#gertrud leads

[3dsoplya]

insomnia

[yellow-faerie]

I desperately need to talk about my TMA au where several alternate universes with different Archivists starting the eyepocalypse, all meeting in the winding corridors of Hilltop Road as it exists in between universes, like I am literally lying awake thinking about it

There's Jon, of course, looking for Martin but there's also:

Archivist!Gertrude starting the apocalypse because she and Agnes were much closer than in canon and Gertrude will put herself in danger for one (1) person

Archivist!Melanie who joined the institute after several very weird encounters on the job and who Elias shoved into the archivist position because of her several marks; she screams and screams against it but doesn't leave because a small sliver of her is scared of death, and half believes she might be able to help other people

Archivist!Basira who takes over after Jon dies in the Unknowing and is sceptical and untrusting and ruthless, but too reckless not to get marked (and maybe she's friends with Rosie, out of lack of no-one else to be friends with, and maybe clinging to that friendship means she misses when Rosie's eyes subtly change colour)

Archivist!Sasha who is almost as sceptical as Jon but is more light-hearted, and has her own past, and whose journey mirrors Jon's so terribly but she still digs that hole anyway

Archivist!Elias, which was admittedly crack to begin with, but now I'm obsessed with whatever that would be like after Gertrude dies early - also weirdly got me into LonelyEyes so...I don't know how I feel about that

There are just so many twists and turns to all these aus and in my head they don't even interact all that much but....all the other characters who twist into new narrative positions when the Archivist changes...it fascinates me

Send me an ask with a character (literally any character from TMA) and I'll tell you how they change in each au, as well as maybe a few headcanons from the canon universe ;)

[ofdreamsanddoodles]

honestly i think it's a little funny that in all the speculation i've seen about gerry & gertrude in tmagp no one has suggested gerry might just be like. lying about not remembering. like we all heard them give the most antagonistic pause when sam mentioned the magnus institute and then went "but surely he has no reason to lie here"

[youmustfixyourheartt]

thinking about gerry keay and gertrude robinson and "she was there sometimes, the one he followed around the world. there was almost sadness in her eyes" and euthanasia by will wood

[thepresidentstolemyfuckingsafe]

I hate when I read my generic romance comics and the super hot male lead shows up with his anime eyes and chiseled fucking abs and then he's like.

my name's bart.

[the-eb]

new "things I noticed in the Walpurgisnacht Rising trailer" post: coherent edition

I'm going with the theory (laid out very well here) that the extra Homuras we keep seeing around are the Clara Dolls, either presenting in a different way or having matured into witches themselves. With that in mind:

These two shots show the same doll, Nekura, judging by both the headband and the wavy tips of the hair that homura doesn't normally have. Her eyes are also red, and she's wearing the black collar with white outlines reminiscent of her Doll form.

This looks to be Ibari, though I'm not 100% sure on that, given the colour of the hair. Probably just the lighting. Her role as Pride also fits with the imagery of her scrutinising the audience here, likely Homura in context.

Could also potentially be Noroma (Blockhead), though I don't think the visual fits quite as well. She is said to "laugh at the witch with her eyes," though, which would match with what she's doing here.

Though this Homura has her original purple eyes and white collar, the unusual headband and especially the engraving on the mirror ("Stupid Venus") make me quite confident that this is Manuke (Stupid-Looking). The band isn't a 100% match, but this also makes sense given that Manuke is representative of Homura during the time between the main series and Rebellion, matching with what's shown in the mirror. The headband is also tied in the same way as Madoka's ribbon was in her hair, which might explain the lack of resemblance to Manuke's headwear.

Not much to say about this shot, other than that the style and colours of those stairs combined with the familiar pattern around them resembling Oktavia's tail make me think this is a shot from within her labyrinth.

Other than the clear Icarus symbolism, the main thing worth noting about this shot is the streak of red in Homura's hair, extending out from underneath Madoka's ribbon (or its replacement). Probably an extension of the ribbon symbolically too, showing how bound she is to Madoka.

Unless these are Magia Record characters I'm unaware of, I think that the unadorned ring and black fingernail marking lend credence to the idea that these are the magical girls who once became witches in the original series. The only one I really have a guess on is this girl, where the fact that she's watching over a kintsugi glass holding the garden where Homura and Kyoko met in rebellion, the roses on her purse, and the glasses lead me to believe that this is Gertrud, the Rose Garden Witch. Her Adelbert familiars are said to have 2.5 vision.

This book appears to contain images of witches and their familiars. I managed to spot familiars belonging to Charlotte, Elly, possibly Patricia, Gertrud, and Oktavia, as well as Izabel and Elsa Maria themselves, though I'm sure there are more.

There's a single frame flash of Oktavia here!

The symbolism of the teacup next to the pool of blood makes me assume that this is Mami (or Candeloro!), though maybe I'm flanderising her. The rim of the cup and saucer do have a pattern faintly reminiscent of a flower, which reinforces this a little.

Please feel free to respond with alternate readings/other things you've spotted in the trailer! I crave knowledge

[vieramars]

Every character in TMA is a tragedy in their own way but I think Gertrude's tragedy is often overlooked. She effectively spent her entire life stopping rituals. She never let anyone get close to her. I don't think she ever even trusted anyone. Every relationship she had was carefully monitored to make sure she didn't reveal too much to the wrong person, because in her position, any mistake could lead to a sudden, unpleasant death, or worse, the end of the world. And as she went on as the archivist, she watched so many of her assistants die that she seemed to be numb to it, though I don't think she truly was. When she had to sacrifice Michael, and then lost Sarah and had to kill Emma not long after, she never took another official assistant after that. She'd never admit it, but the effect that had on her seems pretty clear. The way she's described by the catalogue when Gerry dies, "there was almost sadness in her eyes," just speaks to me of someone so tired of losing people that the pain becomes distant. It has to, otherwise it all comes crashing in at once, every single loss compounding on all that came before it, and there's no time for grief when you're the archivist. And in the end she died alone, and as far as we're aware, no one cared until the mystery of her death became pertinent to stopping the next ritual. Her fate wasn't that different from Gerry or Michael: a dead voice left behind to guide the new archivist on his path.

[ltwilliammowett]

The Mastheadman: The GERTRUDE L. THEBAUD leads BLUENOSE, by Thomas Hoyne, 1989

[artsandculture]

Lady Agnew of Lochnaw (1892) 🎨 John Singer Sargent 🏛️ National Galleries Scotland 📍 Edinburgh, Scotland

Sargent’s dazzling and unforgettable image of Lady Agnew is one of the most famous of his many portraits of fashionable London society. For both the artist and his sitter, the painting was an instant success, establishing Sargent’s reputation as the portrait painter of choice for the London elite and immediately transforming the newly elevated Lady Agnew into a society celebrity.

Sargent was born in Florence and spent his childhood travelling across Europe with his wealthy American parents who restlessly followed the changing social seasons. In 1874 he entered the Paris studio of the stylish French portraitist, Carolus-Duran. The young Sargent combined the flamboyant style of his teacher with his study of old masters such as Rembrandt and Velázquez but was also influenced by Monet and Impressionism. His provocative and unconventional Portrait of Madame X caused a scandal at the Paris Salon exhibition in 1884; and, when Sargent settled in London in 1886, he initially found it difficult to find clients as his bravura, continental style of painting attracted suspicion. However, his dashing technical mastery and confident manner were ideally suited for aristocratic patronage and he soon won over his critics with his elegant, flattering portraits. When his portrait of Lady Agnew was shown at the Royal Academy in 1893, one contemporary observed: ‘London is at his feet … he has had a cracking success.’

The sitter was born Gertrude Vernon and married Andrew Noel Agnew in 1889. Her husband, fifteen years her senior, was a barrister and later an MP and deputy-Lieutenant in Wigtownshire; he succeeded his father as 9th Baronet of Lochnaw in 1892, shortly before Sargent embarked on this portrait. The exact circumstances behind the commission are not known, but the Agnews may have met the artist through mutual American friends. According to notes in her husband’s diary, work on the portrait progressed swiftly, and Sargent later recalled that it was painted in just six sittings.

Lady Agnew is shown seated in a Louis XVI chair against the backdrop of a Chinese silk hanging, both of which were standard props in Sargent’s studio. She is reported to have been of frail health; she recovered slowly from a severe bout of influenza in 1890 and was apparently still convalescing and suffering from exhaustion when she sat to Sargent, which may account for her slightly ghostly pallor in the painting. Lady Agnew fixes the spectator with an intelligent, faintly amused gaze but it is her elegant white silk dress and lilac sash that threaten to steal all our attention. There are brilliant passages of painting in the highlights, reflections and coloured shadows that show Sargent at his best as a painter of surfaces and textures, the ideal artist for a gilded, polished yet ultimately superficial society.

Sargent’s image of Lady Agnew helped her to become a leading light in fashionable circles, holding lavish salons in her London home. Ironically, the high costs of this hospitality meant that she was eventually forced to sell some family pictures including this portrait which was purchased by the Scottish National Gallery in 1925.

[dreamerwitches]

Full wnk trailer analysis lets go (p1)

Homura with wavy hair fronts. Matches the one from the poster

I dunno about you, but her face looks kinda younger from the side? Cuter? I dont think we've seen anyone else from the side so maybe its just the artstyle and im being silly

The background is pretty hard to decipher

She has a ring but no visible stone or fingernail marking. It doesnt seem like the end of her main hair is wavy. It looks like she's missing the buttons on her front but this may be an animation error or the angle is hiding them

This bit makes me think she's falling down a spiral staircase? Though it doesnt resemble the one later. The gold bits look like banisters. The background gives me a stained glass window church feel

Madoka's home maybe? This is still wavy hair homura

Madoka has no ring

Not much to say. Text in the bottom right says mramasa but the rest is japanese and some numbers. Looks like maybe the power of the fan?

Ibari, number one. Yes its her, the lighting is just pink/red, you can tell cause her blue skin is more purple. To me, it looks like someone is holding her. The light peach parts on the bottom left and right look like the regular animation style. The flowers on the magnifying glass look a little like mami's

Dumb venus maybe? That compact wouldnt close if it had that pearl sticking out XD

I believe this is a homura we havent seen before. The ribbon doesnt match the poster homu from the right. Its brown, her uniform has a white under shirt. Ive seen people theorise this is Manuke, stupidity. The brown ribbon would match her hair colour. Her eyes are more purple than the pink of the previous homura. The colour also matches phone homu from the first trailer.

Ive seen people mention the fencing vaguely looks like oktavia's scales. I think the multiple parts remind me more of her tail. The windows at the very edges kinda remind me of the first scene.

I didnt realise at first but this is homura's wing being broken

Devil outfit has changed. She has a red streak in her hair. Her feathers look fluffier but it might just be the art style. Another red addition to her leg. Her right shoe looks like madoka's. Actually her gloves kinda look like madoka's too

With the city(?) below and the unmoving effects, is this happening during a time stop? Im getting the feeling this trailer (or movie?) has a brown/orange-ish glow to it so maybe they artistically changed the colour of time stop?

With the bright bg and chair colour, i think madoka is with mami (seen later) in this scene. Also i think thats her left hand, no fingernail marking

Rebellion cafe real, it even has the steps leading up to it (though its not 100% perfect... but eh, artistic licence...)

Also, the girl's teacup is cracked. I cant remember the name but it looks like that japanese art of repairing something broken but making the repairs beautiful (repaired witch???).

A stretch, but the napkin underneath reminds me of homu's handkerchief

I thought the lack of soul gem in the ring was an animation mistake but maybe not??? And a dark (could just be obscured by the cup) fingernail marking. It looks like the london underground symbol ToT

Ah the walls dont really match with the rebellion cafe... maybe this is just what cafes look like in madoka XD the single table is still a mirror to it though. I think the lotus flowers are telling.

I wonder if the girl's golden eyes (like godoka's) mean something because magical girls colours usually match dont they? But maybe they've stopped doing that, eh. I like how her glasses are the opposite to homura's, rim on the top.

I didnt realise the thing next to her is a purse, its huge ToT it has flowers on it. I saw someone call them roses to try and say this is gertrud... um no XD have you ever seen a rose???

A stretch but the crockery reminds me of Candeloro's

Its the same three colours

Nagisa has brown scrunchies and her hair is in two low bunches with dark red beads. It looks like her dress is different too

She has the mitakihara uniform and a yellow cardigan. You can see her soul gem ring. The yellow of the cardi and the brown hairbands make me hope it is bear girl......

Girl full of slinkies!!!! The dots around the place remind me of homura's corruption from rebellion (ala on the bus). This is bandaged sayaka

These make me think of candeloro's kiss. I think i can see flowers on the spine too

But the hands together on the middle of the spine is from madoka's rebellion transformation

Walpurgis?

Yes im sure this is the same cafe as madoka was in now. Very pretty

Mami has her hair clip from her magical girl form on the top left of her head. Also could be animation error but maybe her ring is missing the gem

ALSO ARE YOU JUST EATING A SUGAR CUBE MAMI????

Is this the same place from the dancing scene? Doesnt one of the nightmares have an attack like this? So is homura doing it because she controlled the nightmares.

Also they explode with white feathers hmmmmmm. I have the horrible feeling homura would do it to scare madoka

Clearly not the previous kyoko. Outfit is different and more like her original one i'd say. The cake looks like its from the cafe

Also hnnngghhh concept movie?????

Damn ive hit image limit... well part 2 incoming

[forgetyoursingalongsandlullabies]

I’m kind of obsessed with the Jonmartin timeline and how Jon slowly fell in love with Martin, mostly off tape over seasons 2 and 3. I wrote a little bit of an essay trying to pinpoint the shifts and moments when we can tell something has changed. I love fanfics but I am just so interested in trying to figure out what happened in canon as close as possible. Of course this does involve speculation of emotions that we have no way of actually knowing because Jon Sims does not talk about his feelings.

Anyway it’s long-ish.

Jon fell in love with Martin over season 2 but didn’t start to realize it until late season 3 just before The Unknowing.

Martin starts the show with a crush on Jon. In MAG 22 when Martin makes his statement about the worms Jon feels guilty over how all of the pressure he’s put Martin under drives him to put himself in danger and he has Martin move into the archives to protect him which may be the first caring gesture he has made towards Martin but it’s a big one. Martin, who had a decent size crush on Jon beforehand, is blown away by this and his crush becomes a real big one.

Jon tries to continue being hard on Martin but he does noticeably soften towards him. His criticisms are half-hearted.

During Jane Prentice’s attack when Martin and Jon are in document storage Martin calls Jon out and properly snaps at him for dismissing the supernatural and Jon actually sees Martin in this moment for the first time. Martin had never talked back to him in such a way and Jon can now see him as not just his assistant who makes a lot of mistakes but as an equal who might know better than him in some aspects. They have their heart to heart and Jon is able to be honest for the first time since taking this job. He admits he’s scared and it’s okay, well it’s not okay because Jane Prentice might be moments away from killing them, but Martin doesn’t think any less of him. And then Jon asks if Martin is a ghost and he’s wrong and it was stupid but Martin makes fun of him in a way that doesn’t hurt and Jon isn’t used to that. And Martin, seeing this open and fragile and slightly dumb part of Jon, starts falling in love.

After Martin finds Gertrude’s body Jon is one track minded and focused on finding out what happened. Martin, giving his statement about the tunnels, is in tears not because he found a body and was scared, but because he accidentally left Jon. Jon was too distracted with finding answers at the moment but he heard it and absorbed it over time.

Season 2 Jon is full of nothing but paranoia and is unwilling to trust anyone but it’s his obsessive observations that lead him to getting to know Martin enough to love him. When Jon tries to come back from leave early Martin forces Jon to go home and rest more. Jon wonders what Martin is hiding but reasons that, no Martin is actually concerned about his health. Jon thinks Martin gave him a fake jar of ashes to calm him down, he doesn’t seem to think this gesture is part of a conspiracy, he genuinely thinks of this gesture as Martin lying to him to make him feel better. Jon notes that Martin has been very attentive to his needs and recovery and that he is interested to hear Jon’s theories about Gertrude. He remarks that he has observed Martin’s competence and cunning. Of course Jon is ridiculously paranoid and interprets this attention as some kind of plot against him to slow down his investigation and sees these positive attributes of Martin as reasons to see him as a threat, but again, Jon is absorbing it all. The lines in Jon’s supplementals about Martin’s attention to him implies that they’re spending a lot of time together off tape, at least more than they ever used to, probably at Martin’s insistence and Jon accepting this time by justifying to himself that he needs to watch Martin.

In MAG 53 Jon mentions that Martin hovers near him when he goes to the canteen and Martin says it’s because he’s concerned (based on Jon’s lie about how he got the cut from Michael). Martin offers to pick up a sandwich from the cafe and bring it back for Jon. He doesn’t ask Jon to come with him and Jon acts like he’s annoyed to be around Martin when he sits with him in the canteen, but Jon decides, No instead of me refusing the gesture for food or saying yes please pick up that sandwich for me, he says “I’ll come with” making another decision to spend time with Martin when he doesn’t have to. Maybe Jon tries to justify this to himself again by saying he’s keeping an eye on Martin but Jon has made no efforts to go spend extra time with Tim, who was an equal suspect, even before Tim was mad at Jon. (And may I add, if Jon tried this tactic with Tim, going out to lunch, watching him by spending time with him etc. maybe Tim wouldn’t have ended up being so angry with Jon.) But Jon is definitely making the effort to spend time with Martin when it frankly has nothing to do with his investigation no matter how he tries to spin it.

In MAG 56 when Jon makes Martin tell him what he’s been hiding and he finds out Martin had lied on his CV he is so relieved that he is giddy. He is smiling, laughing and stuttering. To Jon’s ‘rational’ mind this doesn’t fully clear Martin of suspicion but emotionally this really seems to be a weight off of his shoulders. On a subconscious level he can start to allow the time they’ve spent together to mean something other than just spying.

Meanwhile Martin can see what a hard time Jon is having and he can see him spinning out of control with paranoia and Martin tries really hard to defend him, maybe not the best thing, we know Martin is a bit of an enabler for Jon, but for Jon’s emotional arc of falling in love with Martin it is important that Jon hears Martin defending him to Tim in MAG 58. Martin never stops calling Jon out on his shit like when he tells Jon that he needs to talk to Tim and that Tim isn’t wrong but nowadays it feels like everyone is constantly calling Jon out, not that he doesn’t deserve it, but when Martin calls him out it’s still clear that he cares, whereas anyone else talking to Jon just seems to speak to him with malice.

At the beginning of season 3 Jon is hiding out and staying at Georgie’s place. We know from Season 4 MAG 149 that Jon used to go on about Martin to Georgie “a lot”. Georgie got the full story about The Archives in MAG 93 and Jon decides to move out of Georgie’s place in MAG 99 when he was then kidnapped by The Circus. There’s usually a week of time that passes between episodes unless otherwise implied and 93 and 94 take place over the same conversation on the same day so I’ll assume 5 weeks in which Jon was going on about Martin a lot with full context. He probably talked about him before then too only more cryptically. Importantly though in the Season 4 Q&A Alex asks, Who knew that Jon liked Martin first, Jon or Martin? And Jonny said “Georgie” so even though Jon didn’t know it yet, he was obviously smitten (at least obvious to Georgie who has dated Jon and recognizes signs of affection and romance in him more than anyone else would).

When Jon talks to Martin in MAG 102 there is a very slight almost imperceptible sweetness in Jon’s voice that we’ve never heard before. The way he assures Martin that it’s ok that he didn’t know he was kidnapped. There is a lot of awkwardness and frankly a lot of heavy breathing from both of them for probably just standing there. Their casual talk about the overall institute and Hannah who is having her baby and had that thing with the milk in the break room last year, Jon doesn’t know who she is but Martin knows that Jon knows her probably because they had been around her together since they spent so much time together last year but Jon was too paranoid and she had nothing to do with the plot, it’s just a very normal and domestic moment. Jon tells Martin he knows he’s been reading statements and Martin is just worried Jon will be jealous that he’s taking some of his job but instead Jon is just concerned for him. It’s different and they both know it’s different and they can both feel the conversation is charged with something but they don’t know what. “It’s not too late. Unless the world ends” means a lot in this conversation, yes it does literally mean it’s not too late for them to talk and continue whatever friendship they were stumbling towards in season 2. It’s not too late for them to pick up this weird, oddly charged and tender conversation that may be leading somewhere else. It’s also foreshadowing that it sort of is too late because their world will end when Jon effectively dies stopping the Unknowing.

By MAG 114 Jon says that he has listened to all of the tapes and has therefore heard the gossip about he and Martin. I think something clicked in his brain when he heard that Martin has a crush on him. He probably never considered that idea because things like romance are never on the forefront of his mind especially when he is in active danger, which he has been for the last 2 years, and even more so he wouldn’t expect someone to have feelings for him in general. Being conscious of the notion that Martin has feelings for him lead him to consider all of the strange feelings he’s been having about Martin over the last year and a half in a way that he might not have gotten to on his own until much later. It’s all part of the plan that Jon suggests Martin stay back at the Institute in front of Elias but Jon is genuinely relieved that Martin will be safer there.

In MAG 117 Jon talks about Daisy and Basira’s bond and how he’s been having to do everything by himself. He’s envious of their bond and we can tell he’s been thinking about how things could be if he had someone (Martin) by his side. I don’t think this part of his testament would have played out this way had he not been thinking a lot since he heard the tape. When he addresses the “office gossip” he is flustered. Possibly embarrassed that Georgie, who he trusts, was giving out this personal information to Melanie but I actually think he’s used to that specific type of gossip about him and I think that the nervous stutter and searching for words comes from trying to address the other part of the gossip, which he is still trying to wrap his head around.

It isn’t confirmed but I do think that Jon listened to everyone’s testimony before leaving and he heard Martin’s “I need him to be ok”. Later in MAG 139 Jon says “I need him to be okay. I just do.” I don’t think he’s consciously repeating the same phrase but I think this phrase has lived with him ever since he heard Martin say it and now it’s just organic to Jon too.

I genuinely do believe that at this point, as of MAG 117, all of Jon’s feelings for Martin are already there and internally he has at least accepted romantic feelings even if he wouldn’t have called it love then.

Jon is put in a 6 month coma the next night and is in a full tilt romantic arc the moment he wakes up. Not 20 minutes after waking from his coma he wants to see Martin, he’s surprised that Martin wasn’t there for him the moment he woke up. Maybe if you asked him the next day he’d say it was a silly notion for him to just expect Martin to be there at any given point no matter when he woke up, but a part of him accepted and knew that if Martin could have he would have been there.

Anyway, all this is to say that if he woke up from a coma desperately in love with Martin all of those feelings had to have been present before the coma. I know there was a lot more thought and consideration and emotional work that Jon had to do over season 4 before he could have been ready for his love to literally save Martin but all of the feelings were there by the time he woke up.

[ceaselessims]

i do kind of reject the idea that jon and martin never would have gotten together in other universes because the only reason they found each other in tma was their specific shared trauma.

relistening to s1 and it's pretty clear to me that martin already has a bit of a crush on jon before the jane prentiss stuff starts happening. Not to mention he says in a fear domain in s5 that "he's met someone" who "doesn't like" him. Indicating that he had interest in jon maybe even before s1 started.

Jon is an ass to martin at the beginning, but after the initial jane prentiss stuff, he quickly softens on martin a hell of a lot. Giving him a place to stay in the archives and going to Elias to ask for more security.

Listening to s1 and you can already hear these two, once jon stops and actually talks to him, have an incredible chemistry/dynamic. Their connection is not just because of Horror trauma. Sure, that's what gets them together in the end, but as characters, if gertrude hadn't been murdered leading to jon becoming extremely paranoid in s2, or jon not going into a coma at the end of s3, i think they actually would have gotten together sooner.

so much of their slow burn hinges on them not actually being in each other's space for much longer than an episode at a time until s5.

if they met in a completely separate universe where they just have to get over the initial hump of jon being a rude bastard, then i think those other versions would be home free in regards to getting together.

[valtsv]

can you plsplspls elaborate on the tma fanon thing i wasnt around for the theorizing and hcs what were people saying

oh my god where to begin lol... the "Tim is just a dumb flirt" characterizations, the polarization of Gertrude as either a tough mother/granny figure or Mean Old Bitch instead of a flawed, ruthless but incredibly compelling woman, in general the girlbossification of every female character at the expense of their characterization (Sasha Georgie Melanie Annabelle et al. i am so sorry oh my god...), Jon being a wet blanket who just does whatever Martin tells him to (did we forget he sent Martin to investigate Jane Prentiss in S1 and openly admitted on tape that he didn't care if Martin got eaten by worms), Martin cutesy cinammon roll cottagecore woobie characterizations (Martin is a BITCH and i like him so much better that way), "everyone is mean to Jon for no good reason", Gerry being an MCR fan (i love MCR but he's GOTH he canonically listens to heavy metal PLEASE listen to another band), and - and this is my most petty personal complaint - but the way avatars were flattened into aesthetics and consigned to the hell that is the perfect victim/irredeemable abuser dichotomy, instead of acknowledging that they represent the REPEATEDLY STATED IN-TEXT THEME of how our choices have consequences and our refusal to acknowledge our complicity in hurting others or willingness to excuse that suffering under certain conditions can lead us down darker paths.

[l-wandering-etranger]

hc that jon and gerry met several times when gerry was alive but neither realised it was the other

•back in jon's research days where it was late and everyone had gone home except for jon who was working overtime, exited the institute and realised it was raining and as he was about to go in and wait in his office gerry comes from behind and stops to stare at the rain (he stayed late cause gertrude wanted a report done due tomorrow). jon tells him there is no use staying outside and to wait inside and they make some small talk and Gerry asks jon if he has a cigarette and they share a lighter in the rain and after smoking gerry gives up and runs in the rain to the station while jon just goes back in. neither of them remember this happening because it was dark and both of them were beyond exhausted.

•many fics are done on this but gerry going to a pub where the mechs had a show and he accidently says something out loud while they are performing and jon without breaking character responds in a flirty manner but gerry had to leave when the show ended because The Horrors caught up

•gerry used to ask someone in the library to deliver a really obscure book to the archives and the person receiving the ask used to get really stressed when they couldn't find it and jon who happened to pass by and was friends with them helped them find it because he had toured most of the library or had read the book and later it got delived to gerry by the librarian. this happened a couple more times before gerry gave up and went himself.

•they met in a thrift store where gerry was tracking a lead trying to find a very specific vintage lighter mentioned in a statement and jon was just fa-ing when he found a cool vintage lighter and went to the check out counter meanwhile gerry who was frantically looking for it saw jon casually take it and go out through the door, ran after him in an attempt to stop him only to spot a girl holding a lighter that was exactly like the one in the statement and did a full 180

•a vast avatar attempted to make a meal out of jon by first approaching by hitting on him and proceded to got interepted by a panicked gerry who realised what was happening coming in through the crowded station and slapping the avatar accusing him of cheating on him. the very confused avatar watched a very bewildered jon slowly walk away into the crowd and could do nothing as gerry yelled profanities before also walking away.

jon realises all this happened after he fully comes into his powers and regrets not having enough time with gerry to tell him about this.

[birdmenmanga]

@ozthearchivist

WIP time! I'm halfway done with this project, and for now I'm pretty happy with how it looks c: I'm going to take a break from this to focus on my uni stuff for now, but I'm really hyped to continue drawing it!!!

[theofficialpresidentofmars]

my Roman Empire is how in Hamlet, we are presented with four characters who were each at one point the person/people Hamlet held most dear, and one of them watches as Hamlet's actions lead the other three to suffer, lose their minds, and/or die.

Horatio is Hamlet's closest friend over the course of the play, the one he comes to again and again, refers to as being in his 'heart of hearts', and who keeps him stable and alive for at least the most part. We follow these two the most explicitly throughout the text.

Ophelia is Hamlet's lover, and their relationship can be read many ways, ranging from never-really-loved-the-other to they-did-it-numerous-times-and-in-fact-she-was-pregnant-(possibly)-(also)-(aborted) but for the sake of this post I'm going to go the middle ground and say they had a wholesome and happy relationship before Hamlet's dad died and he got all sad. Doubt the stars are fire, but never doubt I love.

Rosencrantz and Guildenstern are Hamlet's childhood friends, and Gertrude remembers them as being so loved by him that 'two men there are not living to whom he more adheres'. It's clear that these three were very close during some stage of his life, likely his childhood and potentially teens. The point is, they meant the most to him at some point in his life.

But again, by the time the acts of Hamlet come to pass, Hamlet has chosen Horatio to be his sole compatriot. Whether or not this is prior to his actual arrival in Elsinore is largely irrelevant- Hamlet makes sure he spends a lot of the first half of the play flustered in the face of a prince who won't stop finding nice things to say about him. Hamlet butters him up with honeyed words, and tells him the truth about everything, or what he thinks, anyway.

Horatio is touched but one specific line does stick out to him a bit- when Hamlet assured him it was not an attempt at flattery, and went on to clarify that he feels free to love Horatio as Horatio doesn't want anything from him, and doesn't have anything to hide. If what the ghost said about Claudius were true, it makes sense for Hamlet to be paranoid and hold others at a distance, but Horatio can't help but think about the underlying implication that if Hamlet had any reason to be suspicious of Horatio, he'd be just as cold to him as everyone else. Which, again, makes sense, but something about it rubs him a strange way.

Horatio tries to relate his experiences with the others he knows were close to Hamlet. He doesn't know much about Rosencrantz and Guildenstern, but Hamlet has mentioned suspicion of them, but despite that, seems to have been cordial enough. As for Ophelia... She seems to have seen the worst of his feigned madness, so he doesn't really know about her. He also heard something about an argument, but he doesn't know to what extent.

After the play, and an odd interaction with R&G, Hamlet heads upstairs to speak to his mother and Horatio thinks about it some more.

He words the question properly to himself: would Hamlet still love me if I were in their position? And he doubts for a moment, but then he remembers what Hamlet told him, the look in his eyes as he proclaimed his sincerity, and even the rare laughter he'd indulged in after the play, in only his presence, and Hamlet has convinced him.

Up until he hears the news of Polonius's murder. And until he hears the recount of Claudius, Rosencrantz and Guildenstern's intervention with the seemingly mad prince, and he begins to doubt him.

And when he's left to take care of Ophelia, driven mad by the death of her father and the wrath of her lover, and in her delirium she tells him things, tells him everything, and there's a strange sense of familiarity in her words. She shows him her letters, throwing them at him and laughing, tears running from her eyes, and Horatio recognises the poetic style, the sweet wording that always seems to know how to strike your heart closest, and he realises that she had once been where he had, received Hamlet's love in the same way. And it's strange, in a way he's not sure what to do with.

His fear is alleviated slightly when Hamlet sends him a letter, and he seems back to his usual sense of self, the one Horatio knows. Horatio is glad for the normalcy, and it does a part to clear his worry that he had been deceived in any nature, after his time with Ophelia.

Even further when he finally returns to Denmark, and while the two talk, they stumble upon Ophelia's funeral, and Hamlet takes no time to jump into her grave and proclaim his grief loudly. Horatio feels a bit sick at feeling any sort of relief at this, but the proof that Hamlet may have truly loved her and hadn't intended for this to happen does something to quell the fear again.

That is, until Hamlet recounts his journey.

And with a strange sort of expression that looks sort of like... pride, recounts how he sent Rosencrantz and Guildenstern to their deaths.

Horatio is a little shocked by this, as he can't recall the two having done anything particularly wrong, and this was clearly not accidental. Hamlet brushes him off by saying the two knew what they were getting into, showing strangely little remorse.

Horatio thinks, about how they were his childhood friends, and then again about Ophelia, and then again about his earlier question.

would Hamlet still love me if I were in their position?

And he realises, in a way that makes him nauseous, that the answer is no. And not only that, but for all Hamlet's laughter and flattering words, it wouldn't have saved him.

But still, he doesn't leave his side. Hamlet loves him now, and he's the lucky one. Nothing can be done anymore, and he feels they draw close to the end.

And he does still love him. And Hamlet loves him back.

Horatio reaches for the poisoned cup as Hamlet dies. It feels right that it should end this way, and he doesn't really want to go on.

But Hamlet wrestles the cup out of his hand with an intensity that catches him off guard, begging him to stay alive, to tell his story

and so he does, cradling the prince as he slips into a deeper dream.

Sometime after, Horatio will again think about it all. The four of them. Three dead by his hand, one alive by it.

He wonders.

Did Hamlet ever think about it too? About how his actions hurt the ones closest to him, and in his final moments, chose to break the pattern and save the only life he could?

Or did Hamlet only save him because he still loved him? Not out of guilt, or reflection on his previous actions necessarily, but because Horatio still hadn't done him wrong?