#even less idea how to use it

[lucabyte]

So does anybody else ever think about how Loop felt the need to demonstrate that the party's deaths wouldn't have any effect on the loops. I know I do but that's besides the point. Anyway I don't think Loop actually needs to bathe, they just like to feel included.

[starrysharks]

winter assassin outfit

[yashley]

"Auggie, how do you get stitched up and refreshed?" "I am going to go over to Arlo’s house."

[uncanny-tranny]

If I'm honest, the whole "love in every stitch" saying for fiber artists does not apply to me, like. I'm trying to get this fucking hook into stubborn yarn and I'll be stabbing it like it owed me money. Is that love because I hope not 😭💀

[petite-phthora]

Can I kiss you?

[DP x DC fic]

[Love at first... murder? - part 1]

Next >>

Ao3

---

“—so sorry! I swear I didn’t mean to kill him! It was an accident! He just jumped me out of nowhere and I have had bad experiences with clowns in the past so when I saw it was a clown trying to kidnap me I kinda just panicked and punched him! I swear, dude, I didn’t mean to hit him so hard—“

Jason, much too calmly, likely in some form of shock, rises from the crouched-down position he had been in to check the clown corpse’s pulse.

He had seen the poor, still rambling, twink getting grabbed from a distance and was about to step in as Red Hood, not even having been aware it was the Joker who —shouldn’t he have been in Arkham? There has been no announcement of him breaking out yet— had grabbed the guy until he had run close enough to the scene.

Which was after the guy had already been startled so badly by the Joker trying to kidnap him that he sucker punched the Joker into the wall of the alley so hard the clown died.

Said twink then realized what he had done and that he had a witness, that witness being Red Hood himself, and had started his frenzied speech on how it was an accident and to please don’t take him to jail he’s only just started his scholarship at Gotham U. and he can’t have murder on his track record yet.

Breathless, Jason looks at the nervous twink in front of him, who's still trying to plead his case, and who just obliterated the Joker with a punch.

Before his brain can catch up to his mouth, he’s already cutting the distressed monologuing off.

“Can I kiss you?” He blurts out.

Danny, taken off guard, breaks out of his panicked—oh, Ancients, I just killed someone— stupor and lets out a startled laugh.

“Take me out to dinner first” came the automatic joking reply, Danny still largely in shock of what he did.

Jason, either not picking up on the joking tone or ignoring it, nods seriously, already trying to come up with the best place for a dinner date with the cute twink to thank him for his service to the city.

Danny, who has calmed down slightly by now, glances between the red-helmed vigilante and the clown corpse. His gaze lands on Red Hood and he hesitantly speaks up again.

“So, uh, what happens now? Do I need to go to the station to make a statement orrrr?” He pauses awkwardly.

Jason, who’s still trying to figure out whether the Bat Burger would be a good place for a first date or not, doesn’t reply.

“I’ve got school in the morning and I only have like,” he pauses to check his phone for the time, “3 more hours before I have to be up for my first lesson. Soooo, I’m just gonna go. That cool?”

Again, he waits for a reply. But it doesn’t come.

“Right. Cool cool. Uh, see you later? Mr. Red Hood dude sir?” Danny gives a clumsy and awkward salute before turning tail and speed-walking away.

It’s not until 30 minutes later, once Jason has finally decided on the perfect place to take the guy to dinner to, that he realizes the twink is gone.

Fuck, he forgot to ask for the guy’s name.

…

And number.

[nejackdaw]

(reads my own fic) woah. I'm so good at my job

[flowerxdance]

I need Dungeon Meshi season 2 because I need to stop seeing anime-onlys hating on Kabru and calling him a sociopath/narcissistic (completely misusing those words and misreading his entire character and being ableist at the same time).

[nerosdayinanime]

fighting for my life to draw anything the past like 2 months what the fuck

anyway for the kitsune au im dipping back into the very first iteration of it where sabito was more of a monster, in current iteration he was revived as a kitsune (from the rock tanjiro split) to help tip the scales in slayer's favor and hes kinda a pawn of the gods. sometimes hes not really in control of himself when he goes against powerful demons

[telluricdog]

kingisle whenever they need to coax older players back: HEY YOU PERSON WITH A WALLET!!! REMEMBER DRAGONSPYRE?!? REMEMBER HOW SAD THE LAST ACT MADE YOU FEEL? HERE'S SOMETHING REFERENCING DRAGONSPYRE!! ISNT THAT YOUR FAVORITE?!

[hephaestuscrew]

Pan-Pan, Boléro, and Minkowski's different responses to loss

I want to compare two key lines of Minkowski's which indicate very different responses to grief:

In Ep29 Pan-Pan, Minkowski breaks down and says "Doug Eiffel is gone! There was nothing we could do to save him. It wasn't anyone's fault. It's horrible, and pointless, and it just happened."

In contrast, after arriving at the funeral in Ep46 Boléro, she says "[Lovelace, Hilbert and Maxwell are dead] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here." 

TL;DR: In Pan-Pan, Minkowski expresses her unprocessed grief through despair and hopelessness. Whereas in Boléro, she is able to find hope in the loss and lead her crew in trying to move forward. I suggest a significant reason of the difference is the presence of Eiffel to force Minkowski to confront and process the sense of loss.

Pan-Pan: "It's horrible, and pointless, and it just happened"

In Pan-Pan, the whole episode is full of anger and despair, but Minkowski speaking about the horrible pointlessness of losing Eiffel is one of the most painful and hopeless moments. It doesn't feel like she's really speaking to the others. She's focused on her internal despair (as suggested by the fact that she goes on to talk about the cracks, which Lovelace and Hilbert aren't supposed to know about).

The only potentially positive thing Minkowski says here is her recognition that "it wasn't anyone's fault". When Hera and Hilbert have been blaming Lovelace, and Minkowski has been blaming herself, it's significant that she acknowledges that sometimes a horrible thing just happens without there being anyone to blame. 

But in this context, and in the tone of voice Minkowski uses, even the lack of blame doesn't really feel like a positive thing. If Eiffel becoming stranded was just pointless and random, if there was nothing any of them could have done to save him, then the next tragedy might be just as unpredictable and unpreventable. Minkowski strikes me as the kind of person who can sometimes fall into the trap of subconsciously wishing that the awful thing is her fault because then at least she'd have control over something. In her train of thought here, the lack of blame is followed by focusing on how horrible and pointless what happened to Eiffel was. The only conclusion she can draw is "it just happened". There's no sense of hope in those lines. Eiffel being stranded just happened, and so do the cracks, and the crew are at the whims of brutal fortune with no meaning to any of it.

Boléro: "They're gone... so that we never forget how important it is that we're still here"

In Boléro, Minkowski can't even say that the tragedy wasn't anyone's fault. For each of the deaths, someone pulled a trigger. There is blame, and some of it lies at her feet. She didn't want to come to the funeral because at first she didn't know what she could say about the deaths she feels responsible for.

Yet even so, this time she finds something reassuring she can say to her crew, a grain of hope she can provide without attempting to diminish the loss: "[they're gone] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here."

In another show, or another context, this kind of line might have had an 'everything happens for a reason' tone, which is something I deeply dislike as a response to other people's loss. But it doesn't feel like that's what Minkowski is saying here at all. She isn't trying to make any grand philosophical statement about the ultimate beneficence of the universe, or about how mortality gives meaning to human life. What she says here is working on a much more personal level. It's more about finding something other than despair that the crew can take from what has happened. This tragedy may still be horrible, but it provides a reminder that they are still alive in a context where that's far from guaranteed. Minkowski emphasises that the fact the survivors are alive matters - her crew matters. I'd argue that this contrasts with the 'it just happened' outlook discussed above. 

I don't know how much Minkowski fully feels the importance of them still being there in the moment, but it's something that she can offer her crew, something that she can say in a situation that words can't grasp. I think the moment when she joins the funeral is such a key moment of her leadership. In the end, despite her doubts and struggles, she's there for her crew. Eiffel brought them together for a funeral, but he doesn't know what to say when Hera asks why they have to be gone. Minkowski enters just at the right moment to support her crew and she provides an answer to Hera's question. It's not a perfect answer, but it allows the funeral to move forward. It allows the crew to move forward (even if that emotional movement is somewhat thrown off by a dramatic change in the circumstances). Minkowski starts off the eulogies; she leads her crew in the acknowledgement of what's been lost.

Why such a difference in responses?

There's lots of ways you could interpret the difference between the outlook of these two moments, and there's probably more to say about it though the lens of Minkowski's character development than I'm going to say here. But for me, the main difference between these moments is that, in Pan-Pan, it feels like no processing or recognition of grief has really occurred. When Minkowski says "Doug Eiffel is gone!", it almost feels like the first time that Minkowski has fully confronted and acknowledged the loss. Eiffel has been lost in space for 116 days, but it's only at the end of this episode that Minkowski brings herself to say in her distress calls that he is "presumed dead". Whereas in Boléro, she's already eulogising the dead and thinking about what can be learned from the loss, not even a full day after the mutiny.

Obviously there is much less ambiguity to a body bag (or least there would be, if not for alien interference). But I can't help thinking that the difference between the attitudes towards loss which Minkowski displays in these two quotes is less about the difference in the kind of loss, and more about a situation that prompted and enabled the processing of emotions in Boléro: namely, the funeral. After Eiffel was stranded in space, I think Minkowski probably went months without looking her grief in the eye. But after the deaths of Lovelace, Hilbert, and Maxwell, Eiffel's suggestion of a funeral forces Minkowski to confront her complicated emotions and provides a space in which she can offer direction to her grieving crew.

This is a good illustration of how I think Minkowski and Eiffel complement and support each other in a really valuable way. On his own, Eiffel couldn't provide the leadership that the crew needed for the funeral to work. But without Eiffel, and his determination to recognise the emotional weight of the three deaths, the funeral would never have happened and Minkowski would never have been in a position to provide hope and direction to her crew. When Eiffel was the one the Hephaestus crew were grieving, Minkowski couldn't offer much emotional direction to her crew beyond despair. But when Eiffel is beside her in the grief, saying that the grief deserves to be felt, then Minkowski can find a way for them to move forward emotionally. It's not the deaths that remind them how important it is that they are still here. It's the grief. It's the ability to confront that grief together.

[sundial-bee-scribbles]

trying to psych myself up to finally do oc refs by doing fandom-related refs instead: volume 1

wanted to update my yuma from whatever tf this au is so he was a bit more unique... takes inspo from a lot of different things while also trying to be its own sorta thing? which is fitting given the au ;)

bonus chibi now that i'm also figuring out how tf to do chibis lol:

[artsandstoriesandstuff]

@esteebarnes94 it’s Missus! The Missus? lol.

Anyway, I made a sketch thing for her! I have a feeling this may end up the primary way I draw the robot detectives… or any mini art projects or requests, for that matter.

I don’t know if I characterized her right but I imagine her as a calm but anxiety prone lady. I also have a hunch she’d be just a little scared of Enid.

Speaking of Enid, and given Enid’s personality, she probably bought some accessories for Missus. Including that silly looking hat on the right side.

Like I said, I’m really happy that you developed her backstory (it’s actually making ME think more about the factory), but I hope I did her personality justice too! :)

[the-judicial-assistants-notebook]

not enough discussion about the gavins' complicated relationship with feminine-coded/beauty products, i don't think.

[kandicon]

*writes the same exact headcannons in slightly different scenarios over and over again*

[waywardsalt]

picked up a copy of and read the king in yellow (signalis reasons) and going in was like hmmmmm this probably wont end up being something i take inspiration from for the fic it’d be too on the nose to take inspiration from the king in yellow and i dont want much horror inspiration haha. and then like half of the book is romance anyways im so fucked either way yayyyy

[iantoscoffee]

my new head canon is that right after broken — when ianto and jack agree to be together only for one night — ianto didn’ t really want / need to have sex and jack knew that.

they kissed each other a lot (spoiler: they made out for only god knows how long) and once they arrived to the bedroom jack broke the moment without scaring ianto away; he took his clothes off and stripped ianto of his, he slowly laid him on the bed and kissed his nose, his lips and went down to his jaw, neck and chest.

jack kissed every inch of his skin taking his time, he wanted ianto to feel everything ianto prohibited himself: lips on his, warmth, hands exploring his body, being appreciated — held, perhaps even feeling loved for a few instants.

ianto was probably too broken to care about jack would do with and to him, he just wanted to feel something, anything that would numb his heart and fog his mind; his body responded to jack’ s in a way that did not reflect what was going in his mind and despite the lust and apparent consent jack did not dare to do anything that would go beyond appreciating ianto through kissing and touching him.

jack held ianto in his arms and i’ d like to think that ianto felt so overwhelmed that at one point a few tears fell from his eyes without him even noticing and jack kissed away every single one of them until ianto calmed down a little and eventually fell asleep, his body exhausted and his heart a little less broken.