#i was considering making her the director but I want her to be more involved

[gullivertravelstowonderland]

Hyperfixating on Grounded... thinking about a Portal 2 au 👀

Also very tempted to draw my sona snuggling a stuffed aphid bc they're baby <3

[jimmystrudel]

Sorority girl rushtok rant

[amethystarachnid]

MRS. STARK

⤷ ANTHONY “TONY” E. STARK

ᯓ★ Pairing: Anthony “Tony” E. Stark x fem!reader

ᯓ★ Genre: romance, fluff

ᯓ★ Request from: MARVEL bingo

ᯓ★ Story type: one shot

ᯓ★ Word count: 8k

ᯓ★ TW(s): mentions of kids, mentions of pregnancy (only at the end), paparazzis are a pain in the ass

ᯓ★ Timeline: not in a defined timeline, more like an AU

ᯓ★ Request: Tony stark × marriage of convenience au Tony loses his company reputation because of his playboy reputation. The board of directors demands that he fix this. Pepper suggests an arranged marriage for this. At that moment, he meets reader who is evicted from her home and needs money and proposes. In time, love develops between them. (@binsan)

ᯓ★ Comment if you want to be added to the taglist (specify if you want the everything taglist or for a specific character)

ᯓ★ My Masterlist

ᯓ★ MARVEL Multiverse - choose an AU, pair it with your favorite character and make a request!

ᯓ★ Songs & Superheroes tales - The Game (to make a request, follow the rules on the link!)

ᯓ★ MARVEL Bingo (requests open)

ᯓ★ English isn’t my first language

You pace the small, dingy room you’ve called home for the past few years, the weight of eviction papers heavy in your hand. The landlord's voice echoes in your mind—“You’ve got two weeks. I can’t do this anymore.” It’s not as though you didn’t see this coming. The bills have piled up, and opportunities have been scarce. With no family to turn to and nowhere to go, you wonder how much lower things can get.

As you sit on the fraying edge of your sofa, rubbing your temples, you wonder what your next move could be. The clock ticks steadily, matching the racing thoughts in your mind. I need a miracle, you think, feeling the weight of your situation press down on you.

Meanwhile, across the city, Tony Stark is having his own personal crisis.

Tony lounges in a sleek leather chair in his office at Stark Industries, the weight of the boardroom conversation still lingering in the air. His playboy reputation, once charming and even beneficial to his image, has started to backfire. The board of directors is growing impatient—no, they’re furious—and they’ve made it crystal clear that his antics are ruining the company’s reputation. Something needs to change. Immediately.

Pepper Potts, his ever-practical assistant, stands across from him, arms crossed as she regards him with a mixture of sympathy and exasperation.

“We need damage control,” she says, her voice steady but firm. “The media is eating up every single party, every single fling. They don’t take you seriously anymore, and frankly, neither does the board.”

Tony raises an eyebrow, taking a casual sip of whiskey. “What’s your plan, Potts? A heartfelt apology tour? I’ll have to fit that between saving the world and engineering cutting-edge tech, you know.”

Pepper doesn’t flinch. “You need stability. Something solid, responsible. The kind of image that reassures people you’re not just a billionaire playboy. You need…” She hesitates, as if weighing her next words carefully. “…a wife.”

Tony nearly chokes on his drink, coughing out a laugh. “A wife? Are you serious?”

“Dead serious, Tony.” Pepper’s eyes narrow. “The board will back off if they see you’ve settled down. It shows commitment. That you're thinking long-term. And if the right woman is involved—someone respectable—then maybe people will start seeing you as the man behind the genius, not just the man at the party.”

Tony leans back, considering her words more seriously than he expected to. Marriage had never been on his radar—it’s never even been a blip. But this is different. A strategic move. A necessary one.

“Alright, say I’m interested,” he says slowly. “Where do you propose I find a wife willing to marry me for show?”

Pepper sighs. “There are plenty of women—”

“I’m not interested in one of those society climbers, Pepper. I don’t need anyone looking for a fifteen-minute spotlight or a big payout.”

Just as Tony is about to dismiss the entire conversation, the door to his office swings open. You stand there, slightly out of breath, a bundle of papers clutched to your chest.

Pepper blinks in surprise, but Tony just arches an eyebrow. “And you are?”

“I’m—” You pause, taking a breath. “I need to talk to someone. My home—” you stammer, fumbling with the words, "—I was told to come here. You helped my mother years ago. She said—if I ever needed anything—”

Tony watches you, his expression unreadable, though his eyes flicker with curiosity.

“Well, you’ve certainly come to the right place for help,” he says, his tone shifting from mild annoyance to sudden interest. “Why don’t you sit down? Let’s talk.”

You cautiously take a seat across from him, feeling out of place in his luxurious office. You’ve heard the stories about Tony Stark—the genius, the billionaire, the womanizer. But in this moment, you can’t afford to care about any of that. You need help, and he’s your last shot.

“Let me guess,” Tony says, leaning forward. “You’re about to lose your home. You need money. And you have nowhere to turn.”

You glance at Pepper, who looks back at you with quiet understanding, then back at Tony. “Yes,” you whisper, feeling the weight of it all pressing down on you.

He leans back again, studying you for a long moment before something shifts in his expression. A thought flickers across his mind—a spark of an idea. And then, he smiles.

“Let’s make a deal,” Tony says suddenly. His voice is calm, calculated. “I need a wife. You need a home. How do you feel about an arrangement that benefits both of us?”

Your heart stutters in your chest. “A wife?”

Tony nods. “It’s purely business. You marry me, I’ll make sure you never have to worry about money again. You’ll have everything you need—home, security, whatever. And in return, I get the board off my back. Simple.”

You blink at him, trying to process the whirlwind offer that’s just been thrown at you. It sounds insane. But then again, your whole life has become a series of impossible situations lately. And this one…well, this one comes with a solution, even if it’s wrapped in the strangest of packages.

Tony leans in, eyes locked with yours, a hint of a challenge in his voice. “What do you say?”

You sit there, staring at him as though he’s just suggested you rob a bank together. His words hang heavy in the air, and your mind races to catch up. A wife? Marry Tony Stark? The idea sounds absurd, but as your thoughts turn back to your eviction notice, you realize you might not have a choice. Desperation has a way of forcing your hand, and this—this could be your way out.

Tony watches you, his expression still unreadable, though there’s a glint in his eyes that makes you wonder if he’s enjoying your discomfort a little too much. He’s waiting for your answer, clearly expecting you to be as quick and sharp as he is.

“You’re serious?” you manage to say, your voice barely more than a whisper.

“Dead serious,” Tony replies, the smirk on his face both charming and infuriating at the same time. “It’s a win-win situation. You get stability, I get a new image. We play the part for the public, keep the board happy, and in a year or two, we go our separate ways. Clean and simple.”

You stare at him, searching for any sign that this is some kind of joke, some twisted billionaire’s game. But there’s nothing playful about his gaze now. Tony Stark might be a lot of things—reckless, arrogant, brilliant—but he’s not someone who wastes time.

“What’s in it for you, really?” you ask, folding your arms defensively. “Why me? You could marry anyone—some model or socialite who would be more than happy to play the part. Why pick a random woman off the street?”

“Because you’re not a model or a socialite,” he says simply, his voice dropping a little lower. “I don’t need someone who’s after the spotlight or my bank account. I need someone who won’t get in my way. Someone who’ll keep this business.”

He pauses, watching your reaction carefully. “You don’t seem like the type to get tangled in the drama. You just need help. And that’s the kind of deal I can work with.”

You feel a lump form in your throat. It’s true—he's offering you a way out of a sinking ship. A home. Security. All the things that have been slipping through your fingers, one by one. But still, the idea of entering into a fake marriage with Tony Stark? You’d be lying if you said the thought didn’t terrify you. You’ve seen the headlines, the rumors about his womanizing ways. Could you really trust him? Could you even pull this off?

And yet, the alternative is worse. A life of uncertainty.

“Why would anyone believe it?” you ask, biting your lip as you try to find holes in the plan. “I mean…we just met. People will see through it.”

Tony chuckles softly, leaning back in his chair, a picture of relaxed confidence. “Oh, believe me, people will believe it. I’ve built an entire career on controlling the narrative. I know how to spin a story. We’ll have a whirlwind romance, some well-placed public appearances, maybe a dramatic proposal. Before you know it, the world will be eating out of our hands.”

You inhale sharply, your mind still racing. Everything about this feels so…surreal. And yet, as crazy as it sounds, it’s starting to make sense. At least from a practical standpoint.

Tony watches you closely, as though sensing the shift in your thoughts. “Look, I’m not asking you to love me, or even like me,” he says, his voice taking on a more serious tone. “This is just an arrangement. You get what you need, I get what I need. And once it’s done, you walk away with enough money to start a new life, debt-free. No strings attached.”

The words no strings attached seem to echo in your mind. You swallow hard, looking down at your hands as you twist them nervously in your lap. It’s a cold, transactional proposal. And yet…you can’t deny that it makes sense.

“What’s the catch?” you ask quietly. There has to be one. With someone like Tony Stark, there’s always a catch.

He tilts his head slightly, considering your question before shrugging. “The only catch is that for a while, you’ll be living in my world. That means the media, the attention, and probably some uncomfortable dinners with people who think they’re more important than they are. It won’t be easy.”

Your heart pounds in your chest as you weigh your options. It’s not like you have many left. The thought of staying in this small, cramped room, waiting for the inevitable eviction, is unbearable. And as much as the idea of marrying Tony Stark terrifies you, it also feels like a lifeline being thrown at the last possible second.

“So?” Tony leans forward, his gaze steady on yours. “What do you say?”

You bite your lip, the papers in your hand crinkling slightly under your grip. This might be your last chance. Your final way out.

“Alright,” you whisper, barely believing the words coming out of your mouth. “I’ll do it.”

A slow, satisfied smile spreads across Tony’s face, and he extends his hand across the desk. “Then we’ve got a deal.”

You stare at his hand for a moment before slowly reaching out to shake it, sealing the arrangement that’s about to change your life in ways you can’t even begin to imagine.

As your hand clasps his, the weight of what you've just agreed to settles in. You're about to become Mrs. Stark — at least for the world to see. And as daunting as that may be, it’s still better than the alternative.

You meet his gaze, feeling a strange mix of fear, excitement, and something else you can’t quite name.

This is only the beginning.

ﮩ٨ـﮩﮩ٨ـ♡ﮩ٨ـﮩﮩ٨ـ

The next few weeks unfold in a blur of public appearances, carefully crafted smiles, and whispered conversations behind closed doors. You and Tony play the parts well, slipping into the roles of an unexpected, whirlwind romance. The media eats it up.

The first date is a public affair—dinner at a five-star restaurant in downtown Manhattan. The paparazzi are already outside when you arrive, cameras flashing like fireworks as Tony steps out of his sleek black car, offering you a hand. You take it, the warmth of his touch feeling almost foreign despite the fact you’ve grown used to his presence.

You force a smile, heart racing as you hear the shouts of photographers calling out for a picture, for a smile, for a kiss. Tony leans down, whispering in your ear, "You’re doing great. Just breathe."

It’s strange—how natural he makes it seem, how easy it is for him to slip into this version of himself, the attentive, doting boyfriend. To the world, Tony Stark is charming, smooth, and infatuated with you. And you? You’re the mystery woman who somehow captured the billionaire’s heart.

Inside the restaurant, things are a little less chaotic. You sit across from Tony, the intimate lighting making the scene feel more private than it really is. But the cameras are still there, outside the windows, snapping away.

“So,” Tony says, his voice low as he leans in, folding his hands casually on the table. “How’s the food? Pretending to enjoy yourself yet?”

You smirk, rolling your eyes as you push a piece of food around your plate. “Oh, I’m absolutely swooning. Can’t believe how lucky I am to be here with you.”

Tony chuckles, leaning back in his chair, his eyes glinting with amusement. “Good. Keep it up. The more they buy this, the less we have to deal with later.”

It’s a game. A performance. One that you both know the rules to. But as the weeks pass and the dates pile up, something shifts.

The next outing is a stroll through Central Park, and the one after that is a charity gala where Tony's hand rests on the small of your back, guiding you through a sea of high-society types who eye you curiously, wondering what you did to catch the elusive Tony Stark. And despite how staged everything is, there are moments where Tony seems less like the playboy billionaire and more…human. Moments where he cracks a joke, and you find yourself laughing a little too genuinely, or when he holds a door for you, and you catch the briefest flicker of something unguarded in his eyes.

But you’re careful to remind yourself: this is all business. You’re not here to fall for Tony Stark. You’re here to save yourself.

After weeks of these public outings, the media frenzy reaches its peak when Tony finally sets the stage for the proposal. You’ve both discussed it already—how it has to be big, dramatic, a spectacle that leaves no room for doubt.

You're dressed in a stunning gown, attending yet another high-profile charity event. The ballroom is packed, every face in the room belonging to someone rich or influential. The press is buzzing, and you can feel the weight of a thousand eyes on you.

Tony has been his usual charming self all evening, but there’s something different in the way he looks at you tonight. Almost as if this moment means something more to him. You push the thought aside, focusing on playing your part.

Just as the night seems to be winding down, Tony stands, clinking his glass to get everyone’s attention. The room falls silent, and your heart starts to pound. This is it.

“Ladies and gentlemen,” Tony’s voice is smooth, his gaze never leaving yours. “I’m not usually one for speeches, but tonight, I need to break that habit. Because I have something important to say.”

The crowd watches, captivated, as Tony walks toward you, his steps slow and deliberate. Your breath catches in your throat as he stops in front of you, taking your hand.

“I’ve spent my life building things,” he says, his voice echoing through the room. “My company. My legacy. But in all that time, I never thought I’d find someone who’d make me want to build something else. Something personal. Something real.”

He drops to one knee, and for a second, the world around you seems to freeze. The gasps from the audience are barely audible over the sound of your own heartbeat. He pulls out a ring, the diamond glittering under the chandeliers.

“I’m asking you, right here, in front of everyone, to make this official. Will you marry me?”

It’s all a show, of course. The practiced speech, the perfectly timed down-on-one-knee moment. But as you stare down at him, ring in hand, something about it feels too real. His eyes meet yours, and for a brief moment, you forget that this is all a charade.

You swallow hard, forcing yourself to remember the contract, the deal you made in private. This isn’t real. It never was. It’s just for the cameras, for the board, for the company. But still, you manage to smile as you nod.

“Yes,” you say softly, the word slipping from your lips like it belongs to another version of you. “I’ll marry you.”

The room erupts into applause, but you barely hear it. Tony slips the ring onto your finger, standing to pull you into an embrace. His arms wrap around you, his breath warm against your ear as he whispers, “Perfect. Now they’ll back off.”

Behind closed doors, things are starkly different. The moment you leave the public eye, Tony is already in his office, the papers spread out on his desk. You stand beside him, the diamond ring on your finger suddenly feeling heavy, reminding you of the weight of the bargain you’ve struck.

Tony flips through the pages with a calm, focused expression, glancing at you briefly. “Three years,” he says, tapping the contract. “That’s the timeline. We stay married, let the public eat it up, and after three years, we go our separate ways.”

You nod, staring at the paperwork. Your eyes catch the clause that’s been added in bold: Upon the dissolution of the marriage, Y/N will receive a sum sufficient to cover all debts and ensure financial stability for the foreseeable future.

“Once the board sees I’ve settled down, they’ll loosen their grip. By the time we’re done, you’ll have more than enough to start fresh,” Tony continues, his voice businesslike. “No strings attached. Clean break.”

You sign the papers without hesitation, feeling a strange mix of relief and something else—something you can’t quite name—as your pen scratches across the line. This is what you agreed to. It’s what you need.

But as you set the pen down, you catch Tony’s gaze, and for a brief moment, you wonder if he feels it too. The tension between what’s real and what’s part of the arrangement. The way his touch lingers a little longer than necessary when the cameras aren’t around. The way his eyes sometimes soften when they meet yours.

But before you can dwell on it, he stands, slipping the contract into a folder. “We’re good to go,” he says, his tone brisk again. “Now let’s give them the show of a lifetime.”

And so, with the contract signed and the terms laid out, you walk back into the world together—Tony Stark’s fiancée, destined for a picture-perfect marriage that will end exactly when it’s supposed to. Three years from now, you’ll walk away with everything you need.

Or at least, that’s what you keep telling yourself.

The galas become routine, a swirl of elegant gowns, expensive champagne, and the murmur of voices in rooms filled with wealth and influence. You’ve perfected the role by now—Tony’s perfect fiancée, charming, poised, always ready with a smile and the practiced story of how you two “met.”

The backstory you and Tony crafted is flawless, and it’s become second nature to you. You met at a charity event, of course. Something respectable, something that would explain why a billionaire like Tony Stark would fall for a woman like you—someone who wasn’t already a fixture of his high-society world.

Tonight’s gala is no different. The room is packed with the usual mix of celebrities, business moguls, and old-money aristocrats. You stand beside Tony, your arm linked through his as you make your way through the crowd, the warm glow of chandeliers overhead. Tony’s hand rests on the small of your back, and even though it’s all part of the act, you can’t ignore the comfort of his presence anymore.

“Y/N!” A familiar voice draws your attention, and you turn to see a woman with a dazzling smile approaching. She’s dripping in diamonds, her manicured hand clutching a flute of champagne. “You two look amazing tonight. I swear, every time I see you, you just glow more. It’s like you were made to be by Tony’s side.”

You smile graciously, the practiced ease of it making you feel a little guilty. “Thank you, that’s so kind.”

She leans in, eyes twinkling. “I just love your story. It’s so romantic! I mean, meeting at a charity gala and then falling in love like that? It’s like something out of a movie. How lucky are you?”

Lucky. You bite back the irony of that word, nodding instead. “It was unexpected, but…fate works in mysterious ways, right?”

“Oh, definitely! Tony must’ve been swept off his feet the moment he saw you,” she says with a conspiratorial wink, clearly enjoying the idea of the elusive Tony Stark being anything but untouchable.

You glance at Tony, who’s deep in conversation with some business associates nearby, the cool confidence never leaving his face. You know the truth behind that first meeting—how he found you when you were at your lowest, desperate and vulnerable. But none of these people will ever know that. To them, this is a fairy tale. And you? You’re the lucky girl who got to marry the prince.

Another couple approaches, and the cycle begins again. Compliments, questions about the wedding, and endless retellings of your "love story." You smile through it all, playing your part perfectly, while Tony occasionally sends a reassuring glance your way. He knows how exhausting these events can be, but it’s all part of the plan. You keep up the charade for the media, the board, and everyone else who needs to believe this romance is real.

The wedding comes faster than you expected. After months of public appearances, interviews, and carefully orchestrated photo ops, the big day is finally here. It’s everything the world expects it to be—grand, lavish, and utterly flawless.

The ceremony takes place in a sprawling estate, the gardens decorated with flowers that seem to stretch on for miles. The guest list is as exclusive as it gets—celebrities, politicians, business moguls. The kind of wedding that would dominate headlines for weeks, exactly as planned.

You stand in front of a full-length mirror, staring at yourself in the wedding gown. It’s breathtaking, really. The lace and silk hug your body perfectly, the veil trailing behind you like something out of a dream. It should feel like a fantasy, but there’s something surreal about the whole thing.

Pepper walks in, smiling softly at you as she adjusts your veil. “You look beautiful,” she says, her voice gentle. “Everything’s set. The press is buzzing already.”

You nod, taking a deep breath as you stare at your reflection, trying to ignore the knot in your stomach. This is it. The moment where you and Tony take your fake relationship to the next level in the eyes of the world.

Pepper gives you a reassuring squeeze on the shoulder before stepping out, leaving you alone with your thoughts.

The ceremony begins, and you make your way down the aisle, each step feeling heavier than the last. Your heart pounds in your chest as you see Tony standing at the altar, looking impossibly dashing in his tailored suit. His eyes meet yours, and for a brief moment, the world around you fades.

You force a smile, reminding yourself this is all part of the plan. But as you approach him, something changes. The look in his eyes is different—there’s a softness there, a vulnerability you haven’t seen before. It throws you off guard, and suddenly, you’re not so sure if this is just an act anymore.

The officiant begins, and you stand there, hand in hand with Tony, reciting the vows you both know are meant to be temporary. But with each word spoken, the lines between what’s real and what’s pretend blur just a little more.

“I, Anthony, take you, Y/N, to be my lawfully wedded wife…”

His voice is steady, but there’s something in his tone that makes your breath catch. You stare at him, searching his face for any sign that he’s just playing the part like you are. But in this moment, with the whole world watching, it almost feels like something else.

“I, Y/N, take you, Anthony, to be my lawfully wedded husband…”

The words slip from your lips, and as you say them, they feel heavier than you expected. Your heart beats faster as Tony’s thumb brushes lightly over the back of your hand. The gesture is so small, so intimate, that for a moment you forget everything—the contract, the deal, the carefully planned charade.

The officiant asks if there are any objections, and the crowd is silent, holding their collective breath. You can feel Tony’s eyes on you, and when he lifts your veil, the world seems to slow.

He leans in, his lips brushing yours, and for that brief, fleeting moment, it feels real. The kiss is soft, hesitant, as if neither of you are sure where the line between pretend and reality is anymore. The applause erupts, but all you can hear is the pounding of your own heartbeat.

You pull away, your eyes locking with his, and for just a second, there’s something unspoken between you. Something that neither of you are willing to admit.

But then the moment passes, and Tony’s signature smirk returns as he lifts your hand, showing off the ring to the crowd. The cameras flash, the guests cheer, and just like that, you’re Mrs. Stark—at least in the eyes of the world.

As the reception begins, you can’t shake the feeling that something changed between you two at that altar. Something neither of you expected. But before you can dwell on it too much, Tony is by your side, his arm slipping around your waist as he leans down to whisper in your ear.

“Congratulations, Mrs. Stark. You’ve officially survived the hardest part.” His tone is playful, but when you glance up at him, there’s a flicker of something deeper in his gaze.

You force a smile, nodding as you look out over the sea of guests. You’ve done it. You’ve played your part perfectly.

But deep down, you can’t help but wonder: Was it all still just an act? Or did something real happen between you and Tony in that brief, unguarded moment?

You push the thought aside, reminding yourself of the contract, of the plan. In three years, this will all be over, and you’ll walk away debt-free, just as promised.

But for now, you’re Mrs. Stark. And for better or for worse, that’s the role you have to play.

ﮩ٨ـﮩﮩ٨ـ♡ﮩ٨ـﮩﮩ٨ـ

The first few months of marriage pass in a delicate dance of closeness and distance. You and Tony keep up appearances for the press and the public, playing your parts to perfection. The media can't get enough of the two of you—the glamorous, whirlwind couple that keeps everyone talking. But behind closed doors, things are changing. Slowly, almost imperceptibly at first, the boundaries of your arrangement begin to blur.

At home, away from the cameras and prying eyes, Tony is different. It starts with small gestures. He brings you coffee in the mornings, just the way you like it, without you ever asking. You catch him looking at you when he thinks you’re not paying attention, his expression softer than the public version of Tony Stark. It’s in the way he lingers when you pass each other in the hallway, his hand brushing yours just a little longer than necessary, his gaze lingering a little too long.

The nights spent in the massive Stark Tower feel less like a performance and more like something genuine. You find yourselves talking late into the night—about everything, about nothing. Sometimes it’s about work, other times it’s about things neither of you have shared with anyone else. Tony talks about his parents, about how lonely it was growing up despite all the wealth and success. You open up about your life before all of this, the struggles, the dreams you gave up on, and the ones you still hope for.

There are moments when it almost feels real—like you’re not playing a part anymore. Moments when Tony’s laugh is so genuine, so unguarded, that you forget this is all temporary. There are nights when he falls asleep next to you on the couch after watching some terrible movie you both made fun of the entire time, his arm slung over the back of the sofa, just barely touching you. And when he stirs in his sleep and pulls you a little closer, you don’t pull away.

You tell yourself it’s still part of the arrangement—that none of this changes the contract or the plan. But deep down, you know better. This isn’t just about saving his reputation anymore. Somewhere along the line, things got complicated.

But as the months pass, the press starts to ask questions. At first, they’re subtle—tiny, whispered headlines about the perfect couple, alluding to the next big story. “Stark Wedding Still the Talk of the Town,” they say. But then, the speculation begins to shift.

“When are the Starks Starting a Family?” The headline is plastered on the front of every tabloid, and soon it’s the only thing people want to know.

You notice it at the galas, in the way people casually ask about your future plans with a knowing smile, as if it’s only a matter of time before you announce a pregnancy.

“Any little Starks running around soon?” A woman asks you one night at an event, her voice dripping with curiosity as she sips her champagne. You force a smile, your practiced response already prepared.

“Oh, we’re just enjoying married life for now,” you say, deflecting the question as you’ve done a hundred times before. But it’s getting harder to avoid. The press is relentless, constantly speculating about why you and Tony haven’t started a family yet.

And then one night, during a quiet dinner at home, Tony brings it up.

“We need to address this,” he says, setting down his wine glass and looking at you seriously. “The whole ‘when are you having kids’ thing. It’s becoming an issue.”

You raise an eyebrow, feeling a knot of tension forming in your chest. “What do you mean?”

“The press. The board. Hell, even Pepper has been asking me about it.” He leans back in his chair, running a hand through his hair in frustration. “They think if we don’t at least make it look like we’re planning to have kids, the whole marriage thing starts looking fake.”

You swallow, the weight of his words settling in. You’ve known this day would come—that eventually, people would start to question the validity of your marriage if they didn’t see the next logical step. But you didn’t expect it to happen so soon. Or to feel so…complicated.

“And what do you want to do about it?” you ask, your voice quieter than you intended.

Tony looks at you, his expression unreadable for a moment. “We can’t have kids. Not under this arrangement,” he says, his voice careful, measured. “That’s too far. We’ve been keeping everything business, and that… that’s different.”

You nod, relief and something else—something like disappointment—washing over you. The idea of having a child with Tony never even crossed your mind. It would complicate everything, not just the contract but your own tangled feelings.

“But,” Tony continues, his tone shifting as if he’s trying to solve one of his impossible engineering problems, “we could make it look like we’re…trying. Just enough to keep people off our backs.”

You stare at him, feeling a strange tightness in your chest. The idea of pretending to try for a family seems too intimate, too close to something real. But you understand what he’s saying. It’s part of the performance. Just like everything else.

“And what does that look like?” you ask, trying to keep your voice steady.

Tony shrugs, but there’s an edge of discomfort to his usually confident demeanor. “We drop a few hints. Let the media speculate. Maybe mention something in an interview about how we’re not ruling it out. We don’t have to do anything drastic, just… give them something to talk about.”

You nod, knowing that it’s the logical next step. But as you sit there, staring at him across the table, you can’t shake the feeling that pretending to plan a family feels more dangerous than anything else you’ve done so far. Because even though the idea of kids has never been part of the equation, the thought of what that implies—what it means for the two of you—makes your heart race.

The truth is, things have changed between you and Tony. You’re not just business partners playing a role anymore. Somewhere along the way, you’ve become…something else. And the thought of what that might mean, of what you could become, scares you more than anything.

Tony watches you carefully, as if he’s trying to gauge your reaction. For a moment, there’s silence between you, thick with unspoken things. And then he says, almost too softly, “This isn’t what either of us signed up for. I know that. But… I don’t want to push you into anything you’re not comfortable with.”

You look at him, surprised by the vulnerability in his voice. It’s the closest either of you has come to acknowledging that things between you have become more complicated than just a contract.

“I’m okay with it,” you say quietly, though you’re not sure if that’s entirely true. But it’s the only answer you can give right now. “We can give them something to talk about. We’ve handled worse, right?”

Tony’s smile is small, almost sad, and for a brief moment, you wonder what would happen if things were different—if this weren’t just an arrangement. If the feelings that had started to bloom between you weren’t confined by the terms of a contract set to expire in three years.

But you push the thought away, telling yourself that none of this can be real. Not the lingering touches, not the late-night conversations, not the way your heart skips a beat when Tony’s gaze lingers on you a little too long.

Because it’s all still part of the plan. Isn’t it?

The press will get their story about you and Tony “trying for a family,” and you’ll continue to play your part. But behind closed doors, where the cameras can’t reach, the lines between performance and reality are growing more and more blurred.

And neither of you seems quite sure where one ends and the other begins anymore.

ﮩ٨ـﮩﮩ٨ـ♡ﮩ٨ـﮩﮩ٨ـ

The media frenzy never really stops. Every event, every gala, every time you and Tony are seen in public, the question of starting a family hangs in the air like a cloud, waiting to burst. At first, you both handle it with practiced ease—hinting at possibilities, making vague remarks about enjoying married life for now. The press eats it up, but as the months drag on, the whispers grow louder.

“Are the Starks having trouble conceiving?” “Is there tension in the Stark household?”

The headlines shift from speculation about when you’ll have children to rumors about why you haven’t yet. It’s a delicate dance, one that requires both you and Tony to show the right amount of affection in public, but with subtle hints of strain.

You both knew this would happen. The plan was to invent a story, an excuse that would explain why the perfect couple—the marriage that saved Tony’s reputation—was struggling to take that next step. And so, the story was crafted. You and Tony were “trying,” but it wasn’t working out. The media took the bait, sympathy replacing the pressure, as reporters switched from prying into your marriage to speculating about the emotional toll of fertility struggles.

It’s a brilliant strategy, really. The public buys it, the board of directors remains satisfied that Tony’s personal life is still under control, and you keep the illusion alive. But behind closed doors, things are different. The tension between you and Tony isn’t from some fabricated difficulty of trying for children—it’s from the unspoken truth neither of you can fully face.

Time is running out.

Three years. That was the deal.

You and Tony sit in front of the fireplace in the penthouse one night, the crackling warmth filling the space as the two of you remain lost in your own thoughts. The contract’s expiration date is approaching, looming over both of you like a shadow.

Tony leans back in his chair, his drink untouched beside him. He’s been quieter lately, more thoughtful, but you chalk it up to the usual pressures of running Stark Industries. Or at least, you tell yourself that’s all it is. But deep down, you know something has shifted. It’s been building slowly, a subtle tension, one you can’t quite place but feel all the same.

“You know,” Tony says suddenly, breaking the silence, “we’ve been doing a hell of a job keeping this thing going.” His voice is casual, but there’s an edge to it, a seriousness that pulls at something inside you.

You nod, turning to face him. “Yeah, we have.”

“And the press,” he continues, his eyes flicking up to meet yours. “They’ve got their story. We’ve given them everything they need. Sympathy, speculation, the whole package.”

You know where this is going, and the weight in your chest tightens. He’s bringing it up—the end. The divorce. The part of the plan that always seemed so far away, until now. You’ve kept the charade alive for years, and now it’s time to walk away, just like you agreed.

“Right,” you say softly, your voice catching in your throat.

But Tony doesn’t stop there. He stands, pacing slightly, his hands shoved in his pockets. His brow is furrowed, his face caught in that thoughtful expression he gets when he’s working through something complicated.

“Look, we’ve played this game long enough. And you’ve held up your end. More than held up your end, actually.” He pauses, glancing at you. “So, we could, you know…call it.”

You stare at him, feeling the weight of the conversation settle heavily on your shoulders. This is it. The moment where everything unravels, where you go back to being two people with separate lives.

But Tony isn’t looking at you with the same confidence he usually has when he’s broaching a difficult subject. He seems…uncertain. As if he’s weighing something deeper, something he hasn’t fully admitted yet.

You take a breath, trying to keep your voice steady. “Yeah. That’s what we agreed on, right?”

There’s a pause. Tony walks over to the window, staring out at the city below. His reflection is visible in the glass, but his expression is unreadable.

“We did,” he says, but the conviction in his voice is missing.

You watch him, waiting for him to say something more, to tell you what’s really on his mind. The silence between you stretches, the unspoken things hanging heavy in the air. It’s as if both of you are waiting for the other to say what neither of you is ready to admit.

“Tony…” you start, but he cuts you off, turning to face you, his eyes more serious than you’ve ever seen them.

“Y/N, I don’t think I can do this.”

Your heart skips a beat. For a moment, you’re not sure what he means. “Do what?”

He steps closer, his gaze locking onto yours, intense and raw. “Divorce you. Let you go. Walk away and pretend like none of this ever happened.”

The air between you shifts, charged with a tension that’s been building for months, maybe longer. Tony’s words hang there, vulnerable and exposed, and it hits you all at once—this isn’t just about the deal anymore.

“Tony…” Your voice is barely above a whisper, your heart pounding in your chest.

He closes the distance between you, his hands reaching for yours, his grip warm and strong. “I know this wasn’t part of the plan. I know we were supposed to walk away after three years and never look back, but…” He pauses, swallowing hard. “But I don’t want that.”

Your breath catches in your throat. Tony’s eyes search yours, his expression raw in a way you’ve never seen before. The walls he always keeps up, the armor he wears in public, are completely gone now.

“This thing between us, it’s not just for show anymore. I thought I could keep it separate—business and personal—but I can’t. I care about you. And I know we agreed that this was temporary, but it doesn’t feel temporary to me anymore.”

The truth you’ve been avoiding, denying to yourself for so long, crashes over you. It’s not just him. It’s you, too. Somewhere along the way, between the public dates and the private moments, the late-night conversations and the quiet mornings, you’ve fallen for him. Despite all your attempts to keep this arrangement strictly professional, you’ve found yourself caring more than you ever thought possible.

You stare at him, your heart racing. “What are you saying?”

“I’m saying…” He exhales, his voice softening. “I don’t want to lose you, Y/N. I don’t want to walk away from this. From us.” He pauses, his gaze never leaving yours. “I love you.”

It feels like the world stops for a moment. His words hang in the air between you, and you can’t believe what you’re hearing.

Your hand tightens around his, your voice trembling slightly as you reply, “I love you too, Tony.”

It’s the first time either of you has admitted it, the first time you’ve said it out loud. And suddenly, everything clicks into place. This was never just an arrangement, not for either of you. Somewhere along the way, it became real.

Tony steps closer, cupping your face with his hands, his eyes soft and full of emotion. “Then let’s forget the contract. Forget the plan. Let’s do this for real.”

You nod, tears welling up in your eyes as you lean into him, his lips brushing yours in a tender, genuine kiss. The kiss feels like a promise, like the beginning of something you’ve both been building toward without even realizing it.

The contract, the public charade, the expectations—it all falls away. This isn’t about saving Tony’s reputation anymore. It’s about the two of you, finally being honest with yourselves, and with each other.

You pull back slightly, smiling through the tears. “No more pretending.”

“No more pretending,” Tony agrees, his smile mirroring yours as he kisses you again, this time with the weight of everything left unsaid now spoken. The future no longer feels like a ticking clock or an obligation to a deal. It feels like a life you’ve both chosen—together.

The night Tony confesses his love changes everything. The walls that once separated the two of you—the boundaries of your arrangement—come crashing down. That night, for the first time, everything feels real, not just in your hearts but in the way you move together, shedding the last vestiges of the deal that brought you into each other's lives.

After Tony’s confession, the two of you barely make it to the bedroom, too consumed by the need to be closer, to feel each other in a way that wasn’t hidden behind performance or pretense. His lips trace over your skin, soft but insistent, as if he’s trying to memorize every inch of you. You respond with equal intensity, your hands tangled in his hair, pulling him closer as your bodies mold together effortlessly. The chemistry that’s been building for so long, simmering beneath the surface, finally explodes into something overwhelming, passionate, and real.

That night is unlike anything you’ve experienced with Tony before. It’s not about appearances or duty—it’s about desire, love, and the raw, unspoken connection you’ve always felt but never fully acknowledged. In every kiss, every touch, there’s an unspoken promise of a future you both want—a future no longer bound by a contract.

You spend the night wrapped in each other’s arms, the lines between where you end and Tony begins blurred in a way that makes you feel whole.

Months later, everything feels different. The weight of the contract, the looming deadline—it’s all gone now. You and Tony are free, not just from the obligations of your arrangement, but from the barriers you put up to protect yourselves. And it feels good. Better than good.

The press still follows your every move, but now, when you’re photographed together, it’s not an act. You’re truly in love, and it shows in every stolen glance, every casual touch.

And then, something else shifts. A few months after that unforgettable night, you notice something’s changed—within you. At first, you dismiss it, but as the signs become more obvious, the truth hits you like a tidal wave. You’re pregnant.

Telling Tony is a moment you’ll never forget. He’s in his workshop when you find him, hunched over some new project, completely immersed in his work. You’re nervous, but when you say the words, his reaction is everything you could have hoped for. He freezes for a moment, blinking as if he didn’t hear you correctly.

“Wait, what?” He straightens up, his eyes wide, his face a mixture of shock and awe. “Are you serious?”

You nod, unable to keep the smile from spreading across your face. “Yeah. We’re having a baby.”

For the first time since you’ve known him, Tony Stark is speechless. He just stares at you, his expression softening before he breaks into a grin. And then he crosses the room in two strides, scooping you up into his arms, spinning you around as he laughs—really, genuinely laughs.

“We’re having a baby,” he repeats, his voice filled with wonder.

The night of the gala is perfect. The two of you arrive hand in hand, the press buzzing around you as always, but this time there’s something different in the air. You haven’t made the announcement yet, but tonight is the night.

You wear a stunning dress, custom-made to skim over the subtle curve of your belly. It’s not obvious yet, but you know the media will spot the signs—sharp eyes never miss a detail. And when you and Tony take the stage, everyone’s watching.

Tony steps up to the microphone, his usual swagger in full effect. “So, I know you’ve all been wondering,” he starts, flashing that charming grin of his, “about when the Starks are finally going to have some big news to share.”

The crowd murmurs in anticipation, cameras flashing as the press leans in, hanging on his every word.

He turns to you, his gaze softening as he reaches for your hand. “Well, the wait’s over. Y/N and I are expecting our first child.”

The room erupts in applause, gasps and cheers filling the air as the cameras go wild. Tony pulls you into his side, kissing your temple as you both beam at the crowd, the love between you palpable.

After the announcement, the two of you make your rounds, mingling with the guests, accepting congratulations, and soaking in the joy of the moment. But later, when the two of you finally find a quiet corner, away from the crowd, Tony’s hand rests on your belly, his thumb tracing slow circles over the fabric of your dress.

“So,” he says, his voice low, filled with affection, “what do you think? Boy or girl?”

You laugh, leaning into him. “I don’t know. But I have a feeling they’re going to have your charm and your appetite for chaos.”

Tony grins, his hand moving to cradle your face. “Lucky for them, they’ll have your heart and patience to balance it out.”

You roll your eyes playfully. “Let’s just hope they don’t inherit your knack for getting into trouble.”

He chuckles, pulling you closer. “Hey, trouble is part of the Stark legacy.”

You smirk, resting your hand on top of his. “Well, as long as they don’t inherit your driving skills, we’ll be fine.”

Tony gasps dramatically, pressing a hand to his chest. “My driving skills are impeccable! You love my driving.”

You give him a look, raising an eyebrow. “I love you, Tony. Your driving… not so much.”

He laughs, leaning in to kiss you softly, and for a moment, the world outside fades away. It’s just the two of you—together, happy, and ready for whatever comes next.

As the night winds down, Tony pulls you aside once more, his lips close to your ear as he whispers, “I can’t believe this is our life now. I can’t believe we’re doing this—for real.”

You smile, your heart swelling with love as you whisper back, “Neither can I. But I wouldn’t want to do it with anyone else.”

And with that, Tony leans down, pressing a playful kiss to your belly before looking up at you with a mischievous grin. “Just so you know, the kid’s first words are totally going to be ‘Iron Man.’”

You burst out laughing, swatting his arm. “Not if I have anything to say about it!”

Tony winks, pulling you into his arms. “We’ll see about that, Mrs. Stark. We’ll see.”

I hope you liked this story! <3

[sunshine-zenith]

This is kinda a part two to this post here, about Ballister’s scar. Specifically I wanted to speculate a bit on Ballister’s relationship with Queen Valerin when you consider the fact that he was a mistreated and vulnerable child when he met her

Like. Look at this moment here

She’s reassuring him. She genuinely believes in him, and it’s clear from the knighting ceremony, when she specifically lowers her voice to tell him how much she’s been looking forward to this moment that her intentions around him a pure. She wants to change things, she wants to give this kid a chance, and she’s killing two birds with one stone by making him a knight

But like Nimona herself says, question everything

Look a little bit closer at this image — the queen is well dressed and already had a statement prepared. Ballister is dressed in rags and looks like he hasn’t even been given the chance to wash his hair. He looks surprised and a little scared when the media erupts with questions. And I don’t think this was the Queen’s doing, necessarily — odds are the Director was the one who was supposed to prepare Ballister, and chose not to, because she probably knew that while the Queen wouldn’t judge him for looking like the homeless kid he was, the media would. Still, it shows that while the Queen has overall say on Ballister’s future, she doesn’t have a lot to do about his present

Ballister says he loves the Queen, but it’s hard to tell if he meant he loves her like you’d love a family member, or if he “loves” her like someone who has been raised to not question authority “loves” said authority. He took a deep breath and looked to Ambrosius during the knighting ceremony, not to her. She realistically probably wasn’t super involved, even if she wanted to be — she had an entire kingdom to run, other knights to knight, and likely spent her days making progressive decisions that were controversial with the conservatives in her kingdom. Plus, if she had been super involved, it could’ve increased bias against him, like she was favoring him above everyone else — Ambrosius seemed overall not sure popular among the knights, and while they respected his authority when he was put it charge, there was definitely a vibe that they resented him for being the “Golden Boy” descendant of Gloreth.

Let’s compare Bal and Queen Valerin to Comic!Ballister Blackheart and one of the Queen’s inspirations, Dr. Blitzmeyer (the other was the king, who was a basically prop that was referenced heavily in relation to Ballister as someone he should kill before dying off screen).

Blackheart and Blitzmeyer end the comic opening a lab together, working as co-scientists. Blackheart clearly thinks of her as a friend, but she thinks of him as a fond colleague for most of the comic — she’s happy to offer help in the form of exposition, and she helps him save the day by giving him a McGuffin That You Just Gotta Read The Comic To Understand, but part of her is worried he’s a rival scientist that wants to steal her ideas. She still welcomes him in her home and offers him team. When he’s at the end of his rope and needs a comfort hug, she awkwardly indulges him

She’s surprised when he puts her down as his emergency contact

Dr. Blitzmeyer is a quirky scientist that hangs out on conspiracy forums and probably practices witchcraft for the sake of scientific study. Queen Valerin is a warm and progressive monarch who makes controversial decisions. And they make big decisions regarding helping Ballister

Remember the reluctant McGuffin handover?

She’s weighing the odds of him lying to her and stealing/tampering with/destroying it, hesitating before trusting him. If she had said no, a lot more people would’ve died in the comic, but she had no way of knowing that. She was barely interested in looking out her window and just worried the thing she spent years on would be wrecked

Now, the Queen — we don’t see her weigh the pros and cons of letting Bal become a knight, but she had to. And consider what she was presented with: a homeless kid with either no family or an abusive one judging from his scars and bruises. He had no adults in his life to protect him. No one to tell her no, making him essentially a child soldier might not be in his best interest. And he jumped a fence into the middle of a knight training session declaring he wanted to be a knight, basically coming to her — essentially the perfect candidate for her semi-social experiment

I can totally see her in another world letting this kid into her home and giving him tea and comfort, but I don’t think she could here. While she meant good, she took in a kid with nothing to lose and gave him everything to lose (a home, education, likely his first friend, safety), while also putting him under unavoidable social pressure. And she did it while the only adult figure other than her in his life, the one who would actually be involved in his upbringing — the Director — openly and defiantly failed him from the get go, and protested letting him join the knights to her face

Y’all I adore Queen Valerin, even if we only got her for like five minutes. Even if it’s in a speculative sense I like that she’s a good person while morally gray actions. She very much improved Ballister’s circumstances by giving him a home and the opportunity to pursue his interests. She clearly cared about him. She’s also a politician who, even if unavoidably, lowkey set him up to be a scapegoat without a backup plan and no outside support

Like. Y’all.

[sirfrogsworth]

Stephen Shore is a famous photographer most noted for his work in the 1970s.

He is now an old man.

And sadly, he just yelled at a cloud.

As he was giving his lecture to a Chinese audience, he noticed many people on their phones. And he paused his lecture and said the following...

"Just before you ask that question – I’m gonna say something, and I apologize in advance because it’s gonna be rude. But it’s something [that’s been] on my mind as I experience the modern world. Since we’re talking about attention, I think we understand each other. And I think you understand the value of attending to daily life. I saw at least a dozen of you who spent the entire lecture looking at your phones. You’ve come here. You come here to hear a talk and you can’t even pay attention to who you’ve come to listen to. How can you pay attention to the food you eat, or the feel of the sun on your skin?"

He then walked off before finishing the lecture he agreed to.

But his audience wasn't actually distracted by their phones...

They were taking notes.

And I guess he wasn't used to having such a studious audience. He didn't even consider cultural differences or even people needing to translate things.

Personally, I'd see note-taking as a sign of respect, but I suppose he had no way of knowing what they were using their phones for.

Eventually he was told the audience was taking notes. He said he "felt better" about the situation. And that is where I feel he lost me. He didn't apologize. He didn't agree to redo the lecture. He just attended to his own feelings about the situation and didn't consider the audience that clearly wanted to learn from him.

Personally, I have a hard time connecting with Stephen's work.

And his portraits are all very... deer in headlights.

He just kinda blasts people in the face with a flash.

I think the only thing that saves these photos is the unfamiliar era and being shot on film.

I think the idea is to find beauty and art in the mundane. But I just see the mundane.

Though, plenty of people have trouble with my product photography for similar reasons. I love sculpting with light. I like seeing if I can take a jar of hair gel or nail clippers and make them beautiful and interesting just with fancy lighting. But so many people say it looks fake or like soulless CGI.

So maybe I don't have any room to speak about these mundane photos.

I guess it is the "craft vs art" spectrum.

There are people that only do technical photography. Like those Amazon product shots on white backgrounds. There is archival photography, archeological photography, and forensic photography. Private investigators use some very advanced telephoto techniques usually reserved for artistic bird photography to capture cheating partners.

There is no limit to how advanced and technical photography can get and often artistic intent is not involved.

But there are also purely artistic photographers that only learn the bare minimum to accomplish their aesthetic goals and just lean into the artistic message over the technical quality of the actual photos.

Like a guitarist only learning power chords.

Some photographers will even brag about how non-technical they are and wear it as a badge of honor—as if that makes them more authentic. They act like they are above learning that techie mumbo jumbo. Or they will claim they are too old to learn it.

Annie Leibovitz barely knows how modern cameras work. All of the lights are set for her. She has another photographer take test photos and once he has dialed in all of the settings, he hands her the camera and she presses the button. She knew her shit back in the days of film but she is more of an art director nowadays. I don't know if I could do what she does. I think she is still quite artistically skilled and often gets good results. But I just don't care for her attitude that she can't learn new things. As I get older I try very hard to make sure I don't fall into that mentality.

On the flip side, Ansel Adams built custom dark rooms with special equipment that he basically invented to help him develop or "photoshop" his film photography. He learned every technical detail that could fit in his brain so he could use it to elevate his photography.

But he also realized that you could be both technical and artistic. He blended art and craft so brilliantly and I think that is my sweet spot. When people take the time to figure out both aspects and don't lean too far one way or the other on that spectrum.

I just have trouble connecting with photography that is all art and no craft. I like seeing the effort and skill along with the beauty and vision. I like when someone does something I cannot yet do and gives me something to strive for in my own art. I like when photographers push their tools to do more interesting and creative things.

Richard Avedon was a famous photographer during the same era as Stephen Shore. And when I see his photos it tickles the "I love this" part of my brain.

[ See image descriptions and more of his work here ]

Not all of his work was very technical. He did a mix of studio work and candid portraiture. One of those photos is blurry and I still love it. But you can see the skill in every photo. The effort and experience and technical knowledge blended with the artistic intuition. He took photos of celebrities and just folks in the street. He also did photojournalism in mental hospitals.

I just find that a lot more compelling than a plant in the corner.

However, intellectually, I understand the plant in the corner is important. We cannot gatekeep art and put requirements on how it is created. My brain just has trouble appreciating that type of photography. Though I can imagine why someone would find it appealing.

That said, I'd definitely attend one of Stephen's lectures. And I guess I'd be sure to bring a notepad instead of a phone.

[raven-at-the-writing-desk]

the shroud family curse and its implications for intimacy

I was thinking about what the Shroud parents must look like under their helmets and then I started wondering how they met and fell in love 🤔 While wondering about that, I came to the realization that Mr. and Mrs. Shroud's romance must have been a complicated one.

***Spoilers for books 6 and 7 of the main story below the cut!!***

Idia’s grandmother, Aidne, was the previous director of STYX. She was succeeded by her son (Idia’s father), which implies that the Shroud blood and the curse that comes with it are from the paternal side of the family. Idia’s mom, then, is the one who married into the family. (It’s not clear at this point if those that marry into the Shroud family are also magically afflicted with the same condition, but for the purposes of this post whether it is or not isn’t relevant as my point will still stand either way.)

The Shroud curse quickly burns away any blot the individual has in their body without the typical means of recovery (ie rest and self-care). If there is no blot to incinerate then the curse will turn to consuming the magical energy of the individual themselves, which could pose a threat to their wellbeing and even their life. Because of this condition, ancestors to the Shroud family threw themselves into research on blot in STYX. This would ensure that Shroud members were always around blot that could be burned in the place of their own energy, and provided a sense of false hope for them. They believed that if they worked hard enough, they may be able to find a cure for their curse--but over time, that belief waned, and instead it seems they are all now resigned to their fate and don't try to defy it. We see this is true of the latest generation of Shrouds, as Idia was groomed to become the next director of STYX from a young age even when he disliked the idea and how his responsibilities restricted his freedom. In fact, the Shrouds in general are described as being gloomy people, and this is possibly the result of the hopeless feelings they have about their curse.

A secondary consequence of the curse is that it socially isolates members of the Shroud family from society. Idia is somewhat of a special case since we also have to consider the mental and emotional anguish he experienced following his involvement in Ortho's death. However, even disregarding this horrific tragedy, it can be inferred that the Shrouds are forced into positions which make them more alone than others. For one, their jobs seem to be very demanding and literally physically keeps them away from others (besides colleagues) since the headquarters are located in bottom of the sea. In Idia's post-OB flashback, we get dialogue which implies that he is not allowed outside very often--something which we can attribute to his being the heir to STYX. This may imply that previous Shrouds experienced similar childhoods, and this is just a continuation of the cycle. (I do want to point out here that Idia says his family used to go out to various places together when Ortho was still alive, so it's not a strict requirement that the Shrouds have zero outside interaction. They obviously do go outside the lab, but we cannot say for sure how frequently.)

More importantly, there is also an emotional and psychological component to isolation. You do not need to actually be alone in a room to be considered "isolated" from others. You could, in fact, be in a room full of people and still feel "isolated" because you haven't made any meaningful connection with them. This is what I think it must feel like to be a Shroud out in the world. You may technically be considered a part of the population, but you still don't quite fit in. For example, Idia has previously expressed worries that people will stare at his hair and recognize him as a Shroud, then ridicule his appearance and attitude. Indeed, the gloomy presence that the Shrouds give off seems to be a major deterrent for others to interact with THEM. All that time spent in physical isolation must have also had an impact on the Shrouds' ability to socialize. Idia is a strong example of this; he is an avid gamer and feels comfortable with taunting people via a screen. His face-to-face manner of speaking, meanwhile, can be incendiary and often rubs his classmates the wrong way. His father is not the exact same as him, but Mr. Shroud seems to have his own issues communicating affection and tends to describe things in a serious manner or in terms of work. Thinking about the way the curse is constructed too, there is a built-in fear that the Shrouds can never truly form long-lasting relationships with others, nor completely reveal their true selves to friends. Idia exposits as much in book 6. When Ortho tries to get his big brother to be friends with the OB boys, Idia dismisses the idea and says it won't matter in the end because they will be "sent down the river" and have their memories of those fun times completely purged. This illustrates a defeatist mindset which may be pervasive in all or most of the Shroud family: if this is going to be the fate of my loved ones, why bother getting close to anyone at all? It will just be more painful for us in the end.

SO LIKE. What was Mr. Shroud probably going through when he was seeing his then-girlfriend????? ??? ??? ??? ? ? ??? ? ?? He was probably so frustrated that he couldn't tell her anything about who he really was, and probably even more frightened that if he did ever tell the truth, he might lose her forever (via River Lethe memory wipe). And even if she still accepts him for it, then what??? Then she has to join the Shroud family, and that's basically damning her to the same mopey life he has, researching blot in the middle of nowhere until they're nothing but bones. Imagine how intense that guilt must be, knowing that you (yes, YOU) are responsible for "dragging down" your beloved into the same miserable circumstances that you're in. Not only that, but surely then you'd also have to tell your S/O that any children you conceive together will have the exact same destiny in STYX. It's not just Mr. Shroud either, it must be generations of Shrouds going through this same thing.

But, but, but!! In spite of his fear, Mrs. Shroud must have said yes because she truly loves him with all her heart… Their relationship must be built on such a strong foundation of trust and loyalty 😭 (From here, this is all speculation/headcanon/me rotting about the Hades-and-Persephone-esque romance I picture Idia's parents having. YOU HAVE BEEN WARNED.) I don't think that Mr. Shroud would be the one to initiate or to be affectionate. At most, maybe he had a shy sort of crush on her. More likely it was Mrs. Shroud that first expressed a romantic interest and passionately pursued him. And then maybe over time his feelings blossomed but he was still too afraid to put this massive burden on her shoulders, knowing the responsibility he bears as the future director of STYX... BUT HE HAS ALSO BECOME TOO ATTACHED TO HER TO CUT HER OUT OF HIS LIFE COMEPLETELY... Her very presence is screwing with his usual sense of cool, calculated logic 💀

AND WHAT ABOUT "THE TALK" THEY'D HAVE TO HAVE TO FULLY DISCLOSE EVERYTHING???? HOW MUCH MR. SHROUD MUST'VE BEEN SWEATING WAITING FOR HER ANSWER????? ?? ?? ? ? ? Oh, Sevens. Now I've done it. Here comes the moment where he gets dumped and his mom sends in a whole squadron of men to kidnap his girlfriend and clean her brain up. But NO 😭 Instead Mrs. Shroud just clasps his hands and insists that they should get married so he'll never have to wallow in those miserable thoughts all alone... He's confused and keeps begging her to reconsider, because this decision will inevitably throw her entire life off course.

"Are you sure about this? If you say yes to me, your fate will be sealed. You can never turn back. Your life will be sworn to the Isle of Woe." "Yup, I've never been more sure of anything in my whole life! Let's burn in the Underworld together, darling <3"

She provides a response that’s so easy and devil-may-care that he doesn’t know what to say back, so he just quietly laughs… and slowly those quiet laughs morph into quiet sobs… (like how flashback!Idia transitioned from laughing to crying when he was bragging about how indestructible the “new” Ortho is 😈 LIKE FATHER, LIKE SON—)

Idia drops this line during his extended post-OB flashback: "So it's romantic when a hero rescues his ladylove from the Underworld, but when I do the same for my brother it's wrong?" WHAT IF THAT WAS TRUE, BUT WITH THE GENDER ROLES REVERSED, FOR HIS PARENTS???? ?? ? ?? ? ? ? ? ? ? ?? Mrs. Shroud willing to literally throw herself into the Underworld to "save" Mr. Shroud... like how Persephone was willing to stay there with Hades... 🙃 I'LL EAT THAT SHIT UP, JUST DROP THE "HOW I MET YOUR MOTHER" UPDATE OF TWST, DEVS..... . . . .. ..... . . .. . .. . . . . . . .. .... . . .. . . .... . . .. . . . .

Okay, I'm done screaming and sobbing at the wall for now--.

[candlelightreader]

I was just listening to the DVD commentary on the Snakes episode and I know Grissom and Sara's scene (the only scene they're present in this Nick-centric ep) is big--obviously shipper nirvana--but the commentary by George Eads and the rest (I think one of the writers and either a director or producer) added so much weight that I'd never considered before!

So, Eads remarks on how Sara is the only one who ever talks to Grissom that way. This is, as she really dials up the husky, soft voice she adopts with Grissom. Eads also observes that Grissom is always himself with her, i.e. more of a nerd and rather stripped bare in a way he never is with anyone else. They all make comments on how emotional the scene is and how revealing it is of their relationship because, as always, Sara is 'putting it [her attraction and ongoing interest] out there'. She is never shy about wanting him. (I really need to transcribe the commentaries.)

But Eads keeps coming back to the idea that Grissom is more Grissom or is more himself with her than with any of the others. I'd add that it is not only the fact of their professional position that makes him freeze with her--I think Grissom is talking about himself when he asserts that some men are intimidated by beauty.

You know what magic, Grissom!

Anyways, something I hadn't thought of is that Grissom almost says something back, such as "Let’s go to dinner." But, of course, Sara overtalks and halts his momentum such as it were. But even more, it made me realize how pivotal this scene is, even compared to the Nesting Dolls reveal of her childhood trauma, because this is the moment when Grissom knows 100% that he isn't too late. The flirting takes on a different dimension after this. The looks become more meaningful.

This is especially significant when you consider that ealier in the season, the writers and producers are talking about the explicit intro of Sofia as a romantic interest for Grissom. She was there to create tension and her chemistry with Grissom was very much not subtext. So the decision to make 'this thing' with Sara more solid in the presence of this new love interest adds to the dynamic more than ever. Because the chemistry with Sofia is too easy and too simple. He's too smooth with her. He knows what to say to her at a given moment, because he has no interest in Sofia romantically and doesn't feel threatened by her. She really is just a colleague he doesn't hate. Ultimately, Sofia doesn't leave him speechless the way Sara does. He is not 'himself' when he is with her. Sara, on the other hand, always renders him vulnerable, which of course is why he distanced himself from her in season three, as he realized in four.

And we can see how Sara's effect on him is unique when looking at his other love interests: he does have speechless moments with Terri but by the end, no so much--perhaps there is a sense that while he is attracted intellectually, and somewhat sexually, there is no sentiment after all. With Heather, he never is at a loss for words, which leaves me to lean towards the notion that he was indeed never involved with her romantically--but, perhaps, it is her who makes him discover that sex without love makes him sad whether through conversation or more... In other words, grissom is typically putting on an air with other people. He's fully insulated against them and can act out the persona of an assured, curated Grissom, the bossman, the tin man, the nerd, the professor, the mentor, the father figure, etc.

But with Sara, he is exposed.

[outlanderskin]

Why are you so fucking calm????

Are you asking this in relation to the last paparazzi walk or in general😅🤣? I think that time in this fandom may give me another perspective because the only feeling I have is "I've seen this movie before." I think Sam (and Cait's) actions have no impact beyond the Outlander bubble. The fans who care about them are Outlander fans, to the general public they are unknown, at most "that actor/actress who played that character x in that filme Y". None of the people outside that bubble care if he's seen with anyone. A person outside the bubble who looks at that photo, even knowing the girl's profession, won't see anything unusual, because for that person, Sam is just a single guy who is an actor and doesn't have to live according to anyone beliefs. Mind you, he was not seen on the street beating a woman, an animal, or a child. He was not photographed or filmed committing any crime. Coldly analyzing (from outside the bubble) what you see in these articles is a single guy (that's what you find about him on social media) walking hand in hand down the street with a woman. The woman's profession would be no one's business. Those outside the bubble won't even bother to research, and even if critics, directors, and bosses in general do research or know that she works as an escort, this won't be considered a scandal. Firstly because (publicly) he is single and being single if he wants to have a serious relationship with her (regardless of her profession) is not a crime and it would be considered prejudice and puritanism to boycott someone for that. And secondly, because we are talking about the world of entertainment and let's be realistic: it is a sexist world, dominated by men and where married men involved in cheating scandals, continue to work and earn loads of money and the excuse they use is "that's his private life, not his professional life." I know the impact of these things on the fandom is huge, but it's always just here. Remember Hawaiigate? Even something so serious that it had to be handled with him making public statements (and her distracting the fandom) didn't have a big impact on his business or his career. The only impact it made was some fans who stopped following and supporting him, but those numbers were replaced in the following months by new fans and look at the numbers today.

I've said many times that I don't idolize them both and I don't expect them to make choices based on what I believe. I've also said a thousand times that I think their choices regarding this circus are terrible. But it doesn't impact me emotionally like it impacts some people in the fandom in general (on all sides). My advice is always the same: if it's causing you pain, if it's too much for you to bear, if it affects your real life, walk away. This is just a fandom. It's not your job, your family. Even the circles of friends you make in a fandom (the real friendships) can be maintained if you decide to leave. Just remember to respect the friends that remain, not to think of yourself as superior because you "found the light" and decided to leave, and friendships can continue beautifully.

As for me, so far, all their bad choices only contribute more and more to what I believe. That's why I'm here with my popcorn in hand, always waiting for the next show and remembering that the only actions and reactions I can control are my own. And, that's OK.

[shihalyfie]

I've alluded to tri. having some very troubled production behind the scenes, and among everything that apparently went on back there, there seem to have been at least two major bottlenecks: 1) the fact that the director (who, based on his own statements about deliberately not consulting source material, most likely didn't even watch Adventure to begin with) kept asking everyone to make things more "mature" without being clear on what that actually meant, and 2) the fact they ran out of budget and had to rewrite the entire plot halfway into it. Even the most brilliant of creators probably wouldn't be able to work at their best under such conditions.

But conversely, this also means that there were some excellent people involved in production whose efforts probably haven't been as appreciated as they should be! So I want to take a moment to spotlight some people I want to give props to:

Ayana Yuniko and Nakanishi Yasuhiro: These two scriptwriters were childhood Digimon fans who were thrilled to be on the project, and their enthusiasm clearly shows in every interview they were in. Ayana even made keen observations like noticing that the Adventure kids aren't as super-tight as people tend to make them out to be (something I've pointed out myself, and something that generally only tends to crop up among fans who have studied the series closely), and Nakanishi stated that she would slip him detailed notes about the characters and their relationships.

Both of them stated they were trying to portray the Adventure characters in a character-accurate way but kept getting their scripts rejected for not being "mature" enough, leaving them unsure about what they were supposed to do. Their roles on the series were also limited; Ayana was on parts 1, 2, and 4 while Nakanishi was on part 4 only, and they were sharing the scriptwriter role with multiple others (even within a single movie). But if I were asked to pick who on the staff list I would want to see come back for another Digimon work, it would absolutely be these two.

Kakikara Yuuko: The one in charge of overall writing for the series. tri. had a total of five scriptwriters and could have up to four(!) on a given movie, so because of that, her statements on the series and its story direction have been a bit difficult to tell whether it was her idea personally or whether she was delivering the writing room's discussion result. But one of her final statements on the series basically amounted to "I'm grateful if you even came to watch it to the end at all," and she was quite humble about saying she felt things could have been done differently; considering it sounds like she had a hard time keeping everyone and everything in order, I can only imagine she went through a lot trying to make sure everything ended safely. Incidentally, her writing portfolio is also quite respectable (and even includes kids' shows).

Suzuki Takaaki: The person with the job of "setting researcher", i.e. the one with the job of looking into the lore. Sadly, it seems like most of his ideas didn't make it into the final series (possibly because of the budget loss-induced rewrite), but his one solo interview indicates that he put quite a bit of conscientious thought into how Digital World lore works, including the idea of an EMP weapon that would affect Digimon easily but not humans (an idea that doesn't pop up among fans as often as you'd think, and took up until last year to make it into actual Adventure material via Takeru's 02TB in-universe fanfic).

Sakabe Gou: The person in charge of the series BGM. We haven't heard a lot from him, but the little we have indicates that although he also had difficulty understanding what the director was asking for when he wanted "mature" music of some kind, he himself put some very thorough thought put into the composition. In particular, he went into detail regarding the music used at the beginning of part 4, which seems to be a fan-favorite track from what I've seen (it's also my favorite too!). Sakabe also has an extensive and respectable portfolio outside Digimon; in particular, he's very highly regarded in Kamen Rider circles, so if you have a friend who's a fan, it might be a good idea to ask them about it!

[youremyheaven]

angel imagery and vedic astrology 👼🏼🧚🏼‍♀️

i had previously made an observation that angels in cinema are often played by actors who have deva gana nakshatras. upon looking into it more, i noticed that people who repeatedly use angel imagery often have pisces rashi nakshatras, mrigashira, swati, punarvasu or purva & uttaraphalguni placements.

sufjan stevens on stage. he has ubp moon, mrig mercury, jup revati amk, punarvasu saturn amk

this is the album cover of nirvana's last studio album. kurt cobain has mars and ketu in swati. swati is associated with eggs and conception and creation. the album heavily features themes of birth and death, nurturance and violence. the original title was supposed to be i hate myself and want to die (kinda ominous considering the fact that kurt took his own life not long after) but the final title was taken from a poem written by Courtney Love, who has punarvasu sun & moon.

ill make a separate post about this but punarvasu & swati are deeply intertwined nakshatras. both deal with the nature of the universe, creation and reality itself.

Van Halen's 1984 album. this is singer David Lee Roth's last album before his exit from the band. David has swati mercury and saturn with pbp moon

swati sun & stellium, katy perry at met gala wearing angel wings

here she is at the grammys wearing angel wings

david beckham has a large back tattoo of an angel, mrig venus atmakaraka, revati jup punarvasu saturn

revati moon rihanna has the winged egyptian goddess isis tattooed on her chest

angel of the north sculpture by antony gormley. it is said to be the largest sculpture of an angel.

he has purvaphalguni sun, revati moon and swati mars, uttara phalguni ketu

this depiction of an angel is a very modern and "high-tech" and to me the polarity between depicting an angel (in itself a very archaic and otherworldly concept) in a very human albeit futuristic way is 100% the influence of his revati moon and swati mars.

the angel and the woman (1977) is about a murdered woman who is brought back to life and becomes romantically involved with the angel who rescued her. carole laure who plays the rescued woman has purvaphalguni stellium punarvasu mars atmakaraka and revati jup amk meanwhile the angel is played by lewis furey who has mrigashira sun and swati moon

l'ange or the angel (1982) is an experimental art house film and its letterboxd description says its about "The climbing of an immense staircase made up of the most varied stairs- Symbolic scenes occur on different levels where characters seem to be prisoners of their deeds and of their own folly. The steep staircase leads little by little towards the zones of great light where human beings and nonhuman beings meet."

the director has pbp moon, revati mars atmakaraka, mrigashira saturn amk

the character of Angel/Archangel in the X-Men movies has been played by two people

ben hardy, pushya moon and ketu plays Archangel in X Men. like i said in my previous post, angels in cinema are often played by deva gana nak natives and pushya is a deva gana nakshatra.

thisrole was previously played by ben foster who has swati sun, punarvasu moon, uttaraphalguni venus and jupiter

i married an angel 1942 is a very punarvasu coded film

its about a wealthy man, Willie who swears he'll only marry an angel. soon enough an angel comes into his life but due to her divine nature, she is unable to fib and has no human failings. Her honesty alienates her husband's high society acquaintances and his biggest customer and causes a run on his bank. His sister, Countess Palaffi, saves the day by teaching the angel about the real world. Willie and his now Earthier angel live happily ever after.

jeanette macdonald who plays the angel has mrigashira sun, punarvasu moon and mercury and pushya rising with purvaphalguni mars

The Vintner's Luck 2007 is a queer coded movie about a man who is visited by an angel every year. gaspard ulliel plays Xas, an angel, he has anuradha sun and ketu with ubp rising. the movie is directed by niki caro who has uttara phalguni sun, anuradha moon

its based on a book by elizabeth knox who has ketu in revati

Angel's Bone is a one act opera, which follows the plight of two angels discovered on earth who are forced into spiritual and sexual slavery at the hands of a financially troubled couple.

the angels longed for earthly delights and that has, mysteriously, brought them back to our world. they're found by a couple who nurse the wounded angels back to health. but they keep them as prisoners and decide to exploit the magical beings, clipping their wings and forcing them into prostitution to earn back their plucked feathers.

Do Yun who composed this piece has mrigashira sun revati ketu with venus and mars in bharani

Bharani is karma and concerns itself with purging and purifying whatever it touches. everything that is dirty, impure, false or frivolous is stripped away to reveal what is true and real. this specific work of art displays Bharani themes with both the couple and the angels facing their karma in different ways.

in the tv show Touched by an Angel, Roma Downey plays monica who is an angel. she has bharani sun and purva phalguni moon

Bharani is karma and bharani is also tasked with guiding souls to other realms. in this show, Monica is an angel in heaven who travels across to the earthly realm to help and guide people.

Gisele Bundchen has Pushya sun, Swati moon, punarvasu mercury mrigashira venus

Swati moon, Kylie Jenner frequently wears angel wings

she also has revati saturn as her atmakaraka and ive already talked about how much pisces girlies love butterflies<3

here's the whole clan wearing angel wings one halloween

swati sun, ubp moon, kendall jenner dressed up like a fairy

rihanna, revati moon wearing angel wings

mrigashira venus atmakaraka megan fox

as to why these specific nakshatras are drawn to angel imagery, i have a few thoughts.

mrigashira is associated with shape shifting, as Brahma's daughter assumed the form of a deer. angels are divine beings who can assume different forms and travel to different worlds.

punarvasu and swati are both connected to the universe and creation itself. it shouldn't be surprising that these natives are drawn to angel imagery.

purvaphalguni and uttaraphalguni nakshatras are both symbolised by the marital bed, union and consummation of love/marital bliss. again coming back to conception and creation. it seems to me that wherever there is creation, there are angels protecting it.

pisces rashi (pbp, ubp and revati) is the point of dissolution. its the final rashi and here, all that's been learned through all the other rashis is contained, it reaches its absolute point. its the height of moksha. spiritual liberation is the aim and again, it makes sense as to why natives of this rashi of completion and surrendering would be drawn to heavenly and angelic imagery.

[genericpuff]

Lore Olympus Art Analysis - Getting to the Bottom of It

For ages now it's been a common point of discussion - what's the process involved in Rachel's creation of Lore Olympus?

As a community, we've all discussed and speculated Rachel's process among herself and her assistants and how it seems to result in cheaper art each week. Same face syndrome, the overuse of the multiply tool, the dull backgrounds that often enter nightmare fuel territory, the lack of color vibrancy compared to Season 1, the repetitive poses and shots, the theories that different assistants are handling different aspects of individual panels, the clear lack of buffer, the list goes on and on.

But I think we've finally gotten to the bottom of what's going on. Or at least, deeper than we've gotten before and it feels like now we're closer to fully understanding Rachel's process than ever before.

Normally, I wouldn't care this much about dissecting the steps of creating a comic. Everyone's process is different, and when you're working with a team, that can introduce a whole new layer of understanding. I've worked with my own assistants in the past, trained to work in the animation industry which relies on coordination between people, and fully understand what's required to go into making a finalized piece of work put together by multiple people. All that's to say, having assistants doesn't necessarily mean you do less work.

When it comes to LO, though, I do feel this compulsion to tear into it more because Rachel seems to completely lack this understanding, and it shows in her work.

Before I continue, I want to throw in a quick disclaimer - when we criticize Rachel's art, it's not to throw any of her assistants under the bus. All of her assistants are incredibly skilled in their own right. When I criticize Rachel's art as a whole - regardless of who helped shape it into its final form - I'm criticizing not just the art itself, but her direction. Rachel is, essentially, a director of a team, and how she manages that team reflects how her work looks in the end after it's all been put together. I will be showing pieces of art from her assistants in this essay, none of this is to promote any shame or hate towards these people. This is purely an essay speculating on Rachel's directing capability and how she manages her team and is not meant to be taken as objective fact beyond what I am capable of proving as an outsider looking in. I consider her assistants people who are just being hired to do a job, I do not condone holding them responsible for the nosedive Lore Olympus has taken in quality over the past few years. These are simply points and speculations that myself and the ULO community came to after discussing it at length.

Alright, so, where to begin?

This essay started with me having a simple conversation with @loreolympusminoredits over on Instagram. They had pointed out a couple panels from a recent free episode where you could see the texturing wasn't being applied properly. You have to look really closely, but once you spot it, you can clearly see the outline of a square where the texturing block wasn't repeated.

It's VERY obvious in this last panel of Hades, look along the back of his shirt, you can clearly see the color warping from the texture block overlaid on top of him.

Now, I have a few theories for this on its own, it really depends on what drawing program these assistants are using. Some of them use Clip Studio. Others use Procreate. There is no consistent requirement in workstations or software among the team, which is Rachel's first mistake. There's a reason why the animation and film industry requires everyone to be using Adobe products whether they like it or not - because it keeps things consistent across the board. It doesn't matter how good you are at Clip Studio or how much you like Procreate, you need to be on the same software and hardware as everyone else to ensure that you can access the same tools, brushes, and workflow as the rest of the team. No one wants to have someone working primarily in Clip Studio who can't access the same brushes or files as the people working in Adobe. As much as I personally hate working in Photoshop, if I were to get an industry job, I would be expected to work in Photoshop, no questions asked. It's part of the job.

Moving on from that, this led me to wonder which assistant was doing these panels, because it's clear that this texturing problem is mostly at the end of Episode 242 during the Persephone / Hades conversation. There's also one stand-out feature that tells us it's the same person making these panels - the bobblehead necks.

Bobblehead necks have been a very noticeable feature in the comic's art decline over the past while. They typically happen when a character - especially a female one - is being drawn from the front. They're usually also defined with noticeable jugular and collarbone lines.

So, which assistant is it drawing the bobblehead necks?

Rachel's art team switches up a lot. Sometimes she has 3, sometimes she has as many as 8. Some assistants tag in, others are consistent.

So far the most noticeably consistent assistants in terms of participation since S2.2 (i.e. post-time skip S2) are Dnaeri, HardHeadedWoman, AmyKing89, and HeyItsJaki (as credited on their episodes). They're the usual team credited at the end of episodes, with the exception of maybe one artist not being present or an extra artist tagging in.

Upon checking their Instagrams, I am becoming way more certain of who does what and how Rachel does her process.

Let's start with HeyItsJaki:

Very thick lineart, distinguished collarbones, defined fingernails/fingers. Thick shading underneath the neck. Sometimes pouty lips if the expression calls for it.

Now let's look at HardHeadedWoman:

Very Disney/Warner Bros reminiscent art, with most notably, thick necks and distinguished jawline features on guys and hourglass figures/thin wrists/thin fingers on women.

And then we have Dnaeri:

It's harder to pin down her style because she seems to just draw whatever she's feeling like, but most notably are how she draws hands and collarbones, very similarly to Jaki, but with one noticeable difference - softer and rounder lines and shapes.

The irony is that Dnaeri and HeyItsJaki both have the same name - Jaki - so them having similar tells in their styles is just something I wanted to point out. Just a funny thought.

That said, Dnaeri DID post a drawing of Persephone once in her own style/interpretation, and there are definitely things to note here.

The collarbone distinction. The anatomy of the fingers and toes. The lighter lineart. The little 'dip' along the edge of the smile.

Moving on. Let's talk about the last assistant who I feel deserves a specific mention - AmyKim89.

You see, Amy is what I'm going to call the smoking gun. All thanks to this post:

Recognize that panel? That's the flat of Dream Persephone from Episode 204.

And this is what the final panel looked like.

Now, Webtoons cropping aside (don't mind the seam running through Persephone's chest) this confirms multiple things for us.

1. AmyKim89 was not the one to shade this panel.

2. The assistants are working purely off Rachel's sketches.

3. The assistants can be in charge of their own lining, which would explain the inconsistent lineart throughout each episode.

4. There are no backgrounds present meaning someone else is in charge of the backgrounds.

5. Flats can be changed and added to after the assistant has already done their job.

To talk about #5 first, notice the pantyhose that were added that make her legs disappear into her cloak. The baby's face changing. The added flower and necklace. Her eyes changing direction.

Regarding #1, look at how the shading makes the art so much more dull. The previous version of this panel with just the flats genuinely looks so much better than the finished piece.

This was, as I'm sure you can imagine, a pretty big find. While I'm sure Amy would probably not be happy to see me using her innocent post as proof for my hyperfocused ramblings tearing apart Rachel's process, I'm glad she posted it nonetheless because it finally shows us a smidge of what the process might be like during production.

Going back to the shading really quick - Amy was not the one who shaded that panel. But I did notice that out of every little inconsistent thing in LO, the shading is some of the most consistent, and it's consistently awful. Dull muddy tones, lack of consideration of space or lighting, clearly the multiply tool being used even when it really shouldn't be, placement of shading primarily under the eyes even when it makes the face look too dim to look good.

It's always being done with the same watercolor-like brush, with the same multiplied tones, and the same 'edges' along where the shading hits the light.

We also know that Rachel eyedrops her colors.

I don't think it's farfetched to believe that her assistants likely do too to a degree. Or they're working off color palettes from previous episodes they've done before which is resulting in this color dissonance where characters change colors, sometimes in between panels.

Considering the constant muddy shading, and the fact that the assistants may not be doing it, I believe it's Rachel doing the shading in the post-production. If you need more proof, here's a reel of her shading in Hades with the exact same techniques seen in finalized panels.

View this post on Instagram

A post shared by Rachel Smythe (@usedbandaid)

Otherwise, if it's not Rachel doing the shading, it could very likely be Dnaeri, as they're one of the longest-running assistants on the team (they came on during S1).

Moving on from that, let's circle back to AmyKim89's drawing of Persephone. She specifies she did the flats and lines for that panel, working off Rachel's sketches. But one noticeable thing is that there's no background.

This lead a bunch of us in ULO to speculate that Rachel is also the one throwing in the background and throwing PNG's of the characters on top.

Proof? How about the fact that there are panels out there with crunchy characters and pristine backgrounds?

I already suspected that the character was zoomed in and the background wasn't, but Amy's post confirms more than that - that the assistants are essentially drawing PNG's which don't get backgrounds until Rachel - or another one of her assistants - adds them.

Here's another panel that I strongly suspect was done by Amy judging by the colors (but the lineart feels like it could be Jaki):

Look at how she's floating in empty space. This wasn't drawn background first and Hestia second, this was drawn with Hestia first and they slapped a background behind her.

It would also explain why we get panels of characters missing their bottom halves or their limbs - because the backgrounds ended up being larger than they were anticipating in the final shot.

There are a whole bunch of things we can speculate on here knowing what we know from past essays and what I've laid out here.

Rachel may only be involved in the beginning and end of these episodes. She does the roughs, hands the sketches out to her assistants, which they flat and line, and she puts in the shading, dialogue/speech bubbles, texturing, and last details after they're all handed in. This would also explain why there are so many typos - lack of time to edit/proofread - and why sometimes there will be characters speaking but their mouths won't be open.

Rachel hands out the sketches to her assistants individually who flat and line it and hand them back. Sometimes they're handed individual panels, other times they're handed entire pages with a few panels on them. This would explain why we can go an entire scene with a character looking one way and then looking completely different by the next.

Think back to all those previous essays. Everything we've learned so far - that Rachel's buffer is miniscule, that she's shading with the multiply tool, that she's clearly only contributing the roughs and few panels that she makes from random drawings she did on a whim and waits until she can find a chance to shoehorn it into the comic.

Rachel started off drawing this comic just on her own. When she took on assistants, there were only two - AmbitiousIcarus and Madd_Joey.

But eventually, she took on more and more. Two became three, three became five, and nowadays, she maintains a consistent art team of 4-6 people per episode, not including herself or the rotating artists who come and go every now and then.

This has been happening steadily since the Episode 50's range of S1.

The summer when Lore Olympus' licensing rights for animation were sold to the Jim Henson Company.

I'm not gonna sit here and tell you that the assistants were the downfall of LO. I think they're all amazing artists, each in their own right - but their art is clearly failing to shine through in the wake of Rachel's poor management and organization. Rather than delegating single people to single roles - lines, flats, shading, texturing, etc. - she's handing things out panel by panel as she sketches them out... and considering how poor her time management is as we've all seen, it's not hard to come to the conclusion that these assistants are all being put in positions where they have to rush out lower quality work. Rachel is haphazardly dividing up the work between more people all the while contributing less and less on her own end in pre-production, post-production, and quality checking as time goes on. The final episodes weren't immediately noticeably bad as soon as she started taking on more assistants, but it's clear Rachel's involvement in the comic and its quality control has been declining rapidly since the Jim Henson purchase.

Again, this isn't to point fingers or assume the worst of anyone, but it really is food for thought. I hope that this was, at the very least, informative for those of us who've wondered over the years what Rachel's process is like. It definitely seems messy from what we can tell on the surface and frankly, if I could be in the same room as Rachel, I'd be using all this as an example of why she needs to manage her team and her time better. But that's not my place to do so. All I can do is speculate on it and spend way too much time writing an essay about it LMAO None of what I've written here is 'proof' of anything, as I'm not in the position to be able to do such a thing - that's reserved solely for Rachel and her assistants - but it's becoming plainly obvious what the workflow looks like and why the comic looks shittier and shittier every week.

All that said, I don't feel like her assistants get nearly enough credit for the work they do for Rachel. She can't even be bothered to remember the name of the guy who edited the books for her (it's Edwin, by the way) and you never see her bring up her assistants when she talks on interviews about how hard she works or how difficult it is to make a webcomic. At this point, Rachel may as well be the Queen of England - all the pomp and reward and credit, with nothing to show for leadership or actual work ethic.

It's not your work we're seeing each week - it's the work of people who are rushing to meet your deadlines, win your awards, and do your homework.

You are the sum of the parts you utilize in your workflow. You are not here purely of your own efforts. It can barely be called 'your work' at this point. Lore Olympus has become the Ship of Theseus - barely recognizable for what it once was after being haphazardly pieced together by the efforts of others.

And that's all I'm gonna say on that.

[14th-century-verona-queer]

Okay so i have NEVER (and i mean NEVER) watched TUA, but my wonderful and amazing friend @aroacebooknerd is a huge fan and quite genuinely 99.9% of what they’ve posted recently has been reblogs of people who are angry about the S4 ending and the character assassination of Five

so here’s basically what I know about season four (and TUA in general):

TUA fans: Oh boy! I can’t wait for the season 4 finale, we’re finally gonna get closure! I’m hoping all the characters will finally be happy and something with marigolds will happen! TUA director (i think): uhm actually no we’re going to give this practically cannon aroace character a love interest and make him a homewrecker! That’s what you guys wanted right? TUA fans: *unintelligible screeching and angry noises*

So heres what i know:

Marigolds?? Those are important for the ending for some reason

a man named Klaus who sets off my gaydar and smth abt him being a stripper? (He’s like my queen Dan wildes, pop off king)

Five (I I still don’t know why he’s named after a number?) is somehow like 75 but also 18

This woman named..uh I forget, but her actors name is Rita I think and apparently she’s like 34 and agreed to cheat on her loving husband (who’s five’s brother) with five. this is so potent with the stench of pedophilia. this is so not okay. you can’t just be like “oh but he’s 18 so he’s legal so it’s okay!” Like NO SIR THATS NOT OKAY

apparently they waited for fives actor to be like 18 before they forced him to kiss Rita or wtv??? like…that is illegal sir? or if it’s not it should be?? Wtf??

I saw a picture of the kiss that happened between them and I started genuinely BURSTING OUT LAUGHING. and not in the “haha that’s hilarious!” Way but in the “HAHA OMFG THIS IS SO NOT FUNNY AND STUPID” way. Like. that kiss looked so uncomfortable. you can TELL that five’s actor is uncomfortable. wtf guys.

the trans guys voice got deeper!! that’s so good for him!! we love seeing representation of trans people and their journeys through transitioning (or not if they don’t choose to, but the emotional journey they partake in)!!

we’re sad abt a woman named Sloan for some reason

S1 Allison and Luther (I have no idea who they are) was uncomfortable

one of the main guys has like a kill count of the entire population of the fucking planet. Apparently his powers are like..out of control and he killed everyone?? …how….i have so many questions and i know that none will be answered

theres like five main characters and they are all apparently siblings. So i guess SOMEONE was getting dicked down good

SOMETHING ABOUT SOMEONE WITH A MONKEY BODY

theres a guy that’s a ghost..i think his power was like Painful As Fuck™️

I think there was a kraken involved at some point?

It’s giving found-family aftg vibes but also not ( nothing could ever compare to my beloved aftg)

i tHink they’re all like assassins?

There’s something about their being normal versions of them, and then Sparrow versions on them? What?

something about a mannequin and how Five really likes said mannequin

fives character was assassinated bc he would always choose his family over himself and that’s not what he did in the finale

they all end up dying in the end, no closure is given, everyone is angry, Obama has packed up his stuff and is NOT there

Yea, thats pretty much all I know

Which is..not much

I am still VERY confused the more i look at this list

Feel free to reblog this or whatever to just rage about the season 4 finale bc from what I understand it was SHIT

I was considering watching the show before but like..do i even want to at this point?

I don’t wanna fall in love with the show knowing that THIS SHIT is gonna happen

I deeply empathize with all the TUA fans. I feel so bad for y’all 😭

[aroacewxs]

just to clarify that a majority of these are just my personal experiences and that i am simply projecting my feelings onto these funny theatre kids. aromanticism is a SPECTRUM and this is simply where i fall on it. i hope some of it possibly makes sense to an aroace spec folk out there. I Am Bad At Words Sometimes

tsukasa who misses romantic social cues like how he (probably) misses flies with a fly swatter. tsukasa who doesn't understand what's so special about a boy and a girl being friendly classmates. tsukasa whose only perception of romance is from the musicals and movies he watches. tsukasa who studies these musicals and movies down to the very bone to understand what being in love feels like for a show role and feeling hopelessly dejected when it doesn't work. tsukasa and his stupid tribute to romeo and juliet with scientifically incorrect terminology and a cheesy, overdramatic monologue about marrying the love of his life

emu who doesn't understand the social rules behind affection and what defines romantic affection vs. platonic affection. emu who has been misunderstood over and over for her friendliness. emu who feels giddy when her friend gets into a romantic relationship but feels indifferent to romance when it involves herself. emu who feels fulfilled and perfectly satisfied with the relationships she has now and doesn't yearn for something else. emu who doesn't understand why wanting "more" is so important to others. emu who loves to hug and hold hands with her friends and kiss their cheeks without a care in the world

nene who doesn't spare a single thought for dating because she believes the possibility of her becoming romantically involved is little to none, especially when she feels like she still struggles with befriending her classmates. nene who has panicked before, worrying that she was falling behind with the rest of her peers and would be left out. nene who has tried imagining romantic scenarios with random people in her life to see how she feels about it, only to clasp her hand over her mouth in disgust and have to take a walk around her room to clear her head. nene who admires the inspiring relationships the characters in her video games have with one another and wonders why she can't feel the same romantic admiration for somebody else in her own life.

rui who spent his entire life wondering if he really was a heartless monster, not just because he was considered a freak by his classmates, but because he simply could not reciprocate romantic feelings. rui who feels like a mere member of the audience, not the performer onstage or the director behind the scenes when observing romantic relationships. rui whose love in his heart would be considered lesser and unimportant because we live in an amatonormative world that ranks romantic and sexual love as the highest degree of love a human being can have. rui who grows to accept that he is not broken and not a robot and that love isn't something that makes somebody a human being. rui who learns to embrace how much he values the love in his own life, from how his chest warms during rehearsals with wxs to the raw excitement from discovering something new while twiddling with mechanical parts, to the dedication he has for his craft and the things others would consider trivial.

wxs who are just so incredibly aromantic and asexual

[neitherabaron]

Really looking forward to the Chris Pine D&D movie, and I want to share some love for the original attempt at a D&D film from 2000!

Make no mistake, this is a so-bad-it’s-good film, with digital effects that are ropey as hell (especially when you consider that Fellowship of the Ring was already in post-production in 2000), a plot so disjointed it barely exists, (including a final battle that the main characters don’t even really take part in) and staggering levels of camp.

But it’s fucking charming.

Jeremy Irons (Scar from The Lion King) is the villain, an evil archmage who wants to overthrow an (not particularly benevolent anyway) empire with a plan that is never really clear but involves dragons?

Just look at this guy:

:readmore:

He walks about like that for the whole film, waggling his fingers slowly so you know he’s the baddie. He has an office where all the furniture and decor is made of human skulls and bones (a real location; I believe it’s a church somewhere?) and likes swooping his cape about. And Jeremy Irons himself is so bored, it’s hilarious. I seem to remember that in the dvd extras he’s interviewed alongside Gary Gygax and pretty much expresses open disdain for the whole process. He’s a serious actor! This is beneath him!

Elsewhere on the supporting cast, we have a henchman with spiky armour and inexplicably blue lips that are always pouting in a way that seems vaguely sexual; Tom Baker(!) as a wood elf Druid who only exists in order to say something vaguely mystic about dragons for 20 seconds before disappearing forever; and Richard O’Brien in full fey bastard mode as a camp thieves’ guild master who challenges the party to…find a crystal…in a deadly maze filled with traps and puzzles. Like in that game show he used to present…I forget the name. I wanna say Diamond Labyrinth? 😂

As for the party, it’s all delightfully one-note characters. We’ve got a rogue? bard? who goes from being a selfish dickhead to altruistic freedom fighter on a dime. Some dialogue suggests he’s some kind of chosen one, but the plot never actually explores or resolves that. Then there’s a wizard who doesn’t like poor people, an elf fighter who doesn’t like anyone, a dwarf who’s so out of it he barely knows he’s there and is never given any character motivation to explain why he’s travelling with these guys; and some dude called Snails, whose personality is…he’s scared? Basically Shaggy without Scooby.

These guys have to save a princess from Jeremy Irons, who wants to kill her because she has friendly dragons or something. But here’s the great thing: the party have very little reason to want to rescue her (most of them as non-mages are actively oppressed and even enslaved by the ruling mage class of which she is the figurehead) and they never actually *meet* her until the very end of the film, after the evil archmage has pretty much already been defeated - by the princess and her dragons btw, not the party, who basically teleport a magic wand to her and then just watch.

They rescue her because in order for the film to be a film, there needs to be an end goal, even if it’s totally arbitrary. And that’s what I love. Isn’t that just so reflective of a slightly haphazard campaign of Dungeons & Dragons with a party that’s hastily thrown together?

And there are more similarities that compound this feeling of watching some randoms play a home campaign. The plot as I mentioned is disjointed. It’s not a series of events that flows or has any kind of pacing - the movie is a series of 15 minute adventures that don’t really connect to each other or build to the ending. As if the director is a dungeon master arbitrarily stringing together modular adventure sourcebooks! Let’s storm a castle for reasons! Great, now let’s raid a tomb. No, I don’t know why. At one point a party member just bounces from the plot and is never seen again, just like that player in your group who never shows up and you all just move on.

It’s like the writers transcribed a home campaign, warts and all, into script form and then somehow successfully pitched it as a B-movie. Though the Chris Pine version will doubtlessly be a much better movie, Dungeons & Dragons (2000) is perhaps the most accurate possible dramatic presentation of D&D as it actually is in practice for most people playing it. What could be more charming than that?

[rusquared]

HI RU I FINISHED THE ORV EPILOGUE AND I'M DEVASTATED. on another note, what are your thoughts on hsy's epithet, "director of the false last act", could mean? i mean, director is straightforward (both of her role as a writer, and her leading kimcom in various instances), but false last act not so much.

i'm thinking that "false" is less "intended deception" as the word implies, and more relating to her thinking this will be the final act, both in 1863 and the epilogue, when she leads the group? but i'm not really sure. again, the phrasing kind of implies there's an intended deception in there, and sure enough hsy has played the bad guy role a lot of times as well...

(ps i have been looking at your orv spoilers tag now and wistfully sighing. every so often i look at something that makes me want to go outside for a smoke break. i have never touched a cigarette.)

CONRGATS ON THE HEARTBREAK. ALSO AT THE PERFECT TIME CONSIDERING THE WEBTOON IS ON THE 73RD DEMON REALM ARC AND PEOPLE ARE RELIVING THE PAIN THERE TOO.

also congrats on everything about orv being recontextualized for you <33333

as for your question, i def agree with your interpretation of it. it's also interesting that (at least in the translation i read) her modifier changes between 1863 and 1865. "Director of the False Last Act" (1863) versus "Architect of the False Last Act" (1865).

In 1863, she "directs" what she thinks will be the end of the world and all scenarios. She plays an active role, yes, but moreso puts every character on the path she thinks will lead to her perfect ending. She makes YJH become the "villain", and takes over his position as "protagonist", so that the curse of his regressions can end and the world can be spared from the scenarios.

In 1865, she's now the "architect". This implies a much more involved role - she's building the ending herself. Given how she regressed, and will later write the story itself, this makes sense. She's actively trying to create the ending.

For 1863 HSY, it's the false last act because while she believes and tries to make it the end of YJH's tale, she fails. It was never meant to happen. The plot (the reader) would never allow such an ending, and indeed the reader himself shows up to ruin all of her careful planning.

For 1865 HSY, I think more of the 'epilogue' to ORV. The ending she wanted to, but never could write, because she didn't know what kind of ending she wanted the fragments to read. They went to 1865, they made it past the final wall, they even made it onto the train. This should've been the "last act", the happy ending, but it wasn't. Now, back in 1864, when she tries to write the story she doesn't know what to even say. How dare she assume what a happy ending for Kim Dojka looks like?

So yeah, I think "false" in both modifiers doesn't refer to deception (though as a writer trying to change the story, she is doing a kind of deception). I think it refers to how HSY, as the writer, is still powerless to change the flow of the story that has entered the hands of her reader. The ending she wishes to make is beyond her power, but she can get closer and closer with the help of the readers.

[fictionalfantasist]

Wanda x reader fan fiction

Summary: Y/N is not a hero—just a stunt double, living in the shadows of others' spotlight. But when her path crosses with Wanda Maximoff’s, their worlds begin to collide in unexpected ways. Drawn together by fate, their bond deepens as they face forces neither of them fully understands. In the fight to protect what matters most, they’ll discover that when two worlds collide, the aftermath leaves nothing untouched—and everything at risk.

Chapter 4

The atmosphere on set was thick with tension. The smell of smoke still lingered in the air, the charred remains of the collapsed scaffold a grim reminder of how quickly things could go wrong. The crew was quieter than usual, their banter muted, the undercurrent of nervous energy replaced with caution and unease.

Y/N moved through it all, feeling the weight of everyone’s eyes on them. They weren’t new to dangerous situations—being a stunt double meant that risk was part of the job description—but this was different. The sense of control, the careful calculations that went into every stunt, had been upended. What happened wasn’t just an accident, and that knowledge buzzed under Y/N’s skin like static.

After being pulled back to set, Y/N had gone through the motions—resetting for another scene, running through the next stunt choreography, making sure all the safety checks were in place. But their mind kept drifting back to Wanda’s words, to the way she had looked at them with a mixture of concern and suspicion.

Magic. The idea gnawed at Y/N. They had always prided themselves on being grounded, practical—relying on their skill, their reflexes, their experience. Magic, on the other hand, felt unpredictable, uncontrollable. And now it was creeping into their world, complicating things in a way they weren’t prepared for.

They finished the next stunt—a relatively simple car jump—without incident, but even as they landed smoothly and the crew applauded, Y/N couldn’t shake the feeling of unease.

Once the cameras cut, the director called a short break, giving the crew some time to regroup before they moved on to the next sequence. Y/N made their way over to the craft services table, grabbing a bottle of water and trying to let the familiar routine of set life calm their racing mind.

But the second they sat down, they felt someone’s presence beside them.

“Hey,” came a familiar voice. Wanda again. This time, she didn’t sound accusatory or intense—just concerned.

Y/N glanced up, giving her a crooked smile. “Couldn’t resist the snacks, huh?”

Wanda ignored the joke, sitting down beside them with a serious expression. “Are you okay?”

Y/N took a swig of water, trying to play it off. “I’m fine. You know me, I bounce back.”

“That’s not what I’m asking.” Her eyes were searching again, like she was peeling back layers they didn’t want exposed. “You’re shaken. I can feel it.”

Y/N sighed, leaning back in their chair. “You’re not wrong,” they admitted. “It’s… weird, you know? I’ve done hundreds of stunts, pushed my limits more times than I can count. But today—today felt off. I’m not used to things going wrong like that. And now you’re telling me there’s magic involved? It’s like I can’t trust what’s happening around me.”

Wanda nodded, her expression softening. “I get it. Believe me, I do. Magic is unpredictable, and it messes with the way you see the world. But that doesn’t mean you’re powerless.”

Y/N looked at her, eyebrow raised. “Kinda feels like I am, though. I’m good with stunts because I know what’s coming—I can calculate the risks, control my movements. But if there’s magic at play… how am I supposed to work with that?”

Wanda leaned forward, her gaze intense but not unkind. “You’ve got instincts, Y/N. You don’t need magic to sense when something’s off—you’ve already been doing that. What happened today, you knew it wasn’t right before it even went down. That’s not nothing.”

Y/N considered that for a moment. She had a point. The tension in the air before the rig exploded hadn’t just been nerves; it had been something else. Something they had picked up on, even if they didn’t understand it.

“Okay,” Y/N said slowly. “But if this isn’t just bad luck, what do I do? I’m not exactly equipped to deal with spells and hexes.”

“That’s where I come in,” Wanda replied, her tone firm. “You don’t have to deal with it alone. I’ve got a handle on the magic side of things, but I’ll need your help to figure out who’s behind this and why. You keep doing what you’re doing, and I’ll make sure nothing else goes wrong.”

Y/N couldn’t help but smirk at that. “So now we’re partners in magical crime-solving? Great, just what I needed on top of my day job.”

Wanda laughed softly, the sound cutting through the tension like a balm. “Think of it as an adventure. And besides, I have a feeling you thrive on chaos.”

Y/N chuckled, the weight on their shoulders lifting just a little. “You’re not wrong there.”

They sat in silence for a few moments, the noise of the set humming around them but feeling distant. There was a strange comfort in sitting next to Wanda, a sort of unspoken understanding between them. For the first time since the explosion, Y/N felt like maybe—just maybe—they could handle this.

But of course, the universe wasn’t done with them yet.

One of the assistant directors rushed over, looking flustered. “Hey, Y/N! Sorry to interrupt, but we’ve got a situation.”

Y/N groaned inwardly, already bracing for more bad news. “What now?”

“It’s the next scene,” the AD explained, shifting nervously. “There’s a… complication with the wires. The team is saying the equipment is acting up. They’ve done all the checks, but nothing’s working right. It’s like the harnesses are… fighting them.”

Y/N exchanged a glance with Wanda, who raised an eyebrow.

“Fighting them?” Y/N repeated.

The AD nodded, looking increasingly anxious. “Yeah, like they’re moving on their own. It’s… weird.”

Wanda stood up, her expression darkening. “It’s not just equipment failure. Someone’s messing with this set.”

Y/N got to their feet as well, the tension that had briefly faded now roaring back. “Great. Just what we needed—more magical sabotage.”

Wanda looked at them, determination in her eyes. “We need to figure this out before someone gets seriously hurt.”

Y/N nodded, feeling the weight of the situation settle back onto their shoulders. “Alright. Let’s get to the bottom of this.”

As they headed toward the scene of the latest disturbance, Y/N couldn’t help but feel the shift in their role. They weren’t just the cool, sarcastic stunt double anymore—they were now part of something bigger, something more dangerous.