#don't know him enough sorry)

[anoant-haikyuu-dump]

never trust the guy with a bright blonde mohawk to style your hair

[yakuzabrainrotlive]

Some stuff I whipped up coming down from my fever lol

[dendroaspis-viridis]

I'm begging you, BioWare... Learn from the mistakes of Baldur's Gates past...

[soapsbaby]

Goodbyes

Summary: How you and your CoD partner would spend the last day and night before they have to go off on a mission.

Characters: Simon “Ghost” Riley, Johnny “Soap” MacTavish, König, Kyle “Gaz” Garrick, Alejandro Vargas, Rodolfo “Rudy” Parra, John Price, Valeria Garza, all x gn!reader Rating: SFW Themes: Angst, sadness, softness, no warnings needed Word count: 1300ish

Ghost

He’ll try to push you away, as if that would make it easier for both of you.

Once he can tell that he just makes you upset, he apologizes and makes sure the two of you get to do whatever you want to, usually you prefer to just get takeout with him, stay in bed and cuddle.

To him it’d be easier to not do that, it makes him miss you even more, but he does it for your sake. He knows that if something bad happens to him that you’ll be the one who suffers most, so he makes sure your feelings are prioritized.

He makes sure to say goodbye to you at night so he doesn’t have to wake you up in the morning and make leaving even harder on his part. He tries to be stoic about it but he hates every second of it, especially if you fall asleep on top of him and he has to gently shove you off and then just leave you behind.

Soap

He will absolutely not leave your side at all, trying to make the most out of your last hours together. No matter where you go, he’ll have a hand around your waist, is constantly kissing you and showering you in affection.

He tries his very best to be as cheerful as possible even though it’s hard, but he hates seeing you worried or sad. 

Before he leaves in the morning he makes sure he has something prepared for you, he puts flowers in the kitchen for you to find, notes on the mirror. You’ll also almost always wake up to a voice message on your phone by him, telling you that he loves you and that he’ll be back as soon as possible and there’s always a suggestion on what you will do, whether he wants to take you to a fancy restaurant he heard about or some nice café.

König

He gets quiet. His anxiety almost always tells him that something terrible will happen to either you or him once he leaves and the thoughts slowly drive him insane until he leaves and his brain switches into work-mode.

Even though he doesn’t really talk to you about it, you can tell that it bothers him and so usually you are the one trying your best to cheer him up. It also helps when you plan things you will do after he comes back and not even let the possibility that he might get hurt become an option. Oh, it’ll be just a week until you’re back, I might as well book the cinema tickets right now, right? 

He has a hard time expressing it, but he is eternally grateful for how casual you are on the outside even though you are of course freaking out as well. His job is really, really dangerous and him not coming back is always unfortunately a possibility.

He'll cuddle you to sleep and kiss you in the mornings, softly telling you that he loves you.

Price

He always makes sure to treat you to a nice dinner before he leaves, to leave a good impression, as he puts it. This can mean that you go to a nice, upscale restaurant, but he also loves cooking at home for you. He loves providing for you in general but the days before missions are the ones where he goes all out, going to the market for the fanciest ingredients and making sure you have an appetizer, main course, dessert and whichever expensive wine fits the meal the most.

He’s usually in good spirits before missions and not too worried about his wellbeing which rubs off on you. He is confident that nothing will happen, so you are too. 

You get up with him so you can have an early breakfast and spend some time talking before he has to leave.

Gaz

It hits him so much harder than it hits you. Not even because he is afraid that something will happen to him when he’s gone, just because he hates being apart from you for so long. 

If he got his way you’d just spend all day in bed, his face buried against your chest and rubbing his back but you usually try to at least get him out of the house a little bit, go for a walk or grab a coffee somewhere.

He is always affectionate but those days you won’t be able to get rid of him, not that you want to. He just needs as much reassurance as you can give him.

He really struggles getting out of bed in the morning, usually he’ll roll over to you again and kiss you awake, telling you he doesn’t want to leave and how much rather he’d stay with you. It doesn’t matter whether he has to leave earlier than you, usually you`ll get ready with him, giving him as many hugs and kisses in the process and sending him off with a smile. He doesn't have to know that you break down once he has left.

Rudy

The day before is always reserved for a family party, a barbecue or some other get together. He goes away often so not his entire family will come over every time but there’ll always be someone there. His family is incredibly important to him and he also feels much more secure knowing that you have a good relationship with them so you are taken care of if something were to happen to him. 

Once it becomes evening, though, he will make sure that he can focus on you and you only. Usually you won’t do anything “special” but he makes sure to take his time to talk to you, to make sure you are alright and that there is nothing on your mind that you are not telling him. There is nothing more important to him than clear communication and making sure he is on good terms with all of the people he loves before leaving for a mission.

You’ll fall asleep in his arms and wake up the same way, he would never leave before saying goodbye to you. Usually you’re still sleepy and he’ll kiss you goodbye, tuck you back in and let you keep sleeping.

Alejandro

He tries his very best to be as casual before missions as he can, going through his regular schedule and not to make too big of a deal out of it, but you can tell that he is giving you more affection than usual, being a little more touchy and telling you how much he loves you even more than he does otherwise. 

He’ll make sure that everything is taken care of before he’s gone, taking you grocery shopping before and stocking up on everything that you might need. He also makes sure you pick up extra on some items to make the time easier for yourself, a good book, some snacks, maybe a bottle of wine. 

He is a true romantic at heart but he keeps the special dates and occasions away from your last days, it feels like bad karma otherwise.

He’ll make sure you are comfortable getting to sleep and that he has told you a million times that he adores you, that he’ll be back so soon and that you don’t have to worry one bit.

Valeria

She tries so, so very hard not to show it, but she is terrified every time she leaves that it will be the last time she gets to see you. Hell, she might not even get hurt but she might get caught and go to jail for the rest of her life.

She always makes sure that she has her affairs in order before she leaves, makes sure that you have access to everything you need so you can get away safely and not be punished for your connection to her. 

She’ll be extra affectionate, making sure that you know that she loves you and also making a point that she would never be mad at you for denying any connection you have to her if she gets into legal trouble. 

She treats every goodbye like it might be your last one, kissing you like she never gets to again and spending the entire night holding you. 

[thiinka]

[eatgras]

doc warmup

[posletsvet]

Was anyone going to point out to me that the reason why curses were swarming the streets and filling every empty nook and cranny in the summer of Geto's spiral was actually Gojo Satoru?

The narrative already bears witness to how Satoru's mere birth tips the balance of the world. As the first Gojo to be born with both the Limitless and the Six Eyes in what is almost a half-millenium, he holds unparalled power. Him simply existing is enough for curses to spring into action and start growing in strength as well.

When he suffers a crushing defeat by the hands of Toji and subsequently thrusts himself vigorously into perfecting his technique, this rapid increase in his strength puts into motion a similar process. He becomes stronger, and so cursed spirits follow suit. He breaks the fragile equilibrium, and cursed energy seeks means to restore it.

First time Satoru Gojo changes the world, he is named the strongest. Second time Satoru Gojo changes the world, he becomes the strongest.

Now, this might be a bit of a stretch on my part, but what if Geto's defection and everything in its aftermath is how the world responds to Gojo being the strongest? After all, you cannot balance the scales by putting too much weight on just one side.

Suguru's abilities as a sorcerer are inherently deeply tied to Satoru's, and intentionally so. The stronger he is, the more potent the curses are -- and therefore the more potential there is for Geto's technique. I have said it before and I'll say it again: they are a perfect counterbalance to each other. The equilibrium is broken by Gojo twice. Each time, Geto is there to restore it: first by being born with the ability to manipulate curses, then by creating the opposition to jujutsu society, which Gojo has become the centrepiece of.

Ever since Suguru Geto entered the narrative, he has been the one to keep Gojo's powers in check -- hence preserving the balance. That's why the narrative brings him back: in order to be well-balanced, it needs both of them to be present.

[epickiya722]

Sometimes, I forget that there are people who find protagonists like Izuku, Tanjiro and Yuji "boring" because "they exhibit typical shonen protagonist traits" and one of them woukd be "They're nice, they're kind, they're all sunshine".

Which, okay, have your tastes, that's fine.

But when it comes to characters who are kind and/or nice, there's layers to them.

Just because a character is nice, doesn't mean they're kind and vice versa.

A character can be the most evil one in that story and still show kindness to some people somehow. A nice character may be the one to do immoral things, Yuji being an example.

The reasons for why a character is nice and/or kind varies, too.

Some are just genuinely born that one. Some may be selective as to who they show those sides, too, because of their own morality. Maybe, a character is being kind or nice to also manipulate others. Some characters may choose to be kind because who will, despite the cruelty of the world?

Also, I feel like, even with people outside of a fandom, they hear or seen a character being nice and kind, they just stop at that and don't think they're capable of being ruthless.

Like, Tanjiro canonically has a pure soul, but multiple times he has shown he is not only a menace in a fight, but he has shown to be one in casual situations. Sometimes, he's not even aware he is because he is so nice.

Izuku, he's a sweetheart, too. But even he will just shut off that "sunshine" to literally tear into you. He has been told in canon to hold back his emotions, the most prominent one being his anger. When he's angry, go apologize!

Yuji, look, let's be real... he is sunshine and rainbows, but that boy is probably the least sweetest one out of these three examples. Hold back? Yuji don't know what that is. No, no, he really don't. I kid you not, this kid doesn't. You can't even use the fight against Junpei as one because he punched Junpei UP into a window. Had Junpei not have that shikigami, he would have gotten major injuries.

My point is!

Just because a character is kind or nice or both, it doesn't mean...

A) it's the only trait they have.

B) they're not capable of not being kind or nice.

I think some see nice and kind and associate it with being "soft" in a derogatory manner.

Which, first off, there's nothing wrong with being soft.

I'll be honest, it will sound silly (go ahead and laugh actually, I encourage it), but if you asked put a character like one of the mentioned protagonists in front of me along with their villain and asked me "who I'm more scared of" I'm pointing at the protagonist.

Listen to me. Don't let that cuteness fool you.

With a villain, I am well aware of that villain being evil and will hurt me no matter what I do.

With someone like Yuji or Tanjiro or Izuku, they look nice, they look kind but it's like you have to be careful to not to trigger them in a way to set them off. You're caught off guard but those sweet faces and then next thing you know, BOOM! You got knocked out.

If anything, as much as people like to clown on these characters, they're only just following the footsteps of the ones before them.

Just like those legends, they started from the bottom and grew stronger over time and even with being a chill person or don't want to do evil, that doesn't exempt them from being not "a sweetheart".

I said it before, but a sunshine character to me is a character who is warm but lethal, like sunlight.

[canisalbus]

About the accents: if someone has a very "proper" Italian they are either foreigners or politicians/dignitaries/etc. So that fits perfectly for Machete, but I think it would be so funny if he sometimes slipped up and used a Nepalese word bc he forgot one in "proper" Italian lol

(Funny to me cause Naples has its own language in addition to accent, and most people don't actually know those words)

.

[pigeonstab]

veryyyyyy old sketch of Enoch

[marfian]

Does Daemon fuck Viserys in a hallucination? Has Daemon fucked Viserys in a hallucination? Will Daemon fuck Viserys in a hallucination? When will Daemon fuck Viserys in a hallucination?

[tswwwit]

I feel like if Dipper were ever reincarnated as a demon, he wouldn't fit in super well with the others. Yes, he's been raised to vie for power and step on everyone in his way using whatever means is necessary - it's the same toxic bizz as when he was a human, appealing to gender norms. He's tougher, scarier, more powerful (than ordinary humans, that is), but when it comes to asserting control - being Evil - he doesn't have it in him. Given enough time, I think he'd grow pretty vocal about leaving living things alone. NOT torturing organisms for the hell of it, or stealing people's souls, or conquering planets. Sure, he's a demon. That's no excuse to be a MONSTER.

It's a VERY unpopular opinion amongst neighboring demons, and rumor spreads fast about the Goody Two-Shoed Activist imp raining on everyone's blood-splattered parade, so much so that it makes it to Bill, who's immediately intrigued. Call it intuition, but only one soul's capable of overriding goddamn demon nature for some preachy bullshit about "Doing Good." Lucky for him, demons occupy the same plane of existence, so all it really takes to verify the guy is a snap of his fingers, and POOF! He's floating right next to him. Sure enough, Dipper's fashioned himself a new and improved demonic form, and it is lovely!

No one likes Dipper's kumbaya "Can't We All Just Get Along" ideology, but Bill's almost instantly smitten with the guy, whoever he is, so he's gotta be at least somewhat powerful. Demons take notice when the all-powerful Bill Cipher starts lending his time (and magic?) to some low-leveler like Dipper. Is he being blackmailed? Are they working together? No. Not possible. Bill doesn't "work" with anyone, save for whatever human catches his eye every few decades. Doesn't look to be doing him any benefit, either. The opposite, even. Lending power to a saint like Dipper only makes it harder to cause chaos, after all. Why would he actively go against his OWN best interest to cater some imp's? It's almost like he's. He's.

A henchmen.

(Bill's also 30% more affectionate the first month they reunite, because he still can't believe that his adorable little human husband came back as the same SPECIES as him! He'd never complain over having a sweet human to squeeze, but one with teeth and claws and cute pointy ears doesn't hurt).

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[stormy-nights-are-best]

Posting this again in its own post. I think it's a fun concept, because calls are kinda like ninpo communication

[welcometogrouchland]

Batman #149 by chip zdarsky is mostly unremarkable, but I'm really fascinated by how it makes a great case for 'good' endings not saving 'bad' stories*. Because there's a lot of interesting concepts in this issue (bruce having to deal with his rapidly aging and decaying clone making him think about his own life, re-establishing a 'nest' so to speak for his family after pushing them away, etc) but bc of the OOC slog that came before it, almost every moment w/ the batfamily comes off as unearned and disingenuous imo.

Like, everything with Damian is the perfect example in this. Because in isolation it's...fine. admittedly it's a missed opportunity to not go deeper into how Damian would feel about a clone of his dad who tried to kill considering Damian's relationships with clones of himself (the heretic rejects and respawn) or with former enemies who wanted him dead but who were manipulated and/or brainwashed (like suren and maya).

Zdarsky doesn't go into any of this but you could maybe excuse it as the issue not being about Damian. However, coupled with the previous bizarre characterizations of Damian in 147 and 148, it ends up not being fine- instead it starts to feel...icky how Damian (who, despite often being drawn and written as white, will never have his connection to the non-white al ghuls forgotten and will always be effected by racism even when not portrayed as a poc) is constantly written as overly violent, uncaring and narrow minded in this run. Coupled w/ trying to recanonize the morrison origin for Damian it's like. OH this is badly written and laden with subtle bigotry, sick**

That's me going into detail on it with Damian but it's applicable to other things in this issue- the way Cass, Steph and Duke have all been ignored or turned into jobbers makes their inclusion in the 'family' here feel hollow instead of satisfying. Bruce proclaiming that Zur was still a part of him and he needs to accept responsibility for his actions (when it means taking in clone son) wrings hollow when just last issue zdarsky was bending over backwards to separate Bruce and Zur bc otherwise the Jason thing would get really awkward. Ends are achieved through means that feel hollow or strange. I'm at my destination but damn why'd the bus have to do all that???

I only really have opinions on this latest arc of zdarskys Batman bc it's the one I've read the closest (bc I'm a hater, masochist and avid follower of even the bad damian storylines) but it's not saying great things.

Bc zdarsky can do one thing good in this book, and it's write Bruce and Tim. And yet this entire story, whether of his own volition or editorial mandate, includes other characters who aren't Bruce and Tim, the fabric starts to unravel in very telling ways.

(p.s, I think pennyworth manor is an interesting idea but I feel like in execution it's just gonna be 'bruce living in a house haunted by the memory of the people he couldn't save' but with a different dead guy this time. Illusion of change and whatnot)

*whether or not the ending is good is up to you ofc, as is your opinion on the proceeding arc! I saw some ppl complain that the ending was too "WFA" for them, which I get even if I dont think it'll literally be the same premise. If anything it's probably a lead into the new tec run. Likewise many ppl who aren't in the weeds of Damian and Jason characterization liked the previous arc! But I have my opinions and rest my case before the bench

**disclaimer, I'm white and portrayals of bigotry in comics are complicated and subjective, but I am basing my point here off what other poc comic fans on socmed have been saying about 149. Also the "sick" is sarcasm incase that wasn't obvious

[redwylde]

Forcing my two ultimate faves to interact by thinking about how Silver would definitely be interested in biology and the natural sciences because many original ecosystems wouldn't have been able to survive in a world dominated by fire.

In the future he was very interested in history and had to rely on books to learn about anything that came before, but whilst visiting the past he explores and follows field guides in his free time because now he can experience it all for real. Enter Knuckles, who is the most qualified person he knows to teach Silver all about the unique biomes of the world.

At first it just starts out as Silver visiting Angel Island every so often to ask questions and compare notes in his field guide with what Knuckles has seen, which Knuckles enjoys. An excuse to talk about his adventures with a genuinely interested party and they end up bonding really quickly over it. Until Knuckles gets tired of talking about books (and not all of them are correct) so he says fuck it, you can't learn everything from a book and starts taking Silver on forays into the world and shows him everything he dreams to see - ruins reclaimed by nature, entire ecosystems existing on a single type of tree, underwater worlds hidden by algae and sediment.