#i haven't talked about this here but

[egophiliac]

don't think I'm not still obsessing over 7-12

[bixels]

I watched Starship Troopers tonight.

[a-scary-lack-of-common-sense]

What if instead of threatening to take Ford's eyes, Bill just took Fiddleford's?

Tate still remembered the night his father's sight was taken from him.

"What have you done to me, Stanford?"

He felt the storm coming even before the first lightning struck. From the very moment he opened his eyes that morning until the very moment he lay back down to bed, he could feel a vicious tension brewing in the otherwise serene household.

Storms were very uncommon at Tate's house, and on the rare occasions they did arrive, they never stayed for long.

Yet, after a quiet breakfast full of anxious, unmet glances and clattering cutlery that rang far too loudly in the silence of the table, he knew that this storm was going to be unlike any other storm he'd witnessed before.

A prickling, disquieting static seemed to have made itself at home underneath his skin, that day. It had made every hair on his body stand on end, and an odd stinging sensation to dance across his spine and tongue; an uncomfortable urge to duck and take cover low on the ground nearly overwhelming his every sense. It was like waiting for the shattering thunderclap to sound after the sky turned white with a blinding flash of light. He knew what was coming, and the anticipation was unbearable.

His mother and father had acted as though nothing was wrong; as though they didn't feel the looming presence of the darkening clouds growing like a murky gray forest on the ceiling.

He hadn't been able to fathom at the time how adults could seem so all-knowing, and yet simultaneously be so utterly clueless about the very obvious happenings that surrounded them. Now, though, he just found it strange how adults often tend to assume children don't feel the stifling weight that they hung around themselves; as if children didn't breathe the same bitter choked air as their parents did. It wasn't even as though they did a very good job at pretending; his parents always were terrible liars.

When the lightning finally struck, it set the house ablaze.

He heard the thunder from his room, and felt the crackling heat crawl up the stairs and seep through the gap beneath his door. He'd laid in his bed, hand clasped nervously across his chest and looking up at his room's cloudy, weeping ceiling as a cacophonic explosion of noises came bursting from the living room downstairs. The fight had erupted with such unprecedented force that in Tate's young mind, he'd felt genuine fear of the house collapsing atop them all from the sheer force of the yelling.

The smell of burnt tongues gently wafted through the air, and Tate briefly wondered if it hurt his parents when they scorched their mouths with such scalding words just as much as it hurt for him to hear it.

It was a big fight; a terrible, big fight; so loud, and so very angry, and helpless, and desperate, and betrayed, and sad.

The back and forth screeching seemed endless, and eventually the screaming words began to muddle and merge into one another until they hardly even sounded human anymore. Suddenly there were animals wailing in the living room downstairs, and Tate could do nothing but listen helplessly and grip his interlocked fingers tighter; hoping that if he stayed still enough, then the growling beasts that were shattering plates downstairs wouldn't come upstairs.

But then,

then,

something changed.

The shift was all too sudden; too abrupt; too quick even for the usually sharp witted child to catch on, and before he knew it, the screams of anger suddenly shifted into one of pure, unadulterated horror.

"Fiddleford, your eyes- good lord, your eyes! Let me look at them!" "Don't touch me! I- I must call Stanford, he's done something to me. Him and that demon, they've cursed me." "For Heaven's sake! Please, forget about that damned Stanford of yours for one moment and listen to yourself! My husband's gone mad, mad!"

And suddenly his parents were human again.

Tate was restless in his bed as his heart seemed to beat bruises against his ribs, his sweaty fingers digging crescent shaped grooves into his skin as fear enclosed its frigid claws around his throat in a vice-like grip. He couldn't breathe.

The storm was over, and it should have reassured him, and yet he was anything but.

Curiosity and fear had been what forced him to kick the sheets off himself and creep his way down the rickety wooden steps. He had to know what happened, he had to know what damage the storm had caused, he had to know.

His steps were far from quiet, and the creaking of the floorboards beneath his feet hardly did him any favors, but no one answered the calls of the squeaking wood. No one came peeking out from the living room to stop the obviously sneaking presence that was tip toeing through the halls; No one called out to check on their little child; all was silent, and calm, except for his mother's soft sobbing coming from the kitchen.

When Tate eventually found his father, he saw

devastation.

The storm had been merciless. It had left nothing behind but a shuddering husk of a man. His father was shaking like a leaf, shoulders tense and back hunched over as though bowed by an incredible burden. The telephone receiver was held in his hand like a lifeline; as if it was the only thing in the world that was keeping him tethered to sanity, and somehow, Tate didn't doubt that it was.

Curled up on the floor in the dark, muttering and trembling, he dared say his father looked... small.

It almost felt surreal to see his father in such a state, like witnessing a God collapse, or a star's light dim to nothingness. His father had always been a solid, permanent pillar sho seemed able to hold up the whole world on his shoulders, and still stand tall and proud despite the weight.

And yet, the crumbling remains of a once impermeable monolith now lay scattered across the hallway floor and splattered across the walls.

The sight had scared him.

At the time, Tate hadn't known what had happened. Even to this day, he still wasn't too sure he understood what exactly had taken place in that living room for his father to have so sudddenly gone from seeing to blind in the matter of seconds.

His mother had tried, in vain, to explain it to him later, to try and make him understand when he was eventually old enough to hear the gruesome tale; but still, he struggled to fully wrap his head around it.

"It was as though his eyes just sunk into his skull," his mother had recounted to him with a haunted look in her eyes. "They suddenly just vanished into the empty sockets of his face, like someone pulled them out from inside his head. There was no blood, no resistance, no tearing. It was as if his eyes were simply plucked out of sight by some invisible hand."

There had been blood on the walls when he had found father back then, a long trail of gorey wet red smeared all across the lovely yellow wallpaper. He realized only now, recalling the memory, that the blood back then had not been from his father's eyes, but from the deep gouges he had dug into his face with his nails, his searching fingers desperately looking for eyes that weren't there beneath his empty eyelids.

"What have you done to me, Stanford?"

Tate had never heard his father's voice sound so raw, so afraid. It was so unlike the familiar comforting drawl he'd grown to love and recognize, it almost sounded alien, coming from his father.

"I can't see, Stanford, I can't- my eyes, they're gone. Why are they gone? What have you done?" "Answer me, damnit, what have you done?"

His father never got his answer, because whoever was on the other side of the line soon hung up, and his father was suddenly left blind and alone.

[artemiss-moonchild]

.

[wanderingibon]

actually baffled that I've never drawn my favorite character(s) of all time on here so I had to remedy that immediately!!! ft. crow & glint

[freddiecorleone]

hey. don't cry. matthew lillard with old springlock scars, ok?

[coraniaid]

Buffy the Vampire Slayer was famously pitched as a subversion of the horror cliche of a young woman walking into an alleyway only to be killed by a monster. What if, the show asked, the young woman turned around and killed the monster? What if she was the thing that monsters have nightmares about?

For the spin-off series Angel -- a "darker" and "more complex" show, as its creators love to describe it -- the writers decided to further subvert the premise. What if, they asked this time, a young woman walked into an alleyway, only to be saved from a monster by a handsome, brooding man? What if the young woman was pregnant? What if the handsome man didn't actually save her, but he felt really bad about her death and brooded extra hard about it for the rest of the episode? (Maybe the monster had lawyers -- everyone hates defense lawyers, right? -- and maybe he could threaten to kill them!) What if the young woman was pregnant? Or what if she was the monster, and so he had to kill her and then feel really bad about it? And what if she was pregnant? Wouldn't that be terrifying? What if there was a young woman and she got pregnant and became monstrous and died, and a stoic brooding man who didn't like to talk about his feelings sat in his office and felt sad about it?

[itsallaboutbl]

Joong Archen as Fadel The Heart Killers, ep. 9

[meziniart]

he's touchy

[beannoss]

Something I think about a lot and wonder if maybe gets overlooked in Twilight’s story and as vitally indicative of his character is actually in the very first chapter:

Anya isn’t needed for Strix. Twilight decides to adopt her anyway.

[Spoiler warning: Mostly this post deals with early chapters already in the anime but there is reference to chapter 62, which has not yet been animated and will be in season 3]

Twilight decides it — “I’m going to rework the mission so it doesn’t involve a child because that’s too dangerous” and he’s 100% right! Donovan Desmond is canonically a far right warmonger with fascistic authoritarian aims. His government made liberal use of the SSS — a group to mirror the Stasi — who continue to operate in morally dubious ways (much more likely they’re actively morally reprehensible, though we’ve mostly only had rumours of that so far). From what we can tell, Desmond is at best an absent father and likely actually worse than that: if that's how he treats his own children, imagine how he might treat others. And the timeline seems to indicate that the experimentation performed on Anya was done under Desmond's government — even if Twilight isn't aware of experimentation on children, he is aware of both human and animal experimentation under Desmond's government. Taking all that and also the complexity of Strix's aims, undoubtedly there were other things that could be done, more straightforward if not necessarily easier.

So. Why? Why entertain the change at all? And then, having entertained it, why go back when the reasoning is indisputable?

On the Doylist level, I think Endo wanted to ensure that Anya had some agency within the set up — Endo also does this with Yor. It would be much harder to be on Twilight’s side fully, or to trust him on an ethical level/take him as any sort of moral authority, if he were just straightforwardly using these two people. To have them be active and consenting participants (arguably to actually be affirming the arrangement: Twilight sets it up, but Anya and Yor actually make it happen) even if the audience only knows the depth of their knowledge/motivations/etc currently, shifts the power dynamic in important ways.

But it also the set up tells us important things about Twilight. He is largely impatient, cold, detached in chapter one. His overarching feelings towards Anya are, I think, real annoyance, real confusion, and real impatience. He just doesn’t understand this damn kid and it turns out she’s a person which is frankly unacceptable — he’d needed and anticipated an automaton, ideally of himself in miniature form. (Though I think one could ponder whether Twilight was, in many ways, an automaton himself at this point, but that's maybe for another meta 🙃)

He’s not entirely unmoved of course — we're given to understand he’s affected when Franky tells him how many times Anya’s been adopted and returned, and isn't amused by Franky's joke about names. Franky's comment — "Just don't get attached" — reinforces this. The prospect of “the future” perturbs Twilight when he’s reading the parenting books. His initial reaction to Anya’s kidnap is horror. All these are true too.

Then there’s also this, from earlier in the chapter:

It’s exposition, yeah, and it’s also exposing. "Hopes" and "joys" are very specific words to describe those events. It could simply have been "A marriage? An ordinary life?" but describing them as such — hope for marriage; joy in ordinary life — expose something of what Twilight feels about those two experiences and, on the flipside, they expose what he deems he's lacking. No hopes of intimacy; no joy in (an ordinary) life. There's an argument as well, of course, that he's being ironic but I don't think that actually invalidates the above analysis. Drawing attention to 'hope' and 'joy' at all are revealing, regardless of Twilight's tone in thinking of them. I think it's also interesting this panel, taken in conjunction with a pair of panels in chapter 62, Twilight's backstory. The above is almost a pulled out version of this below panel of Twilight's recollection of his childhood, and of course the returning image of not just a rubbish bin but a rubbish bin on fire when it comes to disposing of his identity:

Back to Strix. Both his final interaction with Karen and the whole everything of the framing of Strix is making Twilight think (and feel, ahem) things that he hasn't for some time. Twilight decides, I’m reworking this. It can’t proceed this way. Not because Anya is a pain in his ass, not because she’s not as (apparently) intellectually advanced as he’d originally thought, not even because he thinks he can find another child who would better be exactly what mission parameters called for. No:

And what changes his mind is Anya asking to come home.

One of the important parts of this to me is this:

He seeks consent.

This moment is a keystone, I think, to understanding Twilight. It’s also more telling than he maybe realises. Twilight is decisive — we all laugh because he spirals at the drop of a hat when his daughter or wife look even mildly upset but outside those (also very telling) scenarios, he makes decisions and he pursues them. Often he makes decisions quickly. He’s a dab hand at it; it’s a large part of why he’s as good a spy as he is.

He’d decided to change Strix.

Anya asks him, in essence, not to.

So, he doesn't.

But it's wild that he entertains keeping her request at all — why? Why even entertain it? It’s dangerous; it’s impractical; there are too many moving parts outside his direct control; Anya isn’t the sort of child he’d wanted for the mission if he’d spent any time thinking about what a child might actually be like; Strix is in many ways an extremely long shot anyway, Desmond could just stop attending for reasons unknown and unrelated; etc.

So, yeah, why? Maybe because of this —

In conjunction, I often think of this moment in the cruise arc:

Twilight first naming the feeling as lonesome, and secondly tacitly conceding that he perceives Yor as a companion and that that relationship is important to him, something to be missed. What makes this for me though is that Anya calls this out "Papa's you're so sappy" and Twilight's reaction is that of someone caught-out. He doesn’t say “nuh-uh!” but he may as well have. Essentially, something landed a bit close to home, hm? Maybe some of that hope for marriage? A soupçon of joy of an ordinary life?

Twilight’s loneliness underpins many of his decisions with his family — probably without him being fully conscious of it. I think he is at least somewhat conscious of it, but also if he looks too closely... Well, best not to. I could fill this post, I think, with images that demonstrate his loneliness throughout the series; that sorrowful/pensive close-up of his eye(s) is one of the abiding motifs for Twilight throughout. I'd probably start with this one from Twilight's backstory arc:

Anya's request plays directly off his loneliness. Still though, he doesn’t immediately capitulate — he emphasises Anya’s choice. Is she sure? The last day has been scary for a child (and for him, but he's ignoring that part) and Twilight, in his increasing recognition that Anya is a person, is probably aware in the back of his mind that he hasn’t exactly been warm or welcoming or at all patient with her. Things that people respond to — he's otherwise excellent at manipulating people, so of course he understands this. So. Given she'd just had this scary experience, given he hasn't exactly been great with her: Is she sure? She wants to come home — with him?

I think the moment may get a little lost because Anya says something riffing off his own earlier thoughts and self-revelation (featuring that shadowed, lonely eye motif again!)

Were this a post about Anya, I’d talk about how it’s an important character moment for her as well by way both of demonstrating her agency/choice and also that she isn’t nearly as dumb as Twilight thinks (and the audience, maybe, also thinks).

But in my view, she didn’t actually need to say anything about it making her cry. I think she could simply have said yes in that moment and Twilight would have agreed.

Twilight’s an unreliable narrator; he’s disconnected from his heart and that shrouds his own motivations from himself — something he actually also concedes in this chapter!

And it shrouds from us just how much he actually understands himself. He’s also a master of deflection. Easy to assume or say that bringing Anya home is just to align with Strix. Nothing more to see here; nothing else going on. But also that ripping off of the mask in the panel above — and the literal 'riiip' sound effects — also indicate to us that this is an unveiling to himself.

In my view, Twilight agreeing to Anya's request, deciding to go back to original mission parameters, actually shifts his motivations, subtly. Now he’s committed not only to the original mission goals, but also to Anya. He needs Anya to succeed at Strix, not only for Strix's sake, but also because otherwise the mission will end and she’ll have to go back to the orphanage, and he’s just agreed with her not to do that (not right away, in any case). I don’t think at this point he’s thinking it’s forever — his thoughts throughout the manga indicate he still expects the Forgers to be temporary. I don't think the shift in motivation is necessarily even conscious, but given the set up, I think something inside Twilight recognises that agreeing to bring Anya home is a compact, jointly engaged. Mostly all this has become subsumed into Strix: he makes decisions. He pursues them. He deflects, even from himself. Of course it's just for the mission; this saved him the trouble of reworking it, of figuring out something else. Nothing more to see; no need to think any more on it. And to be fair to him, Strix is very high stakes, resting pretty solely on his shoulders, so of course that is, objectively, motivation enough. Why even consider beyond that?

But I personally think that to the extent he's aware of it at all, there is something else going on, that he wants to have Anya for as long as it takes him to work something else out for her. If that's the case, then of course, we have Occam’s razor: the simplest solution may be the best one.

Maybe Twilight should just keep Anya himself, eh?

[Image description: gif from Spy x Family season 1, episode 1. Twilight and Anya have just found out Anya passed her entrance exam and are overjoyed. Celebratory, Twilight picks Anya up and swoops her into the air as they smile at one another. End image description]

[beaft]

my teaching course is so funny because i've not told anyone my pronouns or mentioned my gender so everyone is just guessing wildly every time they refer to me

[front-facing-pokemon]

[idlingmoons]

hi oc enjoyers, i now have ref sheets! in order, from top to bottom: apricot, bloodmoon, daydream, and sungrass

these guys are the ones that i have talked about the most—hopefully planning to drop new ones soon + properly host a qna maybe? in the meantime, feel free to send me asks about them :)

with all my ocs present here, i'll talk a bit about the universe that they're from! i've been calling it what's your worth (wyw), and i've been hoping to at least maybe plan a fic and sort out some details about it.

the base premise of wyw is that y/n has cut off their family and sold off any belongings related to them! after getting a trailer to get away from their family, they somehow keep attracting bots to them.

unfortunately, not every bots gets to stay with y/n, but i like to think that each one is impactful on y/n's journey, along with everyone else's. i like to think that y/n gets to kiss every bot that stays with them, and at least hug every bot that they meet. it's up in the air who stays with y/n for now, but it's sure fun to think about!

[technically-human]

A gift for @i-am-as-normal-as-you-are

Often, when they commission me, I receive a list of prompts to choose from. I feel bad for the ones that I don't end up drawing, so here's one of them: a helluva crossover. Guess we could call it... Helluva detective agency lol

And here's some lore

Edwin is an Incubus from the Lust ring. However, he wants to be a detective, and is not very interested in the seducing people, even when it could help. Still, demons are often attracted to him, despite him not trying! The one he wants, though, doesn't seem all that interested...

Charles is an Imp from Wrath who ran away from home. Unlike many imps, he doesn't want to become an assassin, so he ends up acting as Edwin's bodyguard, even though the incubus can't really pay him... And turns out, he's not half bad at this whole detective thing himself!

Crystal is an Infestor demon from Envy. Her job is, of course, to mess with people's head... but someone messed with hers, instead. Without memories and not knowing how to use most of her powers, Crystal ends up being helped by the boys.

Niko is a demon from Sloth. She hasn't yet decided what she wants to do with her life. Maybe she could become a nurse? but while in the middle of some personal matters, she came into contact with a parasyte that stole her energy. Truly embarrassing for a Sloth demon!

[deeva-arud]

So, about that one AU that's been marinating in my mind for years

[flowerakatsuka]

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