying sessions, your candles. You were doing so much better without him. You had to.

It cut deep, knowing him, all the way to the bone. The breakup had been necessary. It had to be. You were healing, getting better, moving on. Or at least, that’s what you told yourself.

But the ache in your chest and the rapid, shallow breaths you couldn't control told a different story. It was one you knew the ending to but didn’t want to face. His email was oh so unnecessary, cruel even. He had broken up with you months ago, and yet here he was again, trying to reach back into your life. He shouldn’t have contacted you. He should’ve left you alone.

And you definitely should’ve stayed in bed.

Hatred and regret twisted inside of you, each trying to take the lead, but you were too exhausted to figure out which was winning. Still, you knew you had to respond.

Your gaze lingered on the laptop screen for what felt like hours, your mind scrambling for the right words, something that could strike him, something that would hurt, something that would linger with him forever the way he had lingered in your life. But nothing came.

Instead, what you found was something deeper—something far more painful.

Acceptance.

Acceptance was the true winner in the battle between your emotions. It was the thing you’d been running from, the thing you’d fought so hard to avoid. You had accepted it.

It was over.

So, with a steady hand, you typed the final words you’d ever send him and blocked his email so he could never contact you again.

"I don’t need your closure."

[lsunstreakerl]

I always feel so embarrassed to enjoy a/b/o fics but the pack dynamics will suck me back in EVERY TIME 😭 I really need to know how the pack dynamics work as the drivers start including Max... like the rb garage is pack bonded now?? Will Max just have two packs or does he have to pick one?? (also does Charles have any feelings about them neglecting his boy👀)

you're embarrassed reading it, I'm literally writing it 😭 this is coming to my grave with me. anyways- worldbuilding below the cut!

kind of talked about in one of the last ficlets, but garages aren't really set up to function as packs- sometimes smaller subgroups might form loose pack bonds, but they almost never include drivers, because the nature of driver contracts makes being a pack with your team a bad idea. if you're only around for a year or two, and then you leave for another team- breaking that pack bond hurts. it's one of the things daniel really struggles with when he leaves.

additionally, (at least in my universe here) packs can undergo "pack strain", which is when there's a divide in authority on pack alpha. it's really, really easy for that to happen to a garage pack, which is the other reason they don't form. the divide between a pack alpha and a team principal makes it impossible for one person to cohesively lead the team all the time.

a team principal is too busy running the garage as a team, getting everything done they need to for racing. they don't have the time or emotional bandwidth to also be a pack alpha on top of that, so the role has to be delegated.

the person the pack might pick as pack alpha could be several stations below the team principal in the actual team, which can lead to problems on race day. it puts everyone else under strain too- who do they listen to? their boss or their pack alpha?

pack strain is the name given to the actual condition that arises from that. it's characterized by high levels of anxiety in a pack, difficulty submitting to authority, and the regular members of the pack (not the pack alpha or "challenging" pack alpha) become codependent on each other, trying to fill in the gaps.

"Sunny, how did Redbull avoid that for two years?"

everyone say thank you gianpiero. GP is the RB pack alpha, but he's unique in the sense that even in the pack he shows a clear respect for Christian. This is atypical just because it's hard to find an alpha willing to do that, but the team is doing this for Max. They're not unaware of the dangers of pack strain- but after the airport incident they recognize that Max has pack bonded to them, so the RB garage being a pack is a bit of a crisis response.

the drivers pack was initially formed to prevent drivers pack bonding with their garages. that's practically its entire purpose. ideally for RB, Max joins the drivers pack and starts naturally shifting towards them, and the team can ease out of the pack bond. It's not a strict break- more of a natural erosion. They'll still need to have a professional Pack Dynamicist around to monitor the situation while they're readjusting, but it won't be traumatic.

[ratatatastic]

wait i thought mackie was matthew's child... does that mean my fave ship sashew is childless 😭😭

you have to understand sashew are team mom and dad so any child that toddles into the locker room its a hen who gets given an egg to incubate they do not care whos egg it is whether its a goose or a duck it is THE communal egg now kind of situation

they are not childless they have some sort of custody over EVERY child

[oceanwithouthermoon]

maybe its just me but i cant stand when people are like "it just doesn't sit right with me how teruhashi thought about aiura 🥺" like yes... its not supposed to ??? because her thinking badly of other girls and prioritizing male validation over everything is one of her main flaws ??? can we talk about that WITHOUT making it seem like shes not allowed to have a single actual flaw without suddenly becoming an awful person? nobody can handle complex female characters at all and its so fucking annoying

[skitskatdacat63]

I don't know how I'd ever convey this in art but. Thinking very deeply about how in boy king au, a very crucial part of characterization is that Seb is a wolf in sheep(or lamb more specifically)'s clothing and Fernando is a sheep in wolf's clothing.

Seb is very unassuming, very delicate, seemingly very vulnerable and malleable. But, deep down, he can be very ruthless. It's in the the way he hesitantly declares war, with a spark in his eye and a suppressed smirk. In the way he challenges someone to a card game or a horse race, proclaiming that he's not great, but winning every round and prancing around the room and mentioning it ad infinitum. The way he's able to instantly turn the tide in a debate in one fell swoop. By showing all his cards constantly and letting himself be vulnerable, he's making himself invulnerable. No one would ever consider him to be able to make big moves, so he wins every single time, because no one even thinks to expect it from him.

Fernando on the other hand, is constantly committed to having a looming presence and harsh reputation, but deep down, he's soft. He knows what happens to people when they're vulnerable, and he's not going to let himself be taken advantage of. The way he keeps a brave face when being informed of the marriage proposal, but goes back to his room and cries. The way he proclaims that he was always going to be the rightful ruler of Spain, but confides to Flavio that he never thought there was any real chance of it ever happening. The way he takes himself so seriously in public, but inside feels so giddy whenever he can make someone laugh. Everything to him always feels unstable and ready to crumble at any moment, and he's not willing to contribute to that by letting himself relax.

I think thats why it's very difficult for them to get along at first, because they have completely different approaches to how they carry themselves and make their way through life. Seb is confused at Fernando because he feels that he's very bland and overly serious at first, but truthfully he's not really seeing the actual Fernando. And Fernando finds Seb to be naive and easily taken advantage of, but that's because he's never seen Seb at his most cruel. Seb really loves when he eventually gets to see Fernando being vulnerable, and Fernando really admires and respects Seb when he sees him being serious. I think it just takes a while for them to show the other their full and complete selves, even the parts they can sometimes be ashamed of. There's this very compelling dichotomy in Seb laying out all his cards, but still being very difficult to read, and Fernando keeping his cards to his chest, but his intentions often being easily seen through.

[skrunksthatwunk]

just finished s2 of kaiji and it was good i really liked it but i hope i never see that fuckass pachinko machine again!!!

[rolandkaros]

interested by aryna's response about iga's ban...

[oozeandgoo-art]

stupid asshole who lives in my brain

[swordmaid]

WANT to make more of like evil king jaime x brienne but im stuck on what brienne is supposed to be in this au like.... what are situations i can put them in !

[pleasedontcareaboutme]

I don't care when people don't include me in stuff, I'm used to it but-----

my own family going on a trip w/o even asking me kinda felt

shit 🫠

[arolesbianism]

Guys why is rain world so good (<- rewatched some scenes and teared up on all of them)

[toyherb]

hm. maybe it's my meds but being high doesn't really hold up to the hype

[homophyte]

i am definitely not the kind of person who can break down a story into its technical beats the whole method of doing this makes no sense to me but it is very interesting to read other ppls breakdowns thereof and i think they are critical to analysis. like the shit i like doing, digging into themes and especially characters relationships to them asking the broader questions of what real world thing is this reflecting or commenting on how successfully does it do so absolutely needs that as a basis imo. it is somewhat useless to say 'this is thematically justified' without first asking 'is this narratively justified'