#have Elemental infinities

[boredomincarnate16]

Remember seeing this Yo-Kai Watch x Pokémon (not in a shipping way, lol) fanfic, and one of the parts of it made me realize... Team Rocket has no way to counter Nate's Yo-Kai Watch. Sure, they can try capturing him, with seemingly no escape, but he can just summon Mirapo, Miradox, or Mircle to escape. They can't just steal his Yo-Kai Watch, since he already has a few other Yo-Kai Watches at his disposal, like how, in the comic, based on the Summoning Songs, he has the White Yo-Kai Watch and the Model U. And lastly, if they try kidnapping his Yo-Kai, he can just summon them with his watch. In short: The Yo-Kai Watch solos Team Rocket, lol. Oh right! Here's the fanfic, if you're interested!

[softscales]

Im just curious! This is not meant to be a malicious poll. Im personally unsubbed because of a mix of dawntrails subparness and other gameplay reasons. but that doesnt mean everyone is as depressed as I am lol

i honestly want to love 14, i miss it everyday! but ever since august it's lost it's luster for me u__u

[andoutofharm]

pete comparing so much (for) stardust and infinity on high vs folie a deux and mania

[beardedhandstoadshark]

Did anyone already make a Infinity Nikki x Genshin Impact crossover because WOW does Tan Youyou look like a Genshin character

I'm not saying this as an insult or anything but bro looks like he could be Xiao's long lost brother (or his emo lovechild with Wanderer ._.)

He even has the Genshin design staples of asymmetry, patterns/decorations everywhere and gold accent trims. Not to mention the "loser cloth article over tight fit + short pants + long socks" combo that some of the male designs rock. Lyney, Venti, Wanderer, these guys.

The fact that this games' UI design is 1 : 1 the same Mihoyo uses, and even animated cutscenes look the same, really adds to Genshin's...impact on this game (hah)

Anyways he'd totally have an Anemo vision. Both his personality and shadow clone skill fit to it, all that's left is a dead best friend lmao

[gifti3]

worried for some nikki players ngl

[miss-k-lovenikki]

I'm getting lag specifically every time i jump

Which is a problem considering this is partially a platform game

Infinikki is ridiculously laggy though like babe my pc can run 3 of you. Why are you freezing on me

[woso-story]

Summer Bliss

Alexia Putellas x Reader

The off-season was finally here. After months of watching Alexia pour every ounce of herself into her game—captaining her team, dominating the pitch, and carrying the weight of so many expectations—you were thrilled to finally have her all to yourself. And what better way to celebrate than a sun-soaked vacation?

The first leg of your trip took you to Ibiza, where Alexia’s closest teammates joined you for a few days of fun. But the real highlight of your summer would be the quieter days in Mallorca, just the two of you in a private villa with nothing to distract you but the sea and the stars.

---

Ibiza was everything you’d hoped for—beaches that shimmered under the sun, music that kept the nights alive, and an energy that seemed to loosen even Alexia’s famously focused demeanor.

The villa you shared with her teammates was perched above the coastline, its infinity pool blending seamlessly with the sparkling Mediterranean beyond. By day, you all lounged on the beach, sipping cold drinks and diving into the warm sea. By night, you explored the island’s nightlife, dancing until your feet ached.

Alexia was in her element, laughing and teasing her teammates, her relaxed smile a rare treat you couldn’t stop staring at. She noticed, of course.

“You’re staring again,” she teased one night at a club, her lips brushing your ear as she leaned in to be heard over the music.

You smirked, your hands slipping around her waist. “Can you blame me? You’re stunning.”

Her cheeks flushed, though the confidence in her gaze didn’t waver. “Keep saying things like that, and I might not let you out of my sight.”

You couldn’t imagine a better scenario.

---

The days passed in a blur of sun and laughter. One afternoon, Alexia challenged you to a volleyball game on the beach, her competitive streak flaring even during vacation.

“I’m taking you down,” she declared, her eyes glinting with mischief as she served the ball.

Predictably, she won every round, her athleticism and sharp instincts impossible to match. But you didn’t mind losing—especially when she celebrated by lifting you off your feet and spinning you around, her laughter ringing out over the waves.

---

After a heartfelt goodbye to her teammates, you and Alexia boarded a flight to Mallorca. From the moment you stepped into the private villa, you knew this was going to be special. The house was perched on a hill, surrounded by lush greenery, with a pool overlooking the sea.

Alexia let out a soft sigh as she dropped her bags, pulling you into her arms. “Finally,” she murmured, pressing her forehead against yours. “Just us.”

You spent the first day exploring the property, marveling at the beauty of your surroundings. That evening, you cooked dinner together, sharing laughter and stolen kisses as you navigated the small kitchen.

Afterward, you sat on the terrace with glasses of wine, the stars twinkling above you. Alexia looked completely at peace, her head resting on your shoulder as she traced lazy circles on the back of your hand.

“This feels perfect,” she whispered.

“It is,” you agreed, brushing a kiss against her hair.

---

The next morning, you woke to the sound of birds and the faint scent of the sea. Alexia was already outside, her lithe form stretched out on a sunbed by the pool. She wore a black bikini that hugged her toned body perfectly, her golden skin glowing under the sun.

You stepped outside, your gaze lingering on her abs—the defined muscles that spoke to her dedication and strength. She noticed your stare and smirked, pushing her sunglasses down slightly to meet your eyes.

“See something you like?” she teased.

Blushing, you walked over and sat beside her. “Maybe,” you admitted, letting your fingers trail lightly over her stomach. Her abs tensed under your touch, and you felt her shiver slightly.

“Careful,” she murmured, her voice dropping an octave. “You’re playing with fire.”

“Maybe I like the heat,” you shot back, grinning.

Her laugh was soft but full of warmth. She pulled you down beside her, her fingers brushing your cheek before she kissed you deeply.

---

Later that afternoon, the two of you were splashing around in the pool when Alexia challenged you to a wrestling match.

“You sure you want to lose again?” she asked, her smirk infuriatingly confident.

“Who says I’m going to lose?”

She laughed, lunging for you with ease. You tried to fight back, but her strength and precision were impossible to match. Within seconds, she had you pinned against the edge of the pool, her hands gripping your wrists gently but firmly.

“You were saying?” she teased, her face inches from yours.

You couldn’t help but laugh, your heart racing as you leaned into her. “Fine, you win. But only because you’re ridiculously strong.”

She released you with a grin, her fingers brushing over your sides as she stepped back. “At least you admit it.”

---

That night, after a simple dinner on the terrace, Alexia pulled you onto the couch to watch the stars. She looked so relaxed, her hair still damp from her shower and her skin glowing from the day in the sun.

“You’re staring again,” she said softly, her lips curling into a smirk.

You didn’t even try to deny it. “Can you blame me?”

She leaned in, her hand sliding to the back of your neck. The kiss started slow, but it quickly deepened, her body pressing against yours. There was something about the privacy of the villa, the freedom to be as loud as you wanted, that made your heart race.

She pulled back just enough to whisper against your lips, “Bedroom?”

You nodded, letting her lead you inside. The night was a blur of heated touches, whispered words, and the feel of her hands exploring every inch of you. Alexia was strong yet tender, her confidence on the pitch carrying over into moments like these. She took her time, making sure you knew just how much she adored you.

---

On your final night, you spread a blanket by the pool and lay beside Alexia, staring up at the clear night sky. The stars were impossibly bright, their reflection dancing on the water.

Alexia turned to you, her eyes soft. “Thank you for this,” she said. “I needed it more than I realized.”

You brushed a strand of hair from her face, your heart swelling at the tenderness in her gaze. “You deserve it, Lex. You give so much of yourself—I’m just happy I can give something back.”

She pulled you close, her lips brushing yours in a kiss that was as soft as it was full of promise.

By the time the vacation ended, you were both glowing with renewed energy, ready to face whatever the season would bring. As you boarded the plane home, Alexia squeezed your hand, her smile brighter than ever.

“Best off-season ever,” she said.

And you couldn’t agree more.

[gojosvoid-moved]

gojo satoru, who is so sensitive the first time you touch him— actually touch him without infinity separating your skin from his.

you're caught off guard by the gasp he lets out as your knuckles brush against his cheek bone, so gentle yet still so foreign of a concept to him that his reaction is imminent. uncontrollable. because while he is a cocky little shit most of the time, bragging about experience and strength, it turns out that the strongest sorcerer of the modern age is quite inexperienced when it comes to physical touch and intimacy.

gojo satoru, who, as you start to retreat your hand with brows furrowed in worry, is quick to clasp his fingers around yours, though. who is so eager to keep you close, licking his lips as he averts his gaze, almost shy at the same time because you're close and warm and oh, you're so pretty.

„no, you– you can keep going.“ he takes a deep breath, then looks back up to meet your eyes, the familiar crystal clear blue brimming just a little bit with tears. your heart squeezes at the sight. „please, can you keep going?“

gojo satoru, whose breath comes out a bit more shaky than he would like as you nod and tentatively reconnect your hand to his cheek. you're so careful, so tender, in your ministration that he has to close his eyes this time, entirely too overwhelmed by the care you're showing him.

you're smiling now. you can't really help it. he's so out of his element, so innocently sweet in this rare display of raw emotion— another ragged intake of breath as you trace your fingers to his temple, the flutter of his eyelashes as you bring your other hand up to cup his jaw, the soft sigh he lets out as you mirror the action on the other side, holding his face in both your palms.

gojo satoru, who only opens his eyes (all-perceiving, clever, breathtakingly beautiful eyes) again when he hears his name slip off your lovely lips. who has to visibly gulp when he becomes aware of how close the two of you have gotten to each other but doesn't dare take his gaze off of you when you're looking at him like this.

there's a reverence in your eyes he's never seen before. he's gojo satoru, the strongest, nuisance to colleagues and the higher ups alike, a deadly threat to every opponent. but here you stand before him and it's like you actually see him. there's something akin to childlike wonder in the way you hold him in the palms of your hands like he's a precious thing worth being held by you in the first place. like he's a man deserving of you and all that you are. like you could love him, maybe, despite all that he's done.

gojo satoru, who swears to himself to never forget this moment of pure connection, who will joke later about how it wasn't even that big of a deal to be touched (caressed) like that but will forever keep it locked away in that special place in his heart that belongs entirely to you.

author's note ⊹ lemme know if you want a nsfw version wonk wonk bc i have a lot of thoughts 😗

[a-d-nox]

astro hypothesis: what your future wedding/engagement ring may look like

we have been using the 7h ruler chart in regards to the future partner as a person and anything regarding them and interacting with them. this time we are switching to the descendant persona to look at the partnership as a whole. a ring is a sociological symbol signaling to the world around you that you have a partner and are in a partnership. i would say saturn is a wedding band / ring; it's a symbol of honor and commitment as well as fidelity - its a vow of a long-term or lifelong connection. while venus is an engagement ring; its a promise of marriage inspired by the love a person has for their partner - it is usually more unique and flashy than a band. so again look at your descendant persona and the planets venus and saturn in this chart to learn about your ring(s).

paid reading options: astrology menu & cartomancy menu

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venus

leo (5°, 17°, 29°) venus: features a bold and elegant design. might include eye-catching elements such as large, prominent gemstones, intricate details, or a distinctive setting. ring would be made from luxurious materials like gold, platinum, or even bespoke designs that add a touch of opulence. the focus would be on creating something that feels special and unique. unique shapes, custom engravings, or artistic features that stand out and expresses personal style. vibrant gemstones or intricate patterns that catch the light.

scorpio (8°, 20°) venus: ring might incorporate dark, rich colors or stones such as deep red garnets, black diamonds, or dark sapphires. could include custom engravings, secret symbols, or unconventional designs that holds special meaning.

7h venus: design is romantic and classic, perhaps incorporating timeless features like solitaire settings, delicate bands, or traditional styles that emphasize the beauty and commitment of the relationship. design might include symmetrical elements or balanced proportions that represent the harmony sought in relationships - matching bands, elegant details, or harmonious patterns. might include custom engravings or meaningful symbols that represent the couple’s shared values and commitment.

venus negatively aspecting neptune: intricate, ethereal, or even slightly unconventional designs. design might include soft, flowing lines or fluid shapes. settings that incorporate softer curves or designs that appear to shimmer or change with the light.

venus positively aspecting pluto: design that reflects intensity and meaning. design might blend elegance with a powerful, bold presence. unique gemstone settings or intricate details that convey a sense of importance. stones with deep, transformative meanings, such as garnets, black diamonds, or other gemstones associated with passion and transformation.

saturn

taurus (2°, 14°, 26°) saturn: likely features a classic, timeless design that emphasizes durability and enduring values. made from high-quality materials that stand the test of time, such as platinum or gold. design would combine elegant with practical elements, avoiding overly ornate or elaborate styles in favor of a refined and straightforward look. the ring would be comfortable and practical for daily wear.

gemini (3°, 15°, 27°) saturn: lean towards a classic, functional design that emphasizes practicality and timelessness. design might be straightforward but crafted with precision and care. there could be subtle yet meaningful details incorporated into the ring’s design that reflect personal significance - engravings or custom features that symbolize important aspects of the relationship or shared values (my friend had a promise ring with an infinity wrap in the band - the same design will be in the wedding ring). designs could include subtle patterns or inscriptions with meaningful words or dates.

5h saturn: wedding ring merges both romantic, creative elements with classic, timeless features. ring could have a traditional band with personalized engravings and/or a classic design with unique gemstones. ring would likely be both beautiful and practical, symbolizing not just the romantic aspects of the relationship but also its long-term, committed nature.

saturn negatively aspecting sun: ring would likely have a classic, structured design. a timeless, elegant band with clean lines, avoiding overly ornate or flashy designs. the ring would be made from high-quality, enduring materials like platinum or gold. a design that stands the test of time. design might lean towards minimalist aesthetics but with meaningful details. a simple band might include a discreet inscription or small gemstones that holds personal significance.

saturn negatively aspecting pluto: usually this is a robust and enduring materials like titanium. could include intricate patterns or hidden details that have personal significance. a classic band could include modern / unconventional design features considering the traditional significance of a wedding ring.

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[thecrabbybarista]

We should talk about The Lords in Black I'm gonna do that right now because I wanna talk about their trope subversion and symbolism and shit.

So obviously The Lords in Black are a subversion of Cosmic/Eldritch horror and I'm gonna explain how using an ant metaphor

So the classic ant metaphor for cosmic horror is to imagine that you're an ant encountering a piece of human technology, right? I believe it's usually a circuit board. The whole point is you're witnessing something deeply incomprehensible and unfamiliar.

The ant metaphor for the Lords in Black is: imagine you're an ant and a teenager starts burning you with a magnifying glass.

It's still incomprehensible, but not in the way the complexities of a circuit board is. If you were suddenly stricken by a scalding beam of light, the only way you could rationalize that is that it was an act of a god. You and your ant colony would invent and fear this god.

The Lords in Black each represent a kind of strange and inscrutable cruelty that the modern world offers, the cursed lasers that cut into our souls, from places we have no power over.

Wiggly is obviously the idol of capitalism. Animalistic desperation, commodity fetishization, and the exchange of money, products, and emotions. All of the things that the other Lords represent stem from elements of capitalism, hence why Wiggly is THE Lord in Black, the leader of his brothers. What Wiggly offers will never be enough. He is what leaves you always unsatisfied.

Nibbly is the idol of the consumption of human beings as products. Obsession with self image and presentability, trends of all kinds, and the beauty and fitness industries. People in the modern age are desperate to be consumable, and some would go to any lengths to do so. This is an attitude that especially impacts women, who feel that they need to wear make up every day just to earn respect. And when we feel the need to change to be respectable, the need to look appealing and to be consumable, the bourgeois eat well. Our quest to look special makes us like any other customer, filling. It's no mistake that the two leads of Honey Queen are women desperate to be noticed and respected. It makes them all the more eager to be eaten.

Tinky is the idol of infinity and repetition. Dead end jobs, middle class suburbia, and the inability to escape one's circumstances. It's no coincidence that the first time we see Tinky is at a wedding, a ceremony dedicated to eternal commitment, or that he's associated with CCRP, a company in which most of the workers do useless busywork all day. When you look at the life you have ahead of you, it can feel crushing. Will you ever have a real career to be proud of, or will you be stuck at this job until you die? Will you ever not struggle to make rent? Will you really love your spouse forever? What if you don't? Isn't it just easier to continue the routine than to address the problem? After Ted is driven to insanity by the Bastard's Box, after he discovers that he can't escape the person he's become, he becomes homeless, one of the most terrifying eternities a person can find themselves in, fully dependent on random acts of kindness to survive while your situation drives you further into insanity.

Blinky is the idol of the panopticon. Gossip, public drama, and unwanted attention. One of the first things Blinky does on screen is sexually objectify a girl who's fresh out of high school, and this plainly displays a consequence of living in a content driven world. There is constant scrutiny and interpretation given to your every action. At any moment, you could have over a thousand eyes on you, whether you want them there or not. The panopticon we live in captures us in moments of time, and turns the person we were in that moment into an object deserving anger, embarrassment, lust, admiration, judgement, or anything else a watcher might assign. But Blinky also targets another fear, the fear that we feel when we can't see the danger, and cannot protect ourselves or those we love. Alice's anxiety that Deb might cheat on her when she's not around are made manifest in Watcher World, and Bill's frustration at not being let into Alice's life are used against the family. We are inclined to both want and fear the panopticon. We hide, and we seek, and we expose.

Pokey is the idol of tyranny. Complacency, sedation, and obedience. The world revolves around the few and uses the many in service of this. We are all expected to fill some role in service to the rich, to work for a corporation and to buy the products of those corporations, and when we cannot fill these roles we are at risk of starving, or being kicked out of our homes. We must join them in their quest for profit, or die. But we must also accept their pacifiers or we will be driven insane. We must choose between complacency or despair in confronting our place in the world as a pawn, as an ant in the colony. Isn't it easier to accept the comforting lies? Your job is important. Corporations give people what they want. People in power deserve their power. People in power are using it well. We are happy. America is great.

These are the magnifying glasses that are being used to torment us, that we cannot make reason out of, that we've made dark gods out of. But this isn't the first time humanity has encountered scorching light from the heavens. When the people of ancient Greece witnessed burning rods of light, falling viciously from the heavens, they invented Zeus.

But we know where lightning comes from now. We know the science behind electricity and its place in the world. We know what keeps lightning away and what attracts it. We can protect ourselves from it.

But there's an important difference. Lightning is natural. It's existed long before we have and it will continue when we're gone.

The unorthodox cruelty of being alive today is not natural. We cannot logic our way into surviving it because it does not operate under a sound logic. But we can make things a little more bearable by focusing on what is sound, understandable and natural.

There is humanity. There are families friends and lovers who would go to the ends of earth to protect each other. As long as we have this humanity, we have hope.

That's why Miss Holloway's deal with the Lords erases her from living memory after her temporary deaths. To have the powers that she does she gave away the power most important to have under the Lord's rule: human connection. The only real thing we have left.

Alice and Bill escaped Blinky's manipulation through the love they have for each other

Emma survived the longest out of any character in tgwdlm because of the genuine hope Paul gave her of a better future

Lex snapped Tom out of Wiggly's control by reminding him of what his son really means to him

Ted couldn't escape Tinky's plan for him because he was too jaded to make a genuine connection with a woman.

Linda was eaten by Nibbly because she didn't have a loving connection with her father, because her father always made her believe that she was never good enough, because this mindset led her to take for granted the connections she did have in her life.

The world no longer cares about us. We have to care for each other. It's the only thing we have left

[literaryvein-reblogs]

Writing Reference: 5 Symbols

for your next poem/story (pt. 5)

EGG

The egg is as powerful in its symbolism as it is potent as a life-force.

The World Egg is a ubiquitous symbol for the egg from which the Universe is said to have hatched, an idea that appears in creation myths from all parts of the world: The Celts, Hindus, Egyptians, Greeks, Phoenicians, and many more all agree about this idea.

The form this cosmic hatching takes is variable though:

Often, the egg rises from primeval waters and is incubated by a bird; in Hindu belief, this is the Hamsa, a goose.

When the egg hatches, the yolk and the white become Heaven and Earth.

The Shinto tradition says that the Universe resembled a giant hen’s egg that broke open, with the heavier parts becoming the Earth and the lighter, the Heavens.

There is also a theory that the entire Universe is contained in a huge egg that stands upright.

The egg is a symbol of new life, and this idea is borne out with chocolate eggs at Easter, which in itself is a celebration of the pre-Christian fertility Goddess, Eostre, who also gives her name to the hormone estrogen.

The subsequent celebration of Christ’s death and resurrection meant that the egg kept its significance as a symbol of new life and hope.

Archeologists have found clay eggs in Russian burial sites, reinforcing the belief in the egg as a symbol of immortality and of rebirth.

In alchemy, the Philosopher’s Egg symbolizes the seed of spiritual life, and depicts the place wherein a great transformation takes place.

The ancient riddle of what came first, chicken or egg, was deftly if disappointingly answered by Angelus Silesius, who said: The chicken was in the egg and the egg was in the chicken.

FEATHER

The Egyptian Goddess of truth, Ma’at, has the ostrich feather as her attribute. There is a very specific reason for this:

Because the ostrich is a flightless bird, the design of its feathers is different to those of other birds where one side is larger than the other.

The ostrich feather, however, is perfectly balanced and symmetrical, and so is a fitting emblem of justice.

Its symbolism is closely aligned to that of wings and birds. They stand for ascendance, flight, communication with the spirit realms and the element of air.

Shamanistic use of feathers is for all these reasons;

the feathers enable the soul to become as light as the feather and transcend the boundaries of gravity, time, and space.

Shamans of all nationalities wear feathers as a part of their ritual apparel.

The eagle feather is the most valuable of all feathers:

In some parts of the world, this feather, synonymous with all the power of the bird, is considered so sacred that only card-carrying Native American tribal members may own them. Those found in the wrong hands are the cause of heavy fines.

The swan’s feather appears in the cloaks of druids; because the swan is the bird of poetry, its feathers magically confer these powers on the bard.

Used at the end of the arrow as a “flight,” feathers have a practical as well as symbolic use.

Additionally, feathers are a symbol of sacrifice:

This is because, when chickens and other birds were ritually slaughtered, all they left behind was a few feathers, fluttering to the ground.

The other major symbolic meaning of the feather associates it with vegetation and with hair, primarily because of a similarity in appearance.

HOURGLASS

The function of the hourglass is to mark the passing of time, as sand trickles through the narrow waist in the middle of the transparent glass container that is the same shape as a figure of eight.

Therefore, it is often used as a motif to show the inevitability of death.

However, the shape of the hourglass, as well as being a visual symbol and a word used to describe the figure of a shapely woman, is a lemniscate, or infinity sign.

That the hourglass can be turned upside down to start the cycle all over again makes it an optimistic symbol of rebirth.

PHURBA

This is a sacred knife, used only in ritual practices by Tibetan Buddhists.

Like the Athame of the Western tradition, it is employed to create the sacred spaces that are used for rites and ceremonies.

Its design is based on a stake used in ancient times to tether sacrificial animals, and it is used to describe a magic circle in the same way as a compass.

Can only be owned or handled by initiates.

THYRSUS

The thyrsus was a sacred implement used in rituals and festivals during the time of the Ancient Greeks.

It was a staff, standing about as high as its owner, made from a giant fennel stalk topped with a pine cone and wrapped with vine leaves.

As a phallic symbol, it was combined with a goblet or chalice, symbolic of female energy and used to counterbalance the staff.

As well as being a symbol of male energy, though, staffs or long poles of some description have a universal use as a sacred instrument to connect the Heavens to the Earth, a conductor for the divine spirit.

Source ⚜ More: On Symbols ⚜ Writing Notes & References

[temporaerthaervaerk]

I just realised that all the media I adore has some level of autistic/neurodivergent coding and it's been that way since I was a child.

And like, oftentimes their different way of perceiving and being in the world is the driving force of the story/and or a crucial element in it.

There’s the canon example of the entire Camp Halfblood (ADHD), where the ADHD is literally what keeps the characters alive.

There's Dean Winchester (ADHD) whose hyperfixations are typically masculine (as well as geeky) and who never sits still, with the added bonus of Castiel (Autism), who Dean just... accepts, in a way I rarely see.

Then there’s the infamous Will Graham (Autism) whose hyperempathy is litterally the focal point of the entire narrative.

We have Haru from Free! (Autism), whose special interest (swimming) is the motivating factor for several other characters.

Reki and Langa from Sk8 the infinity (Autism), who share a special interest and grow a special bond because of it.

There's Sai from Hikaru No Go (Autism), who trancedented time and space to play Go (special interest) and whose special interest sets the story into motion.

We have any version of Sherlock Holmes (AuDHD), who's brilliance I attribute to a mixture of hyperfixations and special interest in crime solving. His conflicts with society and disregard of social norms are a central theme as well.

There's Anne with an E (Autism), who loves words and stories and speaks before she thinks (where all major problems arise due to her lack of understanding for social norms)

We have Pat and Pran from Bad Buddy (ADHD + Autism), like I dunno, I just really felt that vibe.

There's Beth Harmon from Queen's Gambit (Autism) with her special interest in Chess.

And like, the list goes on: Daryl Dixon, Jon Snow, Kotaro from Kotaro Lives Alone, Will Treaty from the Ranger's apprentice, Hal from the same author, Katniss Everdeen, Si-eun from Weak Hero Class 1, etc.

Don't get me wrong I've consumed plenty of stories without characters coded this way, but all the stories that truly resonated with me? Neurodivergent, all of them.

It's probably because the focus on social norms/hierarchy always seemed foreign to me. Eg. I like Skam but it's like a view into a completely foreign world where people function differently.

[ddarker-dreams]

during your high school years together, satoru's audacity has no limit.

should you both be out and about when it's raining... tragedy awaits. one might think checking the forecast would prevent this fate — you'd be wrong. he talks you out of bringing an umbrella, citing how inaccurate meteorologists tend to be. trying to argue with him is like arguing with a brick wall. when he's set his mind to something, it's not a matter of if it'll happen, but a matter of when.

a downpour inevitably ensues. he feigns shock, swearing that in light of his mistake, he'll shield you from the elements instead. his infinity can block the onslaught. however! there's a condition. you have to stick reaaaaaal close to him. extending his technique's range is just oh so exhausting, he'll claim.

you're presented with two options.

a. hold hands with a visibly pleased satoru, who fancies himself a genius.

b. get soaked out of spite.

going with the former involves psychic damage. he doesn't allow for a centimeter of space between you. he'll make jokes that to any passerby, you must look like a couple (he's delusional enough that he might temporarily forget you're not). there's a dopey grin on his stupidly pretty face throughout the entire walk.

he's annoying no matter what you decide. should you choose the later, he'll languish over how this problem could be solved if you just sat aside your pride. it's such a shame, he'll sigh. there is a potential workaround. pointing out that your clothes are becoming see-through will have his supposed 'technique range' expanding real fast.

... unless it's just the two of you for miles. then he'll shrug and say nature's doing him a solid.

[depezblob]

So what's up with dividing by zero anyways - a ramble on algebraic structures

Most everyone in the world (at least in theory) knows how to add, subtract, multiply, and divide numbers. You can always add two numbers, subtract two numbers, and multiply two numbers. But you must **never** divide by zero... or something along those lines. There's often a line of logic that leads to dividing by zero leading to "infinity," whatever infinity means, unless you're doing 0/0, whatever that means either. Clearly this is a problem! We can't have such inconsistencies in our fundamental operations! Why aren't our top mathematicians working on this?

So, that might be a bit of an exaggeration: division by zero isn't really a problem at all and is, for all intents and purposes fairly well understood, but to see why we'll have to take a crash course through algebra (the field of math, not the grade school version). Sorry for those of y'all who have seen fields and projective space before, not much to gain out of this one.

Part I: In the beginning, we had a Set.

As is true with most things in math, the only structure we start with is a set. A set isn't useful for much; all we can do with a single set is say what elements are and aren't in the set. Once you have more than one set, you start getting interesting things like unions or intersections or functions or Cartesian products, but none of those are _really_ that useful (or at least necessary) for understanding algebraic structures at the level we need, so a single set is what we start with and a single set there will be. The story then goes as follows: on the first day the lord said "Let there be an operation!" and it was so. If you want to be a bit of a nerd, a (binary) operation on a set A is formally a map * : A x A -> A, but for our purposes we just need to know that it matches the standard operations most people know (i.e. addition, subtraction, multiplication, but not division) in that for any two numbers a and b, we can do a * b and get another number. Of course, once again this is not very helpful on its own, and so we need to impose some more conditions on this operation for it to be useful for us. Not to worry though, these conditions are almost always ones you know well, if not by name, and come rather intuitively.

The first structure we'll discuss is that of a monoid: a set with an operation that is associative and has an identity. Associativity simply means that (a * b) * c = a * (b * c), and an identity simply means that we have some special element e such that a * e = e * a = a. For two simple examples and one nonexample, we have the natural numbers (with 0) under addition is a monoid: 0 + a *= *a *+ 0 = *a, and any two natural numbers add to another natural number; the integers under multiplication is a monoid: 1 * a = a * 1 = a, and any two integers multiply to another integer; and the integers under subtraction is not a monoid, since subtraction is not associative (a - (b - c) =/= (a-b) - c). In both of these examples, the operation is commutative: in other words, a * b = b * a for every a and b. There are plenty of examples of operations that are not commutative, matrix multiplication or function composition probably being the most famous, but for the structures we're going to be interested in later operations are almost always commutative, so we can just assume that from the start.

Of course, you might wonder where subtraction comes from, if it doesn't fit into a monoid structure (and in particular isn't associative). Not to worry! We can simply view subtraction as another type of addition, and our problems go away. In particular, we add the condition that for every a, we have an inverse element a⁻ ¹ (or -a if our operation is addition) such that a * a⁻ ¹ = a⁻ ¹ * a = e. For fans of universal algebra, just as a binary operation can be thought of as a function, the inverse can be thought of as a function i : A -> A that sends each element to its inverse. This forms a structure we know as a group. While none of the above examples form a group, one of them can be naturally extended to a group: if we simply add negative whole numbers to natural numbers, we get the group of integers over addition, where for any integer a, we have its inverse -a where a + -a = 0. In particular, the subtraction a - b is just a + -b = -b + a, where -b is the additive inverse of b. As we will soon see, division can also be thought of in a similar way, where a/b = a * /b = /b * a where /b is the multiplicative inverse of b. As a side note, the examples above are very specific types of monoids and groups which turn out to be quite far from the general ideas that monoids and groups are trying to encapsulate. Monoids show up often in computer science as they're a good model for describing how a list of commands affects a computer, and groups are better thought of as encapsulating symmetries of an object (think of the ways you can rotate and reflect a square or a cube).

Part II: So imagine if instead of one operation, we have... two...

If you've ever taken introductory algebra, you've probably never heard of monoids and only done groups. This is partially because monoids are much less mathematically interesting than groups are and partially because monoids are just not as useful when thinking about other things. For the purposes of this post, however, the logical steps from Set -> Monoid -> Group are surprisingly similar to the steps Group -> Ring -> Field, so I've chosen to include it regardless.

Just as we started from a set and added an operation to make a monoid, here we start from an additive group (i.e. a group where the operation is addition) and add another operation, namely multiplication, that acts on the elements of the group. Just like in the monoid, we will impose the condition that multiplication is associative and has an identity, namely 1, but we also impose the condition that multiplication meshes nicely with addition in what you probably know as the distributive properties. What we end up with is a ring, something like the integers, where you can add, subtract, and multiply, but not necessarily divide (for example, 2 doesn't have a multiplicative inverse in the integers, as a * 2 = 1 has no solutions). Similarly, when we add in multiplicative inverses to every nonzero element, we get a field, something like the rational numbers or the real numbers, where we can now divide by every nonzero number. In other words, a ring is an additive group with a multiplicative monoid, and a field is an additive group with a subset that is a multiplicative group (in particular the subset that is everything except zero). For those who want to be pedantic, multiplication in a ring doesn't have to be commutative, but addition is, and both addition and multiplication are commutative in a field. A full list of the conditions we impose on the operations of a monoid, group, ring, and field can be found here).

So why can't we have a multiplicative inverse to 0 in a field? As it turns out, this is because 0 * a = 0 for every a, so nothing times 0 gets you to 1. There is technically a structure you can have if 0 = 1, but it turns out there's only the one single element 0 in that structure and nothing interesting happens, so generally fields specifically don't allow 0 = 1. Then, what if instead we relaxed the condition that 0 * a = 0? Similarly, it turns out that this isn't one of the fundamental conditions on multiplication, but rather arises from the other properties (a simple proof is a * 0 = a * (0 + 0) = a * 0 + a * 0 implies 0 = a * 0 - a * 0 = a * 0 + a * 0 - a * 0 = a * 0). If we were to relax this condition, then we lose some of the other nice properties that we built up. This will be a recurring theme throughout the rest of this post, so be wary.

Part III. We can't have everything we want in life.

While all the structures so far have been purely algebraic and purely algebraically motivated, the simplest way to start dividing by zero is actually "geometric," with several different ways of constructing the same space. The construction we'll use is as follows: take any field, particularly the real numbers or the complex numbers. We can always take the cartesian product of a field K with itself to form what's called affine space K^2, which is the set of ordered pairs (a,b) for a, b in K. As a side note, the product of groups, rings, or fields has a natural definition of addition or whatever the underlying group operation is by doing it componentwise, i.e. (a,b) * (c,d) = (a * c, b * d), but our operations will not coincide with this, as you'll see soon. This affine space is a plane - in fact, when we do this to the real numbers, we get the Cartesian plane - within which we can construct lines, some of which we get by considering the set of points (x, y) satisfying the familiar equation y = mx + b for some 'slope' m and 'intercept' b. In particular, we want to characterize all the lines through the origin. This gives us all the lines of the form y = mx, as well as one additional line x = 0. This is the basic construction of what we call the projective line, a space characterizing all the lines through the origin of affine 2-space. The geometric picture of this space is actually a circle: the bottom point representing the number 0; the left and right halves representing negative and positive numbers, repsectively; and the top point representing the number "infinity."

There are a few ways of describing points on the projective line. The formal way of doing so is by using what are called homogenous coordinates. In other words, for any nonzero point (a,b) in affine space, it is surely true that we can find a line through the origin and (a,b). In particular, if a is not zero, then this line takes the form y = (b/a) x where the slope is b/a. Furthermore, any two points (a,b) and (c,d) can actually sit on the same line, in particular whenever c = ka and d = kb for some number k. Thus, we can define homogenous coordinates as the set of points [a : b] for a, b in our field where [a : b] = [ka : kb] by definition, and the point [0 : 0] is not allowed as it doesn't specify any particular line (after all, every line passes through the origin). As is alluded to above, however, this means that whenever a =/= 0, we can take k = 1/a to get [a : b] = [1 : b/a], in other words characterizing each line by its slope. Furthermore, whenever a = 0, we can take k = 1/b to get [0 : b] = [0 : 1]. In other words, the projective line is, as we informally stated above, equivalent to the set of slopes of lines through the origin plus one other point representing the vertical line, the point at "infinity." Since slopes are just numbers in a field, we can add, subtract, multiply, and divide them as we normally do with one exception: the slope of the lines containing [a : b] for any a =/= 0 is b/a, so clearly the line with infinite slope consisting of points [0 : b] implies that b/0 should be infinity. Voila! We can divide by zero now, right? Well... there are two loose ends to tie down. The first is what infinity actually means in this case, since it is among the most misunderstood concepts in mathematics. Normally, when people bandy about phrases such as "infinity isn't a number, just a concept" or "some infinities are different from others" they are usually wrong (but well meaning) and also talking about a different kind of infinity, the ones that arise from cardinalities. Everything in math depends on the context in which it lies, and infinity is no different. You may have heard of the cardinal infinity, the subject of Hilbert's Hotel, describing the size of sets and written primarily with aleph numbers. Similarly, you may also have heard of the ordinal infinity, describing the "place" in the number line greater than any natural number. Our infinity is neither of these: it is to some extent an infinity by name only, called such primarily to take advantage of the intuition behind dividing by zero. It's not "greater" than any other number (in fact, the normal ordering of an ordered fields such as the real numbers breaks down on the projective line), and this is a consequence of the fact that if you make increasingly negative and increasingly positive slopes you end up near the same place: a vertical line. In other words, "negative infinity" and "positive infinity" are the same infinity.

The second loose end is that defining our operations this way is actually somewhat algebraically unsound, at least with respect to the way we think about operations in groups, rings, and fields. As mentioned above, the operation of addition can be lifted to affine space as (a,b) + (c,d) = (a+c,b+d). However, this same operation can't really be used for homogenous coordinates, since [1, 0] = [2, 0] as they lie on the same line (the line with slope 0), but [1, 0] + [1, 1] = [2, 1] while [2, 0] + [1, 1] = [3, 1], and [2, 1] and [3, 1] are not the same line, as they have slopes 1/2 and 1/3, respectively. Dividing by zero isn't even needed to get weirdness here. Luckily, we can simply define new operations by taking inspiration from fractions: b/a + d/c = (bc + ad)/ac, so we can let [a : b] + [c : d] equal [ac : bc + ad] (remembering that homogenous coordinates do to some extent just represent the slope). Luckily, multiplication still works nicely, so we have [a : b] * [c : d] = [ac : bd]. Unluckily, with these definitions, we no longer get a field. In particular, we don't even have an additive group anymore: [a : b] + [0 : 1] = [0 : a] = [0 : 1], so anything plus infinity is still infinity. In other words, infinity doesn't have an additive inverse. Furthermore, despite ostensibly defining infinity as 1/0, the multiplicative inverse of 0, we have that [1 : 0] * [0 : 1] = [0 : 0], by our rules, which isn't defined. Thus, 0 still doesn't have a multiplicative inverse and 0/0 still doesn't exist. It seems like we still haven't really figured out how to divide by zero, after all this. (Once again, if you want to read up on the projective line, which is a special case of projective space, which is a special case of the Grassmannian, in more depth.)

Part IV: I would say wheels would solve all our problems, if not for the fact that they just make more problems.

At this point, to really divide by zero properly, we're going to need to bite the bullet and change what dividing really means. Just as we can think of subtraction as adding the additive inverse (i.e. a - b = a + -b where -b was a number), we can start thinking of division as just multiplying by... something, i.e. a/b = a * /b, where /b is something vaguely related to the multiplicative inverse. We can already start doing this in the projective line, where we can define /[a : b] = [b : a], and it works nicely as [a : b] * [b : a] = [ab : ab] = [1 : 1] whenever neither a nor b is zero. This lets us rigorize the statements 1/infinity = 0, infinity/0 = infinity, and 0/infinity = 0, but doesn't really help us do 0/0 or infinity/infinity. Furthermore, note that because 0/0 =/= 1, /[a : b] isn't really the multiplicative identity of [a : b], it's just the closest we can get.

Enter the wheel! If 0/0 is undefined, then we can simply... define it. It worked so nicely for adding in infinity, after all - the picture of the point we added for infinity is taking a line and curling it up into a circle, and I like circles! Surely adding another point for 0/0 would be able to provide a nice insight just as turning a line into the projective line did for us.

So here's how you make a wheel:

You take a circle.

You add a point in the middle.

Yeah that's it. The new point, usually denoted by ⊥, is specifically defined as 0/0, and really just doesn't do anything else. Just like for infinity, we still have that a + ⊥ = ⊥ and a * ⊥ = ⊥ for all a (including infinity and ⊥). It doesn't fit into an order, it doesn't fit in topologically, it is algebraically inert both with respect to addition and multiplication. It is the algebraic formalization of the structure that gives you NaN whenever you fuck up in a calculator and the one use of it both inside and outside mathematics is that it lets you be pedantic whenever your elementary school teacher says "you can't divide by zero" because you can go "yeah you can it's just ⊥ because i've been secretly embedding all my real numbers into a wheel this whole time" (supposing you can even pronounce that).

Part V: So what was the point of all this anyways

The wheel is charming to me because it is one of the structures in mathematics where you can tell someone just asked a question of "what if this was true," built some space where it was, and just started toying with it to see what happens. It's a very human and very beautiful thing to see someone go against conventional knowledge and ask "what breaks when you allow 0/0" even if conventional knowledge does tend to be right most of the time. In this sense, perhaps the uselessness of the wheel is the point, that even despite how little ⊥ does from a mathematical lens, some people still took the time to axiomatize this system, to find a list of conditions that were both consistent and sufficient to describe a wheel, and genuinely do actual work seeing how it fits in within the universe of algebraic structures that it stays in.

While a wheel may not be used for much (it might be describable in universal algebra while a field isn't, though I'm not too well versed in universal algebra so I'm not actually entirely sure), every other structure discussed above is genuinely well studied and applicable within many fields inside and outside of math. For more viewpoints on what the projective line (and in general the projective sphere) is used for, some keywords to help you on your way are compactification of a set if you care about the topological lens, the real projective line or the Riemann Sphere if you care more about the analysis side, or honestly the entirety of classical algebraic geometry if that's your thing.

Another structure that might be interesting to look at is the general case of common meadows, an algebraic structure (M, 0, 1, +, -, *, /) where the condition of / being involutive (i.e. /(/x) is not always x) is relaxed, unlike a wheel where it is always involutive. Note that these structures are called meadows because the base structure they worked on is a field (get it? not our best work I promise mathematicians are funnier than this). These structures are at the very least probably more interesting than wheels, though I haven't checked them out in any amount of detail either so who knows, perhaps there isn't much of substance there either.

[starberry-cupcake]

Here we are again!! Let's get to it!!

previously, in noni del 9:

this happened

this is the tag for all tlt recaps

I'm loving that many of you are adopting the "está en un cumple" phrase, living for that

CHAPTER 4 (seventh house skull 👀)

it's another day in this planet and everyone's up for their routines

they all travel together, then pyrrha goes on her way to work

camolive go on their way to do what they do

undetermined what it is they do, to nona's pov

camilla can do whatever she wants, though

you go queen

and nona goes to school for her unpaid job of assistant

when she gets there, kevin is playing with plushies

we love kevin

and hot sauce is staring out the window in suspicion like this

how many cartoons with eccentric kids in school can I use to illustrate? we'll see, I have a lot to pick from

anyway, apparently there's people watching from another building

0 discreet, if kids are spotting them

this, coupled with the seventh skull, gives me ideas

so nona asks if they're watching her, to which hot sauce goes "why would they?"

nona says she doesn't know

not sure if she says this because she's in a cumple, as previously established, or because she doesn't want to give too much away to hot sauce

who seems to have all the brain cells of the school

hot sauce is on the case, though, and says she'll investigate

but has to delegate that to nona during science class, because nona has dog privileges and can go outside to the blasting heat to see if something happens

today was the first pool day of the summer for me, so I feel that and thank her for her service, because heat is terrible

also, the science teacher, aka the angel, comes in looking as worse for wear as daniel craig in the majority of the movie queer

here everyone has weird names

except for kevin

we love kevin

you know, that might be why I'm having trouble with this one, I feel like I'm not in my element enough in these recaps

because everyone has weird names already and I can't do my bit

I'm failing you, I'm sorry

my power is wasting away

so, anyway, the teacher is not looking good and nona thinks maybe it's a hangover but hot sauce says the teacher doesn't drink

nobody questions her knowledge

ever

are they torturing the teacher for information on nona????

have they been spotted????

also, everyone says nona isn't pretty and nona insists on her being pretty, which makes me feel like this is gideon in harrow's body, but who knows

it'd definitely be fun if she is and has to own up on all the times she's said she's beautiful and kissed her in the mirror and whatnot

camilla wrote like 6 pages about that, which harrow should read, if that's the case

the only thing nona sees on her stakeout is a person who she thinks might be a dead body, because they're very still

but decides they aren't, because their nice clothes weren't stolen from them

I'd think the exact same thing, that's sound judgment imo

and the person isn't there when they leave, so that's disquieting

a worse thing than a sus person is not knowing where the sus person went

CHAPTER 5 (nine house skull!!! everyone stay calm!!!!)

nona and camolive go back to their apartment

I'm picturing something between the infinity fortress from getbackers or the heaven's arena from hunterxhunter

(camilla would kick absolute ass in both of these)

anyway, nona is instructed to try doing bone stuff

she asks what camolive were doing and when they said talking with friends, nona asks about "crown", who she says she loves

I assume "crown" is coronabeer because corona is crown in spanish and nona knows multiple languages

she describes her as: smelling like cinnamon, having nice hair, having nice breasts and being big and pretty

that could very well be coronabeer, so I'm sticking to my hypothesis here

palmolive says that they're not friends with coronabeer right now, which ok?????

I think coronabeer was going full BOE last time we saw her? but judith was not, so idk what's happening over there

ALSO

this is the first time I remember hearing coronabeer described as "big"

I think I, of all people, would remember that

I'm immediately giving her extra points for that

I'm not looking into fanart yet for spoiler reasons but I'm gonna take this one adjective and run with it because I'm starved for representation, ok? ok

palmolive writes down about the "breasts" comment, which I'd also write down, because that's such a gideon thing to say and focus on

I don't think harrowbean has been preoccupied with boobs quite as much as gideon has

also, nona doesn't remember why she knows what cinnamon smells like

in my top 3 smells (I have such a list), cinnamon is my nr 1, so coronabeer is winning a lot of points with me on this day

who would have thought????

making a new version of this meme I dropped on this recap with her new name

they also talk about "the captain" and palmolive says he doesn't like her too much

so that's judith

I stopped being super hard on judith when I found out she was as much of a gay disaster as most people in these books

in other news, palmolive can do some necro stuff still and it doesn't hurt camilla when he does it

which is what's really important here and what really matters

they have the timer so that palmolive doesn't hurt camilla by overstaying his welcome in the temple of perfection that is her body

apparently, the blue light in the sky doesn't hurt camolive either

nona says she loves camilla and how she moves

also gideon behavior

the first time gideon saw camilla fight, she thought she was friend-shaped

I mentioned it on this recap

palmolive agrees about camilla's moves and says he misses seeing her

now you know how I felt during half of harrow, palmolive, it was painful

you were in a man cave in the river at the time, but still

ANYWAY, IT'S LOVING CAMILLA TIME

EVERYONE, GET IN LINE

pyrrha is immune to the light in the sky because she's a lyctor

(they don't use that word)

but she has "the wrong soul"

because og!gideon and her switched and he died

(they don't say that explicitly but I'm filling in the gaps)

nona asks if she has the wrong kind of soul or the wrong kind of body

which we don't know, neither palmolive nor me

she also asks if that's why BOE doesn't want her and palmolive says that they do

and nona adds that she likes commander we suffer

who was named in the dramatis personae aka guest list at the start

and she's part of something palmolive calls "ctesiphon wing"

palmolive has mixed feelings about all of these people which, I guess, in this social context, being a necro narc undercover would do that

not that palmolive would be fighting for emperor asshat anymore, but I assume there's tension between the sides still, being the oppressors and all

which might make things somewhat easier for coronabeer, since she wasn't really a necro to begin with?

judith is probably fucked, though

rip judith

nona says that palmolive doing necro stuff makes her sad, which is kind of what I'm saying

I'm guessing regular folks here would hunt necros for sport if they could, as evidenced by the kids

palmolive tells nona to give camilla a kiss in the second right-hand knuckle

and, apparently, this falls into the "nona can read, understand and replicate body language to perfection in an instant" category

because she apparently did this the first time and camilla had a bit of a breakdown about it

they give me qpr vibes, camolive

I'd marry them as a package if they'd have me anyway, I'm not backing out because palmolive is suddenly an addition

I passed the sixth house audition, maybe I can pass this one, who knows

I can write a detailed CV with color coded references to what I can provide to this association

ANYWAY

under the "nona can read people's bodies and replicate things" umbrella, gestures fall right in

she's in a cumple and she can read people's bodies and gestures and replicate them as well as tell if someone's full of crap and lying their asses out

and she likes coronabeer's boobs

all important details to think about

and that's it for now!!!! see you on the next one!!

[worstqueerbaittournament]

Submission message for Steve and Bucky: Does Stucky count? Steve and Bucky from Captain America

Submission message for Charles and Erik: Charles Xavier and Erik Lehnsherr (aka Professor X and Magneto) from anything X-Men

Additional propaganda for Stucky:

Stucky: "Of course, this is still a rollicking adventure tale and no adventure is complete without a love story.....the longest, most tortured one in Marvel history" - Christopher Markus and Stephen McFeely (writers of Captain America movies + Avengers Infinity War and Avengers: Endgame)

"from the meet cute to the tragic separation, their bond has all the elements of a classic romance." - Christopher Markus and Stephen McFeely

"Just as Jeph and Tim’’s earlier Daredevil: Yellow, Spider-Man: Blue, and Hulk: Gray all dealt with the major love interests in, the heroes’ lives, so too does Captain America: White. Steve and Bucky are each other’s soulmate." - Christopher Markus and Stephen McFeely

“So you have a character in Captain America who is searching for the only thing that he has left from his past that has any meaning to him, and that’s Bucky; and people have interpreted that relationship all kinds of ways and it’s great...we will never define it, as filmmakers, explicitly." - The Russos (Captain America: Civil War press)

"You mean, aside from Cap and Bucky?" - Anthony Russo (co-director of Cap 2 and 3 and Avengers: Infinity War and Avengers: Endgame) when asked about romance in Captain Amierca: Civil War

"Moderator: But you already had a romantic B story with Cap and Bucky, right?

Anthony: We sure do

Joe: We still do

Moderator: Did you ever had to dial down the sexual tension on set?

Joe: Why would we?" - Anthony and Joe Russo (directors of Cap 2 and 3 and Avengers: Infinity War and Avengers: Endgame) at a screening of Captain America: Civil War

Just a few examples directly from Marvel and the writers and directors.

#between these two?? stucky hands down#yes both were called love stories but stucky wasn't called a love story just once

also to add on stucky became so huge and widely acknowledged by audiences you had stuff like bbc making a stucky fanvid

major companies like starbucks and astroglide tweeting in support of them as well as celebrities and big media outlets constantly writing articles about them (typically about why they should be made canon)

like stucky was featured in time magazine cuz it was the basis for the 'givecaptainamericaaboyfriend' thing that happened on twitter which ended up trending at number two worldwide

and not only are they mentioned in wikipedia's page on queerbaiting but wikipedia also has an entire page dedicated solely to the ship

Additional propaganda for Cherik

Okay but Cherik (Spot 12) is so incredibly queer I can’t even—

Like straight up they have a kid together because Professor X siphoned off Magneto into his brain and then they did a mind meld thing and Onslaught came out of Professor X like Athena from Zeus.

There was a recent story arc where they defeated Onslaught and the guy who defeated Onslaught straight up said something like ‘Professor X and Magneto aren’t doing anything because they have a soft spot for their murderous joint kid entity’. Please bear in mind that this guy is also straight-up Professor X’s son and a telepath.

Also this comic book cover is literally the gayest thing I have ever seen.

Magneto is a bara daddy for 0 reason and Professor X is supposed to be dead, yet looks like a twink having the absolute time of his LIFE.

Also in a marvel comic specifically for celebrating canon queer couples there’s this stunner of a panel:

Why is this not canon again???

God, the matched Hellfire Gala outfits are making me insane in the membrane.

For context here’s literally THEE couple of the X-men universe at the exact same party:

They’re complimentary— even they’re not fucking MATCHING. For the love of god just let the old men kiss holy shit.