#i'm really was digging this when i was writing it

[starsisstars]

Pointless ISAT Headcanons

Hi I have to get up for opening shift tomorrow but who CARES it's time for headcanons. Except not the normal or angsty ones, it's goofy ridiculous hours ONLY. (Please send me more goofy niche headcanons I want to consume silly details like candy.) Filled with spoilers despite the sillies.

Bonnie invents potato chips 10 years after the end of the game after many failed attempts to make Sif like potatoes (Sif LOVES their chips, so this is Bonnie's win in the end).

Immortality fiction is super popular in Vaugarde because they're witnesses to change over decades but are prevented from changing themselves. Tragic wisemen usually. This got way less popular post-King.

Teachers get paid good wages in Vaugarde because they help kids through the period of the most change in their lives.

I think it's so funny everyone in fanfic thinks Sif sleeps in trees. It's universal and y'know what? Sure. I'm adopting that. Y'all had me scrolling through dialogue for ages just to make sure I didn't miss any tree nap mentions.

Loop spent the majority of Sif's first run through Dormont and the House training their voice so that it wouldn't be a dead giveaway to their identity when Sif showed up. They wanted it to sound like Odile. It does not even a little bit.

Mira is RED. Bonnie is ORANGE/YELLOW/BLUE. Odile is PURPLE. Isa is GREEN/BROWN. Sif and Loop are MONOCHROME.

Mira has a notebook FILLED with edgy poetry from when she was small. She buried it somewhere but knows exactly where it is and once every couple years digs it up just to make sure nobody found it.

Bon is a reptile person. Wants a bearded dragon as a pet.

Mwudu is Acadia (in the same way Vaugarde is France, etc.). Not a colony of Vaugarde or anything though, just a lot of cultural exchange. (Vaugarde is NOT imperialistic.)

Post-canon Sif sometimes has such a tight grip on Isa in his sleep that Isa can get up and walk around with them still latched onto him. One morning Isa even brushed his teeth and styled his hair before the Sif on his back woke up.

Nille is swole af. Taller than Odile too. I like it when people give her a braid.

I changed my mind; everyone has really ugly colors because they can't see them and they all look terrible. I do not care about the practicalities of more colorful dyes being difficult to obtain; this is fantasy logic and I say they all should cause eyestrain.

Sif's all-black look under the cloak and hat (both of which he didn't choose) is the only good fashion choice they're capable of making. If you ask them to get creative it's a disaster. Isa indulges this anyways because hell yeah fashion disaster rights, but Sif will inevitably ask for help once he actually sees the design in person.

Isa was a hardcore STEM person, while Odile was properly studying anthropology/writing but is actually SUPER into linguistics.

Fishermen from the Forgotten Country were given additional pathways to easy fishing crabs on Vaugarde's shore because Vaugarde didn't want 'em. The overfishing caused a minor ecological crisis that was then fixed by Wish Craft.

Pre-canon Sif tried to make some money via an eating competition in one of the unnamed countries but was so uncomfortable with the attention from winning first place they refused to ever step foot in the country again. They don't even remember why they refuse to visit anymore but still don't wanna go. It wasn't even that big a contest nor a big deal emotionally long-term (like the party would suspect) for Sif, they're just stubborn.

Since we have a classic RPG setup I think the party's inventory is not limited by logic and they carry around 78 tents and 23 cottages somehow.

[captain-joongz]

You know how Hongjoong has those fucking gorgeous thick thighs? Yeah I wanna leave marks on them so bad. Fuck hickeys on the neck, I want to give him hickeys on his thighs grrrrr

(If you write anything sub hongjoong please, idc what type but I dont read dom member ever cus it gives me the ick)

oooh anon you don't even know how much i understand you. do you remember when Hongjoong wore that striped crop top and light blue jeans? those pictures had me going crazy for his thighs and ass for days. our captain is just so well built~

and i'm definitely not opposed to writing sub!idols, it's a nice change for me and i am a switch (tho i mostly lean towards sub, but sometimes i get dominant streaks - especially with joong, hwa and yoongi, those guys drive me insane)

warnings: subby joong, marking, edging, begging, riding, unprotected sex

i go absolutely crazy for marks, so i fully understand your plight, and joongie just has such beautiful thighs and stomach, made for you to mark up as you please. i know i wouldn't be able to help myself

and whether we're talking about idol!joong or any other au, we know that our captain is just a helpless workaholic that will spend entire days working, dragging himself home just to sleep a few hours and then go right back to his job, and that puts a lot of strain on his psyche, so every now and then he needs a good caring for, a reminder that he can let go and someone will give him everything that he needs

that's where you come in, always ready to indulge your boyfriend and help him destress - and one of your favourite ways to do this is to have him all marked up writhing in pleasure under you, begging you for more and crying with how good he feels

his thighs are so strong and beautiful, and the honey-toned skin bruises so prettily, darkens to deep purple, and he responds even better when you take your teeth to his skin, leaving bite marks nicely encircling the dark dark bruises. but what's even better is how he tenses and jerks and jumps with every sharp prick of pain at a new mark made, whines and whimpers slipping out of his lips effortlessly

you always love to see how his eyes grow more and more hazy as he surrenders himself completely to the pleasure, giving up the reins and letting himself be carried by the flow. when he's really tired he always turns so sweet and pliant, all needy and teary-eyed, whimpering anytime your travelling hands brush over his perked up sensitive nipples or when your mean fingers dig into the bruised skin to draw out the burn

and even with his pretty cock all hard and red, wet and smattered in precum, you ignore it in favour of sucking and biting more spots into his abs - you're never satisfied until he's all covered in your spit and love, until there are tear tracks on his cheeks and drool slipping out the corner of his mouth without you even touching him where he wants it the most, cause that's when he's begging for you the sweetest

he'd want to cum so bad, and he wouldn't be shy to ask for it, countless whiney "please, please, please!" spilling out of his mouth, hands gripping into the bedding because he wouldn't dare displease you by touching where he's not supposed to

and when he was desperate, teary and marked up enough, you'd finally relent. the moment you finally sunk down on his cock would have him choking on his spit and moans, body tensing as he fought not to cum - he knew you wouldn't be happy about it, he still needed to earn your permission

whether you'd ride him quick and rough or slow and sensual would probably be up to your mood, but if he was really tired and just needing a release, you'd find it in yourself to take it easy on him, languidly rolling your hips on him and clenching your cunt around him to drive him closer to that peak

and he'd look so fucking beautiful under you like that, pretty tears tracking down his face, eyes hazy and mouth slack in pleasure, head thrown back, tits all bitten up. he'd be a vision, your vision, and you'd want nothing more than finally give him what he so desperately needed

after all, he'd been such a good boy for you, begged so prettily for you and worked so hard so he could spoil you, he deserved everything - and you'd tell him as much, smothering him in praises that would make him cry and whimper even more - he wanted nothing more than to be your good boy

"please, please, let me cum, i've been so good" he'd cry endlessly, and finally when you were also close you'd let him, allowing him to spill himself into you while you rode both your orgasms out. he'd cum with the most melodious relieved moans and then ragdoll into the sheets, completely sated and spent

and after wiping him clean, watching him slip in and out of content sleep and whispering more praises about how he pleased you so well, you'd finally settle in, pulling Hongjoong into your chest and petting his hair as he slipped off into the most comfortable sleep he had in a while

he could always count on you to give him just what he needed

our second ask, phew this one was so fun to write! everybody needs a little subby joong in their life, god just how much i want to spoil him and pamper him <3

hard hours continue!! don't be shy and come submit your own fantasies!

divider from @cafekitsune

[friendly-emerald-emily]

molly is such a fascinating character to me. and surprisingly, not because of her content in the show. but her lack of content. molly really felt like to me she was supposed to be the break-out star of the HiT era. let me explain why.

in short, it's all down to marketing and merchandise. i'm a massive HiT era apologist, mostly because it's the era of ttte i grew up with, but as i was looking through my catalogue of merch, i noticed something...molly was popping up. a lot. weirdly so.

i have a good amount of those briarpatch ttte board games, and typically they were for 4 players, and as such 4 engines were provided to play as: thomas, percy, james, and...molly? at first it seems weird, but when you think about it, it makes sense. molly rounds out a quartet themed around red, green, blue, and yellow, and also adds in a female character. i think that last bit is important, but i'll get to it later.

so i went digging, and the 4 player briarpatch games pre-molly usually had mavis in her place, likely also to add female representation, just swapping yellow for black. there are a few exceptions, i recall seeing toby and harvey instead, but again, it was mostly mavis.

looking at more merchandise outside of board games in this era, molly got quite a bit of focus. she was part of a set of 4 bath squirters along with thomas, percy, and james, and what i find most shocking, she was one of VERY few engines to receive a trackmaster remote control engine. molly also was featured on a 2008 great discovery trading card, even though she only had one line in the entire movie.

after this, i went digging deeper into the world of the thomas microsites and online games, where molly also had a strong presence. the quartet of thomas, percy, james, and molly continued in the simon-says type memory game (i think it's called 'peep peep!'?) and molly also appeared in the emotions game, but this game featured 5 engines, and the fifth...was emily. remember my point theorizing that molly was focused on because she was a girl? here's where it's important.

this five engine ensemble of thomas, percy, james, molly, and emily is repeated again in the plug n' play game 'right on time', a game that i own and remember fondly. emily was chosen again to fill the fifth slot, and i think it's because HiT wanted to have a gender-equal ensemble a la bwba. and i think molly was chosen specifically not only because her yellow paint is unique and for her gender, but because she is probably the girl character at the time that had the most opposing personality to emily. as we all know during this time, emily was interesting and had flaws unlike SOME OTHER ERAS- portrayed as having a very strong and opinionated personality, which would easily contrast towards molly's more shy and sensitive personality. both have also been described as having sisterly attitudes towards other engines. i think HiT wanted to prove in this 5 engine ensemble that they had varied writing for their female characters.

for all of this, i think that molly WAS supposed to be a much more important character than she turned out to be, mostly because she was marketed so heavily and disproportionately than her screen time would lead you to believe. molly also appeared more often than the other HiT newbies (bar rosie), but that isn't really saying much with how little other characters like neville or billy appeared. i don't know why molly was dropped so suddenly when the set up for her seemed to be there? only thing i can think of is that emily had just been moved to tidmouth sheds right before series 9, and that they didn't want to repeat that process?? idk i'm just spitballing because i've been thinking about molly a lot recently. on a small related note, her basis is also very specific and her design is SUCH a standout compared to other new characters at this time, so clearly effort was put into her. i wonder how different the series would have been if molly was elevated to prominent secondary character status like salty or mavis, or even main character status!

tl;dr i think molly was originally going to be important but then she wasn't :(

[sequinsmile-x]

I’d be so so keen to read something about Em coming out as bisexual to Aaron (aware you’ve had an ask for this I just want to stress the interest 🫶🏼)

It’s something I struggle with myself and the validation of being bisexual is something that’s very real. It would be lovely to read something like this as something that seems realistic for Em. The way you write is so beautiful and intricate and I know you’d do a wonderful job.

For anyone else reading this - you are valid whoever you are and whoever you choose to love <3

Happy Fridayyyyy!!!

Hi bestie <3

I've been asked to do this a few times, and as a bi girl myself it is very close to my heart. I wanted to make sure I did it justice so waited until it felt right and now really does feel like the time. It is also coming to the end of Bi Visibility week, so here we are!

This feels oddly personal, almost like I'm putting out some pages of a diary out there for people to read, so I hope this is as cathartic to read for those who wanted it as it was to write.

As always, let me know what you think, I'm nervous about this one because it feels important!

-x-

The Past is Never Far

She’d told herself for years that she’d never mention it. It was, after all, not the biggest secret she had kept.

Emily and Aaron walk into an ex of hers when they are out on a date, and it prompts her to tell him something she's not told him before.

Warnings: Coming out (mentions of past bad experiences doing so)

Words: 3.2k

Read over on Ao3, or the below the cut

Emily hums contentedly as she squeezes Aaron’s hand, her eyes catching his as she looks up at him and smiles, “This is nice.” 

He smiles back, relaxed and content and handsome in the fading light as he lifts her hand to kiss her knuckles, “It is,” he replies, kissing her knuckles again before he tucks their joint hands into his coat pocket to protect them from the chill in the air, “We’re near that ice cream place you like, we could get some on the way back to the car?” 

Date night was something they’d established early on in their relationship. They had so little time just the two of them so it was important to them both to have this one night every month where they could have just that. Jack would spend the night at Jessica’s, often pouting that he wanted to come with them too, something Emily and Aaron would salve with love and assurances they’d all have breakfast together the next day, and the two of them would go to one of their favourite restaurants. The nice weather was fading, summer disappearing into Autumn. It was Emily’s favourite time of year. Not because her birthday was coming up, or because Jack and Aaron’s were too, but because of the cool air and the sun on her face. The ever-present reminder in the wind about the beauty of change as the colour of the leaves started to fade to orange and gold. 

Aaron knew she loved this time of year, so he’d been easily convinced to go on a walk with her around the block before they returned to his car and back to their apartment. She’d moved in with him and Jack recently, the apartment that was once just theirs hers now too, and they were looking for a house. A place they could buy and call home, something they both wanted so desperately and had been denied for so long. 

She smiles, leaning in so her shoulder bumps against his, “It’s too cold for ice cream.” 

Aaron chuckles and kisses her temple. He stops them on the street, the hand not linked through hers on her hip as he guides her backwards so they don’t block the sidewalk. He leans in to kiss her, “You’re the one who told me it’s never too cold for ice cream,” he replies, leaning in to kiss her, stamping his lips against hers once more before he removes his hand from her hip and digs through his other pocket, smiling in victory as he pulls out a pair of her gloves, “Plus, I came prepared. Your hands won’t get cold and you can still have Rocky Road - the best of both worlds.” 

She beams at him and cups his cheek, pulling him in for a kiss before she rests her forehead against his, “I love you.” 

“Love you too, sweetheart,” he says, kissing the corner of her mouth before he pulls back and they continue walking down the street, content and happy in each other's company. 

He buys them ice cream once they make it to the store, a double scoop of Rocky Road for her in a cone and one scoop of coffee in a tub for him. He chuckles at her as a drip of ice cream falls onto her gloves and she narrows her eyes at him, making a point of maintaining eye contact as she licks the remnants of it from the ridge of the cone, her smile wide as she watches him swallow thickly. She’s about to say something, to add to the teasing, when she hears a familiar voice behind her, one she hadn’t heard in years. 

“Emily Prentiss?” 

Her eyes go wide as she turns around, uncharacteristically caught out as she clears her throat, scrambling for something to say as she comes face to face with a piece of her past she hadn’t expected to see again, “Cat.” 

Cat chuckles as she steps forward, pulling a still shell-shocked Emily into a hug, “I thought it was you, Em,” she says, squeezing her before she steps back, “It’s been a long time. 15 years maybe?” 

“Closer to 20,” Emily laughs, the shake to it grabbing Aaron’s attention as he watches the interaction between the two women. Emily looks at him and curses herself internally for getting so flustered, “Aaron, this is Catherine Thomas, Cat, we…” she swallows thickly, her lips pressed together to keep the whole truth back, “We go way back,” she smiles as she turns to Cat, sees a spark in her eyes she hadn’t thought about in years, “Cat, this is Aaron. My boyfriend.” 

Cat smiles and holds her hand out for Aaron and he shakes it, “Lovely to meet you, Aaron.” 

“You too,” he replies, looking back and forth between the two women, curious at his girlfriend’s reaction, at the way her shoulders are slightly tight as she watches them interact. 

“Anyway,” Cat says, looking back at Emily, “My wife is just getting some ice cream. I can’t believe you still come here after all these years.” 

Emily nods, “Best ice cream in the city.” 

Cat looks up at Aaron, “Emily introduced me to this place when we first met,” she says, smiling fondly at a memory that was just theirs, “And I bring my wife and kids here now too.” 

Aaron smiles, “My son loves it here too.” 

“Cat?” 

They all turn at the sound of another woman’s voice to see her standing there with two pre-teens, both of them looking relatively irritated at being forced to spend the evening out with their parents, her expression curious as she looks at her wife. Cat nods and indicates she’ll be over in a minute before she turns back to Emily and Aaron.

“Well,” she says, “I’ve been summoned. It was good to see you, Emily. You seem well,” she hugs her again, something Emily returns, careful not to drip ice cream on her back.

“Nice to see you too, Cat,” she says, smiling as she pulls back, her gaze falling on her family behind them, “Your family is beautiful.” 

“Thank you,” Cat beams before she looks at Aaron, “Nice to meet you, Aaron.”

“Nice to meet you too,” he replies. They watch as Cat walks back to her family, gratefully taking her ice cream from her wife as she makes it to her side, saying something they can’t hear, “She seems nice.” 

“Yeah,” Emily says, feeling out of sorts from the flashback to a past life, something from so long ago it felt like it had happened to someone else. A part of her she kept secret, even from Aaron, “She is.” 

“Shall we go home?” He offers, his gaze on her as she smiles at him, a tenseness to it that she doesn’t hide well as her eyes meet his. She nods, shaking her head to rid herself of the feeling that had settled over her the last few minutes. The strange mix of nostalgia for her past when she was young and unburdened by responsibility and everything to come, and happiness for someone she’d once loved, all whilst she stood next to the person she knew was the love of her life, the man she’d spend the rest of her life with. 

“Yeah,” she says, smiling as she presses her lips together, her focus back on her ice cream as she eats some more, “Let’s go home.” 

___

She thinks about it for a couple of days.

She’d told herself for years that she’d never mention it, her relationship with Cat and the other women she’d dated over the years, because it wasn’t relevant. Since she’d come back to DC, still on uneven ground after being Lauren Reynolds and being with Ian, she’d only dated men. It wasn’t a purposeful act, not something she’d particularly tried to do, but it had happened. So it meant telling her friends, her new family, seem unimportant. 

It was, after all, not the biggest secret she was keeping from them.

She’d never even told her mother. Sure that, at best, her reaction would be to tell her it was ‘just a phase.’ At worst, she was sure her mother’s rather selective catholicism would make itself known, and she didn’t want to put herself through it. Instead, she kept the few relationships she’d had with women from her, and the one time she’d met Cat she’d introduced her as a friend, something that she hadn’t known at the time would start to unravel their relationship. The first pull at the thread that held them together, Cat’s confidence in her sexuality so much stronger than Emily’s had been at the time. Cat had been out and proud the entire time she’d known her, and, in the long run, their difference in how they approached it would never have worked. 

There were times when Emily had considered telling the team. When she’d make eyes at a woman across a bar when they were all out together, but she’d always chicken out, even with her tongue loosened and her cheeks warmed by tequila. People, mostly ex-boyfriends, had reacted poorly before. Either telling her that bi-sexual wasn’t a real thing, dismissing something she’d always known to be true about herself, or over-sexualising it, a familiar look in their eyes as they saw how her sexuality could benefit them. 

After Paris, she decided she’d simply keep it to herself. Her friend's view of her had been changed anyway, the person they thought she was dead and gone, buried in the grave that had always been empty. She couldn’t bear to do it again, to once again change what they thought they knew about her, even for something like this, so she didn’t. Even when she started dating Aaron, sweet, kind loving, Aaron who had never been anything but supportive and unflinching whenever she told him anything she hesitated.

Ever since they’d walked into Cat, she felt the need to tell him. To uncover this last final part of herself that she’d kept hidden away. He knew everything about Ian. He knew about Rome. It was time he knew about this too. 

Even though she wants to tell him, she feels nervous. A familiar kind of anxiety settles in her chest as she snuggles up on the couch with him one night, determined to not put it off any longer. Jack was in bed, safe and asleep in his room down the hall, and the TV was on, a movie they’d watched countless times before fading into the background as she sinks into her boyfriend’s side. She presses her face against his shoulder, breathing him in, breathing in the last few moments of how things were before she changed them forever. 

“I need to tell you something,” she says, her words partially muffled by his shirt before she pulls back, her brows furrowed as she corrects herself, “Actually, I don’t need to tell you. But I want to.” 

He watches her carefully for a moment before he nods, reaching for the remote to turn off the TV, ensuring she has all of his attention. He turns so he’s facing her, his knee skimming her thigh as she turns too, her focus on the top of the couch. She tugs nervously at a loose thread, a nervous habit he’s grateful distracts her from her cuticles. He thinks of the ring he has tucked away in his sock drawer, of how he pictures her twisting it around her finger when she is nervous or worried. He reaches out for her, frowning when she jumps ever so slightly when his hand lands on her knee. He squeezes gently, smiling even though she doesn’t look up at him.

“You can tell me anything, you know that,” he assures her, and she nods, her lips pressed together as she continues to pull at the thread on the couch. 

“You…” she swallows thickly, her eyes closed as she trips over the words she’d practised in her head for days, “You remember that woman we bumped into the other day, Cat?” She asks, her eyes darting up to his face as he nods, “She…she wasn’t just a friend. She was my girlfriend. We dated for almost a year when we were both in college,” she blows out a breath, her chest shuddering with it, feeling somehow lighter and heavier at the same time with the admission, “I’m Bisexual.” 

Her words hang in the air around them and she holds her breath, waiting for his reaction, unable to bring herself to look at him, worried about what she’d find. 

“Thank you for telling me,” he says, his words even and calm, his softness so jarring she looks up at him fast enough it cricks her neck, a pain she barely feels as he carries on, “And thank you for trusting me - I know that can’t have been easy.” 

She chokes on a humourless laugh, “Thats…that’s it?” 

He smiles at her, his dimples carved out in his cheeks in a way she loves, and he squeezes her knee, “Did you…want a different reaction?” 

“No,” she replies, shaking her head, choking on something she can’t name - a sound between a sob and a laugh caught in her chest, “No, not at all. I’ve just never had someone react so…well before.” 

He furrows his brow, “What do you mean, sweetheart?” 

She laughs bitterly and shakes her head, wiping away a tear she hadn’t expected until she felt it on her cheek, “I once had an ex-boyfriend ask me if it meant we could have a threesome,” she says, scrunching her nose up at the memory. She looks at Aaron and smiles at the pure horror on his face, his brow furrowing in indignation for a past version of her, “I broke up with him when it became very clear he already had a list of women who’d be ‘up for it’ at the ready.” 

He clenches his jaw, “I’m sorry he reacted like that,” he replies, “You deserved better than that. You deserve better.” 

She presses her lips together and shakes her head lovingly as more tears slip past her lash line, “Well, I have better now,” she says, playing her hand over his on her knee, linking their fingers together, “Do you have any questions?” 

“Have you dated any other women?” He asks softly, curious more than anything, and she nods, running her thumb back and forth over his hand. 

“Yeah, a couple of others but none as serious as my relationship with Cat. And I’ve had a few dates and drunken hook-ups,” she replies, her cheeks burning with embarrassment she knows she shouldn't feel. 

“Have you always known?”

She nods, “Since I was pretty young,” she smiles her lips pressed together at the memory, “Let’s just say, The Dukes of Hazzard was a bit of an awakening. Luke Duke was hot…and so was Daisy Duke.” 

He smiles and squeezes her hand, lifting it to kiss her knuckles, “What made you tell me now?” 

She blows out a slow breath, “After we walked into Cat, I realised I didn’t want to hide it from you anymore. All the reasons I had for doing so suddenly didn’t make any sense.” 

He pulls her into a hug, his arm tight around her as he kisses her cheek, “I’m glad you told me,” he says, smiling as she turns her head to kiss him.

“I’m glad I did too,” she replies, nudging her nose against his, “I…I was so worried it would change how you looked at me.” 

He frowns and pulls back to look at her, shaking his head as he tucks some of her hair behind her ear, “Never,” he assures her, “Nothing ever could. Especially this.” 

She furrows her brow and tilts her head at him, “What do you mean?” 

He sighs as he chooses his words carefully, “You’ve always been bi, sweetheart, right? It’s been part of who you are as long as I’ve known you, and it’s been part of you as long as I’ve loved you,” he smiles as he reaches out to wipe away a tear from her cheek, “So it doesn’t change anything because it’s always been who you are, even if you hadn’t told me.” 

She leans forward, her forehead against his neck as she breathes him in again, the world the same as it had been before she’d told him, but somehow different too. His understanding of her deeper but everything else unchanged. She takes a moment to hold him close, and she plays everything he’d said back in her head. A conversation she’d remember again and again as a reminder of how much he loved her, how well he loved her. Something she thinks that, after everything, she might just deserve. She furrows her brow as she thinks about it, the way he’d said part of all those wonderful things catching in her chest. Aaron was purposeful in everything. Not calculated, but purposeful. He never said anything he didn’t mean, and she narrows her eyes at him as she pulls back. 

“Wait…you said ‘even if I hadn’t told you…” she tilts her head as he clears his throat, avoiding her eye contact, “Oh my god - you knew?” 

He sighs, scratching the back of his head with the hand not tangled up in hers, “Sweetheart-”

She scoffs and lightly hits his chest, her cheeks burning at the thought that she’d got herself so worked up over something he apparently already knew, “Why didn’t you say anything?” 

He smiles at her indignation, catching her hand before she slaps his chest again for laughing at her. He kisses her knuckles and smiles fondly at her, disarming her ability to be annoyed at him so easily she’s annoyed at herself. 

“It wasn’t my place to, Em,” he says, “It’s your story to tell.” 

She knows he’s right and she huffs out a breath, her cheek against his shoulder as she pouts in a way she’d deny if he brought it up, “How the hell did you know?” 

“As someone who has been in love with you for much longer than I care to admit, I paid close attention to your interactions with anyone I thought might be flirting with you,” he smiles as she tilts her head to look at him, “It didn’t take long to realise you have chemistry with literally every person you ever meet.” 

She suppresses a laugh, her lips pressed together as one more wave of anxiety rolls through her, “And you don’t mind?” 

He shakes his head, leaning in to kiss her, his hand on her cheek to hold her in place, “If anything, it just makes me feel even more lucky that out of everyone you could be with you chose to be with me.” 

She sighs but it catches in her chest, love for him filling her lungs so fast she can’t catch her breath, “Oh, no honey,” she says, placing her hand over his on her cheek, shaking her head as he catches a tear the moment it slips free from her lashes, “I’m the lucky one.” 

[wings-of-ink]

zahn spinnet about cook mc making a whole shepherds pie just for them

they really need to put some meat on those bones

Oh that would be so sweet. Also, super weird you mentioned shepherds pie specifically...that is exactly what I've made for dinner tonight! You watchin' me, Anon?

So, Zahn has an optional romantic scene in the chapter that I'm writing now. I'm not too far away from doing that scene currently, so I think I'll post a teaser from that. We'll work on getting Zahn fed well in the next couple chapters. ^_^

So, until then...

The smell around you is divine. You've patiently waited for your newest creation to finish baking over the fire. Zahn is to meet you at home soon, and little do they know about the feast you have prepared.

Carefully, you use your hand, wrapped in a towel, to turn the trammel hook so you can retrieve the kettle. Prying the hot lid off you are suddenly enveloped more in the wonderful smells. It looks perfect. The mash you've placed atop the meat, gravy and vegetables has a lovely and lightly-toasted crust. The thick filling underneath bubbling through, creating extra tasty pockets of goodness.

As you let the pot cool, the brisk chill of early winter speeding things along, you prepare a basket of bread and a bottle of cider. A meal fit for royalty. You set the table, including the kettle and a single large plate just for Zahn. This special meal is only for them. You've already decided to have a simple meal of your own and some bread and cider of course. You cannot wait to see Zahn's big blue eye light up at the feast.

What should you call it, though? You used some mutton supplemented with a bit of goat as your meat...and it is a bit like a pie, just without pastry. Perhaps 'shepherd's pie' - considering a shepherd would have such animals at their disposal...they could eat the part of the flock they do not like. You smirk to yourself.

A knock sounds at the door - one that sounds like some sort of bizarre code before it resolves into frantic little taps.

"Come in!" you call.

Zahn rushes in and quickly closes the door behind them. They're piled with cloaks already, and the cold has barely set in. "Oh, it's so warm in here!"

After shedding all cloaks but their special one, Zahn rushes to hug you. You snuggle them close, tucking their cold nose into the crook of your neck. Once you begin feeling the pecks of little kisses, you know that Zahn is just warm enough. If you don't, you'll both end up missing dinner - again.

"Come sit, dinner is ready." You grab Zahn's hand and tug them to the table.

Zahn gasps. "Oh wow! That looks delicious. I love potatoes!"

"You love all food, and it's not just potatoes. Sit, I'll serve you."

Zahn claps. "Oh I love it when you tell me that," they say, plopping down in their seat.

You scoop out a huge helping of your special pie and carefully set it on the plate, splaying sliced bread along the side before you pour a cup of cider for them.

Zahn's eyes are huge and their hand is covering their mouth. "Oh, I'm drooling...but what about you?"

"I made this all for you. I told you that I'm going to make sure you get all the food you could ever want from now on. You're never going hungry ever again." You smile.

"All for me?"

You nod. "I'll start with bread and cider, but I'll just have some-"

"Please eat it with me..." Zahn's pink lips are pulled in a frown and you realize those blue eyes you adore so much are watery. "I can't believe you'd do something like this for the likes of me..." The tears finally fall. "I want you more than any feast."

You reach across the table and hold Zahn's hand. "Okay...if that's what you want."

Zahn smiles and wipes their eyes. "Let's eat until we have to roll on the floor to get around!"

As you dig in, Zahn's pleased moans over their food make you smile. They finish one plate quickly and then get another helping. "This is the best thing I've ever eaten. What is it?"

"You said that the last time we made a big dinner, and I call it shepherd's pie."

Zahn looks down at their plate. "...You made this out of a shepherd?"

You stare back unsure if Zahn is joking or not.

"Were they old or something?" Zahn asks, taking a big bite of the meat.

You really hope Zahn was joking...

[anonomi]

of the The Tirek Who Tolerated Me. Tell me why the fic where Spy literally sings a villain song while fighting a horse (and horribly losing) almost made me cry due to the relationship between a dashing, globe-trotting assassin and an evil pink little horse... literally literature

[gingermintpepper]

As usual I read your tags always and so you said Apollo did not ask for resurrection of Asclepius and Hyacinthus so i just wanted to share this. About Asclepius death I read it on theoi.com, that earlier authors don't make him resurrect as a god but that's a later development mentioned only by Roman authors like Cicero, Hyginus and Ovid. But still Apollo has a role in Ovid's version

Ovid, Fasti 6. 735 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : Clymenus [Haides] and Clotho resent the threads of life respun and death's royal rights diminished. Jove [Zeus] feared the precedent and aimed his thunderbolt at the man who employed excessive art. Phoebus [Apollon], you whined. He is a god; smile at your father, who, for your sake, undoes his prohibitions [i.e. when he obtains immortality for Asklepios].

So here it is actually because of Apollo the decision was taken to resurrect him as god. And with Hyacinthus, I don't think I've read about Artemis playing the primary role. I know in Sparta there was a picture of Artemis, Athena and Aphrodite carrying Hyacinthus and his sister to heaven.

This is not on theoi.com but I saw on Tumblr it's from Dionysiaca by Nonnus

Second, my lord Oiagros wove a winding lay, as the father of Orpheus who has the Muse his boon companion. Only a couple of verses he sang, a ditty of Phoibos, clearspoken in few words after some Amyclaian style: Apollo brought to life again his longhaired Hyacinthos: Staphylos will be made to live for aye by Dionysos.

So since he is singing inspired by amyclean stories it probably means in that place it was believed Apollo was the one to bring back his lover to life.

Apollo as god of order was very important so i think it shows how special these people (and admetus too) were to him that he decided to go against the order for them 🥺

ANON!! Shakes you like a bottle of ramune!! BELOVED ANON!!!!! I'm littering your face with kisses, I'm anointing you with olive oil and honey - you absolutely made my night with this because, not only did I get the pure serotonin shot of having someone interact with my tags (yippee, wahoo!!) I also got to have that wonderful feeling of "oh wow, have I misunderstood something that was integral to my understanding of this myth/figure this whole time or is this a case of interpretational differences?" which is imo vital for my aims and interests as someone who enjoys mythological content and literature.

I'll preface my response with this: Hyacinthus is by far the hardest of these to get accounts for because his revival itself, as you very astutely point out, is generally accounted for in painting/ritual format which muddies the waters on who interceded for what. I wasn't actually familiar with that passage from the Argonautica - and certainly didn't remember it so thank you very much for bringing it to my attention!

That said, what I've come to understand, both about Hyacinthus and about Asclepius is that in the accounts of their deaths, Apollo's position is startlingly clear.

For Hyacinthus, it is established time and again that Apollo would have sacrificed everything for him - his status, his power, his very own immortality and divinity. Ovid writes that Apollo would have installed him as a god if only he had the time:

(Ovid. Metamorphoses. Book X. trans. Johnston)

Many other writers too speak of how Apollo abandoned his lyre and his seat at Delphi to spend his days with Hyacinthus, but they also all agree that when it came to his death - he was powerless. Ovid gives that graphic account of Apollo's desperation as he tries all his healing arts to save him to no avail:

(Ovid, Metamorphoses Book X. Apollo me boy, methinks him dead. trans Johnston)

Bion, in one of his fragments, writes that Apollo was "dumb" upon seeing Hyacinthus' agony:

(Bion, The Bucolic Poets. Fragment XI. trans Edmonds)

Even Nonnus in the Dionysiaca speaks constantly of Apollo's helplessness in the face of Hyacinthus' fate where he writes that the god still shivers if a westward wind blows upon an iris:

and when Zephyros breathed through the flowery garden, Apollo turned a quick eye upon his young darling, his yearning never satisfied; if he saw the plant beaten by the breezes, he remembered the quoit, and trembled for fear the wind, so jealous once about the boy, might hate him even in a leaf...

(Nonnus, Dionysiaca, Book 3. trans Rouse)

And the point here is just that - Apollo, at least as far as I've read, cannot avert someone's death. He simply can't. Once they're already dead - once Fate has cut their string - all Apollo's power is gone and he can do nothing no matter how much he wants to. And this is, as far as I know, supported with the accounts of Asclepius as well!

Since you specifically brought up Ovid's account, I'll also stick only to Ovid's account but in Metamorphoses when we get Ovid's version of Coronis' demise, he writes that Apollo intensely and immediately regrets slaughtering Coronis. He regrets it so intensely that he, like he does with Hyacinthus, does his best to resuscitate her:

(Ovid, Metamorphoses Book Two. Apollo's regret)

And like Hyacinthus, when it becomes clear that what has happened cannot be undone, Apollo wails:

(Ovid, Metamorphoses Book Two. Apollo wept.)

Unlike his mother, Asclepius in her womb had not yet died and so, with the last of Apollo's strength, he does manage, at least, to save him.

(Ovid, Metamorphoses Book Two. Apollo puts the 'tearing out' in Asclepius.)

But it goes further than even that because Ocyrhoe, Chiron's daughter, a prophetess who unduly gained the ability to directly proclaim the secrets of the Fates, upon seeing the baby Asclepius, immediately prophesies his glory, his inevitable death and then his fated ascension:

(Ovid. Metamorphoses, Book Two. Ocyrhoe's prophecy. trans Johnston)

Before she too succumbs to her hubris and is transformed by the Fates into a horse so she can no longer speak secrets that aren't hers to share.

These things ultimately are important because it establishes two very important things: 1) Apollo can't do anything in the face of the ultimate Fate of mortals, which is, of course, death and 2) even when Apollo is Actively Devastated, regretful, yearning, mournful, guilty or some unholy combination of all of the above, when someone is dead, he accepts that they are gone. Even if he is devastated by it, even if he'll cry all the rest of his days about it - if they're dead? Apollo lets them go. In Fasti, when Zeus brings Asclepius back, he does not say Apollo asked him to - Zeus, or well, in this case Jove, brings Asclepius back because he wants Apollo to stop being mad at him.

(Ovid, Fasti VI. Apollo please come home your father misses you. trans. A.S Kline)

Even Boyle's translation which you used above in your findings hints that Zeus made Asclepius a god because he wanted Apollo to stop grieving. (i.e 'smile at your father', 'for your sake [he] undoes his prohibitions')

And like, Apollo was deeply upset by Asclepius' death - apart from killing the Cyclops in anger, in book 4 of the Argonautica, Apollonius writes that the Celts believe the stream of Eridanus to be the tears Apollo shed over the death of Asclepius when he left for Hyperborea after being chastised by Zeus for killing his Cyclops:

But the Celts have attached this story to them, that these are the tears of Leto's son, Apollo, that are borne along by the eddies, the countless tears that he shed aforetime when he came to the sacred race of the Hyperboreans and left shining heaven at the chiding of his father, being in wrath concerning his son whom divine Coronis bare in bright Lacereia at the mouth of Amyrus.

It all paints a very clear picture to me. Apollo did not ask for either of them to be brought back. Though bringing them back certainly pleased and delighted him, they are actions of other gods who are moved by Apollo's grief and mourning and seek to mollify him. Him not asking doesn't mean he didn't want them back which I think is a very important distinction by the by, but it simply means that Apollo knows the natural order of things and, even if it hurts, he isn't going to press his luck about it.

Which, of course, brings us to Admetus. And I'm really not going to overcomplicate this, Admetus is different because, very vitally, Admetus is not dead. Apollo can't do a thing once Fate has been carried out and Death has claimed a mortal but you know what he absolutely can do? Bargain like hell with the Fates before that point of inevitability. And that's what he does, ultimately for Admetus and Alcestis. He sought to prolong Admetus' life, not revive him from death or absolve him from death altogether and even after getting the Fates drunk, he's still only able to organise a sacrifice - a life for a life - something completely contingent on whether some other mortal would be willing to die in Admetus' place and not at all controllable by Apollo's own power.

All of these things, I think come back to that point you made - that Apollo's place as a god of order is very important and therefore these people are very special to him if it means he's willing to go against that order but, I also wish to challenge that opinion if you'd let me. Apollo's place as a god of order is very important and therefore, I would argue, that it is even more important that it is shown that he does not break the divine order, especially for the people that mean the most to him. The original context of my comments which started this conversation were on this lovely, lovely post by @hyacinthusmemorial which contemplated upon Asclepius from the perspective of an Emergency Medical personnel and included, in their tags, the very poignant lines "there's something about Apollo letting go when Asclepius couldn't that eats my heart away" and "you do what you can, you do your best, but you don't ever reach too far" and I think that's perfectly embodied with the Apollo-Asclepius dichotomy. Apollo grieves. He wails, he cries, he does his best each and every time to save that which is precious to him but he does not curse their nature, he does not resent that they are human and ultimately, he accepts that that which is mortal must inevitably die. There is nothing that so saliently proves that those who uphold rules are also their most staunch followers - if Apollo wants to delight in his place as Fate's mouthpiece, he cannot undo Fate. And, if even the god of healing and order himself cannot undo death, what right does Asclepius, mortal as he is, talented as he is, have to disrespect it?

The beauty of these stories isn't that Apollo loved them enough to bring them back. The beauty is that Apollo loved them enough to let them go.

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[yuri-puppies]

went thru the five stages of grief when i saw a cute labru comic where kabru's eyes were gold before i realized that it was from 2018 and that there must have been a point in time when kabru's eye colour was not common knowledge

[i-wiggle-i-squirm-bc-i-am-a-worm]

Unnecessary discussion about Chat Noir and the Drums

There’s something I love so much about Chat playing the drums in Horrificator. This is something that’s been on my mind since I was 13, so hold on here.

First, obviously, Adrien also plays the piano - which obviously still has a lot of meaning!! - I’m not here to diss on the piano, there’s a lot of freedom of expression in every instrument type and music expression in general, but there’s a reason why some people are more inclined to different instruments, and I think there’s a lot more to it than just sound, but feeling as well. The role you play. How it feels to play it alone vs. playing it with others, if it’s typically something that you can play alone vs. in a group.

So first, the piano, and how I think it relates to Adrien’s character, plus how it relates to those points.

The piano, let’s be real, is something that a lot of us were forced to take lessons for at some point. It’s something that has ties to high society (there’s a HUGE discussion and so much more to say about that, but let’s not go there) and honestly?? I think it works pretty well with symbolizing the obsession with perfection that Gabriel shoves onto him. I’ve known many piano players, and while some genuinely loved playing it, it was always easier to somehow stumble onto someone with a deep hatred for it after being forced into lessons. Whenever I asked them why they hated it, I got almost the same answer every time: “I need to be perfect.” (Along with people saying that they were forced to lol)

Then there’s the role you play. You can play with people in a band, an orchestra, as an accompanist, a duet, at a bar with a bunch of people singing - whatever - music has many forms, and many different connections. But the piano is something you can play solo, no need for anyone else. It isn’t what you can do with other people that I’m focusing on for this, it’s the fact that you don’t need anyone. You can play alone, and it’ll still be fine. You can be alone, and you’re still fine - perfect even - which is something that Gabriel shoves down his throat, resistant to him playing with his friends by touching on this ideology.

Which is a glimpse into how he sees Adrien, and how Adrien experiences life. He can be alone, in fact he’s more perfect when he’s alone. And when other people are added, the attention to his perfection is taken away bit by bit, until he’s not good enough. He has to play solo in concert halls, on stage for everyone to watch, not in the back of a bar, playing with his friends.

Alright, so now we move to Chat Noir and the drums. The main play of this fake essay. 

It would be so easy to just ignore everything and just go “haha, he’s the energetic one, so ofc Ladybug gave him the drums! And they’re an easy instrument to play, etc.” but that’s far from the truth.

Ok, so I’m not a drum player or percussionist in any way, but I am a bass player, and genuinely love the drums so much because they’re incredibly important, and here’s my cheesy analogy: the drums are the heart of the band, keeping everyone on beat, it’s what you feel at the centre of it all. The band is nothing without the drums, without the percussion (The bass is what connects the band to the beat of the drums, kinda like the blood vessels, but sadly this ain’t about bass).  Like do you know how easy it is for a band to fall apart if they don’t have a drummer??? You need a drummer. You literally can’t survive without a drummer, because even if you manage to work together, use the bass as a backing, whatever you try, there’s still not much of a heart left.

But besides that, do you know how hard it is to play the drums??? You can’t just throw someone crazy, or energetic there just because “crazy drummers lol” you need someone who listens. Who can set the beat. Someone you can rely on, because they are the person in control, even if they aren’t as flashy as the guitar player. Reliable is the word that comes to mind. The drums can make or break a band.

And wanna know who that reminds me of?

Yeah. I highly doubt that the writers put this much thought into a random five second scene in an episode of season one, but it fits with Chat Noir SO well. 

Unlike the piano, the drums are almost solely played in a group setting - you need other people, and other people need you - he needs other people in his life, his friends are needed, but they also need him. Ladybug needs him, along with all the other heroes in Paris, whether he sees it or not. He seems to get in a state of thinking he’s not needed, but i do really think he’s the emotional glue that keeps the team connected, the heart that keeps them beating. If he’s isolated, he can’t quite reach his full potential that he can when he’s allowed to be around others, just like they can’t reach their own without him.

But on top of that, I think the stereotypes of the drums actually works in his favour for the next part. 

Breaking free from his dad, and being his own person, letting that fame go and embracing what he wants... well, to some that would look stupid. 

Relating it to music, the piano is flashy, you can play it solo, it sounds impressive, looks impressive, and people won’t think you’re just hitting pots and pans in the garage when you say you play it. But the drums are underestimated, a lot of people think you don’t need much practice, that they’re just the guys who sit at the back of the stage, not doing much, but that couldn’t be further from the truth.

Just like Adrien finally being who he wants wouldn’t be stupid, it could never be stupid, but there’s a stigma. But letting go of his flashy, solo life, and being the heart of his friend group is something that I think makes him truly happy as Chat Noir, and hopefully he gets to be like that as Adrien too.

Like Plagg said, Chat Noir and Adrien are both the real him, and I think the drums capture that perfectly. The heart and freedom, the meticulousness (rather than perfection) and steadiness, those are good qualities of a drummer.

I dunno, I just think it fits.

(sdfghjklkjhgf again I should state that acoustic versions of songs exist, and you can play songs without a drum and it sounds fantastic, but I’m not going into that today. Just talking generalization, and playing in a group setting). 

[mantisgodsdomain]

We ought to write more Pokemon fic some time. We want to recreate the Pokemon Manners/Human Manners cheat sheet that we made a few years ago we think that this site would like the Sliding Scale Of Politeness When Greeting A New Pokemon You've Never Met Before.

[bookshelf-in-progress]

Developing story ideas involves going through this process.

"Let's put all these interesting pieces together like a nice jigsaw puzzle and create a sensible story structure."

"Oh, don't forget, stories get their power from emotion, make sure to put the emotions in there."

[several daydreams later]

"That is TOO MANY EMOTIONS! PUT SOME BACK!"

(My brain has two modes: Analysis and Melodrama. There is no in-between).

[shivunin]

Songfic Tag Game

Rules: Pick a song to accompany each of your fics or as many as you like. This might be the fic's inspiration or just pure vibes that you'd like to share with readers. Tag as many people as fics you feature (or do as you please!)

Thank you for the tag @greypetrel!! You know I'm a sucker for anything music-related 💗

Lol well I sure have more fics than I remember, so I'll do them until I'm ready to go back to writing/editing the oc kiss things c:

Tagging back @idolsgf @nightwardenminthara @inquisimer @dreadfutures @bitchesofostwick @vakarians-babe @jtownnn @ndostairlyrium @dungeons-and-dragon-age @star--nymph @zenstrike

Your Fate For Mine: (Elowen decides to sacrifice herself instead of allowing Hawke or Stroud die in the Fade; her friends try to find and bring her back) Anywhere On This Road by Lhasa De Sela

Wander the Drifting Roads: (After a horrible accident, Emmaera loses her Commander and lover in one stroke of a knife. Separated, the two of them must relearn who they are and where their paths lead) Mausoleum by Rafferty or Remember Us by Gabriel Royal or Flowers from Hadestown

Between Strokes of Night: (Hawke and Fenris's first night after deciding to be together again) Awake at Night by half alive

Saccharine: (Arianwen gives in to emotion for the first time in her life and takes Zevran to bed) Saccharine by Jazmin Bean or Kiss Me You Animal by Burn the Ballroom

To the Bone: (Soulmate AU! The last person Salshira intends to seek out is the one on the other side of the flame brand at her jaw. Love is, after all, one of the most dangerous things a person can do. Luck--or fate--drags her to the Inquisition anyway) Die Young by Sylvan Esso or All I've Ever Known from Hadestown

Scattered Stars: (Fenhawke anthology fic--this is where all my Tumblr fics go when they've been edited and expanded upon c:) Right on Time by Brandi Carlile or Everywhere by Fleetwood Mac

Palimpsest: (Fenris's perspective of the events leading up to the romance scene in Act II) That Unwanted Animal by The Amazing Devil or Peregrine by Mako

Tempered: (The Inquisitor learns of a death in the family and tries to manage her grief) Good Grief by Dessa

In Any Life: (Fenris leaves for Tevinter; he and Hawke try to write to each other, but their letters have gone astray) Siuil a Ruin by Anuna or Francesca by Hozier

The Scourge of Sundermount: (A monster lives in the mountains outside of Kirkwall. What fate is there for a monster but a knight with a blade sent to kill it?) Leviathan, the Girl by Phemiec or The Killing Moon by Echo & The Bunnymen or Strangelove by Black Math

Misericordia: (An elaboration on the scene where Cullen explains lyrium addiction to the Inquisitor) The Myth by San Fermin or Nothing Fades Like the Light by Orville Peck

As Two Reflected Stars: (Hawke and Fenris's developing relationship, as traced by the healing of wounds) I Know You Know by Charming Disaster or Arms by San Fermin or Anybody Else by The Ballroom Thieves

Book of Memories: (Sequel of sorts to Wander; moments in Emma and Cullen's relationships, each carefully noted in a single book for later reference) You and Me On the Rock by Brandi Carlile or Photograph by Cody Fry

Sleight of Hand: (Hawke is a stage magician. She's asked very few questions about her surly assistant, which has worked just fine for both of them--until his past comes calling) Enchante by Dirt Poor Robins or The Magic by Lola Blanc

[laugtherhyena]

i love u au, but i need more information of Kinji in this au please.

I'm gonna assume you mean the infection/zombie Au since that's sorta the last Au related thing i made that has him.

Well there isn't much about him I haven't talked about either here or here, he's sorta just a lonely zombie using the last of his sanity to give people a burial before he loses himself to the infection.

Since zombies avoid attacking other zombies unless provoked he ignores them while steering away from any human survivors he spots whenever he goes back to the city, he doesn't want them to end up hurting him and neither does he want to end up hurting them, his infection has reached stage 3 so he is starting o struggle with fighting against the hunger.

I'm certain must have spotted Tsurugi's group or Rei around the city at some point, maybe multiple times, but he's never tried to interact with them. At least seeing that they're doing as well as they can there brings a bit of peace to his mind.

Oh an fun fact! You see those graves around the outskirts locations? They were made by Kinji :)

[talentforlying]

one of these days i'm going to write up all that i've changed from azzarello's bullshit era and the one (1) piece i've kept from milligan (and also changed) and the only thing currently stopping me is that it is going to be so, so inside-baseball incomprehensible. and i almost never want to go reading/screencapping azzarello and milligan to add references but i Want to add references.

canon is goop, just know that we continue to ride the bus down "hellblazer ended at #250 and looks like swiss cheese before that" street.

[magentagalaxies]

nothing makes me feel like i've lived a thousand lifetimes more than seeing "the buddy cole documentary" and "other girls" and "antisocial media" on the same list. like what do you mean i'm only 21 i should be at least eighty