#im the wrong person to ask

[wren-kitchens]

im annoyed and a little pedantic so can i just say as a blanket statement

queerbaiting is when the promotion for a FICTIONAL STORY intentionally hints towards two characters having a romantic relationship, without any intention to follow through in the show, in order to get queer people watching without discouraging the homophobic enjoyers of the show

queerbaiting is NOT:

a celebrity who you think is queer because theyre gnc or they have a 'vibe'. that is a real person and they cannot queerbait

two friends of the same gender pretending to flirt with each other for fun. those are real people and they cannot queerbait

a show with two characters of the same gender who are canonically friends that YOU PERSONALLY think would be better in a relationship. that's not bating, that's shipping, and subject to opinion

there are more but those are the main examples of people misunderstanding what queerbaiting is and being mad at something that isn't actually a problem

[ruporas]

asking and receiving (bonus below readmore)

[ID: A black and white, digital Trigun comic of Vash and Wolfwood. In the first panel is a close up of Wolfwood's mouth as he says, "Vash". Accompanying it is a close up shot of Vash's eye, widen and cheeks flushed. Wolfwood presses a knee against the open space between Vash's legs and says, "Tell me everything you want from me." Wolfwood's face is equally as flushed. He continues to say, "I'll give it to you. Everything." As he talks, a wide shot shows the both of them in white space. Vash is sitting, leaning a little back with both hands pressed against the surface he's sitting on. Wolfwood is in his white dress shirt, stripped of the blazer. He's still leaning in with one knee in between Vash's spread legs, his right hand touching Vash's lips and his left hand behind his back.

The shot closes in on Vash's mouth and Wolfwood's hand against it, pressing down on the lower lip as he says, "You have to ask though. Go on." His hand moves down to Vash's chin, gently holding it. With a shy and uncertain expression, Vash hesitantly asks, "Um... K... Kiss... Please?" Wolfwood, without wasting a second, leans in and kisses him and indulges by pressing deeper, eliciting a small noise of surprise from Vash.

Wolfwood moves away from Vash first and with a smile, asks, "What else?" Vash tugs on Wolfwood's left sleeve, wordlessly budging Wolfwood to give him his hand that was still behind his back. In the next panel, Vash utters, "Hold me..?" He's holding Wolfwood's left hand with his own while his right hand is reaching for his waist. Wolfwood complies, moving his left hand to Vash's shoulder and his right hand continues to touch Vash's cheek. Wolfwood asks again, "What else?"

More comfortable now, Vash leans in to kiss Wolfwood. Wolfwood catches him immediately, pressing his thumb against Vash's lips to stop him before demanding, "Hey. Ask." Vash looks back in surprise and Wolfwood meets his eye with a quiet, insistent look. They're quiet for a moment before Vash leans in again and curtly requests, "Kiss. Me." Wolfwood says "Good", smiling as he lifts his hand away, and meets Vash's lips. In the next shot, Wolfwood had adjusted his position, sitting on Vash's thigh. The hand that was once on Vash's cheek has moved its way to Vash's nape, pushing away the collar of his jacket with his pinky. His other hand continues to grip on Vash's shoulder. Still kissing, Wolfwood asks again, "What else?"

In the next shot, Vash is starting to turn, moving Wolfwood with him. Vash asks, "Let me on top of you?" Wolfwood says, "Mhm" before asking again, "What else?" The next panel shows a close look of Vash's face. He's looking down, flushed and shy just as he had been at the beginning, but now, more decisive. Vash asks, "Wolfwood... Let me have you..?" A panel of Wolfwood taking Vash's hand into his, pulling it towards his chest. The next panel shows Wolfwood lying down where Vash had laid him. Vash's hand is on Wolfwood's chest, covering the cross of his rosary while Wolfwood's hand lingers against his, loosely pressing Vash's hand in place. He looks up at Vash with a shy smile of his own, flushed cheeks. He says, "All yours."

A panel shows a close up of Vash's tender gaze before he leans down to be closer to Wolfwood. The final shot is a front view of their positions, Vash's face turned away from the viewer; Vash is leaning over Wolfwood who's lying down with his right leg draped over Vash's legs. Wolfwood's left hand holds onto Vash's left arm. With finality, Vash says, "...Mine." End ID]

[ID: A follow up bonus comic in a looser, sketchier style. They're laying comfortably in bed when Vash asks, "What was that earlier?" referecing to the start of the previous comic. Wolfwood glances away and says, "To get you used to it. Asking. And getting what you ask for. Since you're alwasy hesitant about it." Vash's eyes widen, tight lipped. Wolfwood continues, "Knowing you, it'll be a tough habit to break..." When he says this, Vash can't help but laugh, unable to deny it. Wolfwood slowly brings a hand to Vash's cheek and continues to say, "So I'll keep trying -- whatever ways I can... to get it through your thick skull." Vash takes Wolfwood's hand with his, kissing the the palm gently. Wolfwood's eyes soften and holding onto Vash's cheek, he leans in to try for a kiss. Vash says, "Hey..." before stopping Wolfwood's lips with the back of his hand, a smug look on his face, "Ask." Wolfwood's embarrassed and with little irritation, asks, "Really?" Vash smiles, saying, "You're in need of practice too." They pause for a moment, Wolfwood looking contemplatively, before he's leaning in again, asking, "May I please kiss you?" Vash looks him in the eyes and says, "Yes." The comic ends with a "chu", indicating an off-panel kiss. End ID]

[dykedvonte]

You ever just see a Mouthwashing take that makes you want to bang your head into a wall? I literally just saw someone claim Curly couldn't have been emotionally abused by Jimmy before the crash because he was in a higher position of power than Jimmy.

-Shrimp Anon

The mouthwashing fandom has shown me that people genuinely do believe that certain types of abuse are not as detrimental as other types especially when they deem those immune/resistant, ergo, believing one is objectively worse no matter how it affects the person nor the intersections of power, history and dynamics at play.

Get ready cause this is a yap session:

Cause like it's heavily implied that Curly and Jimmy's friendship was toxic and abusive, pointedly in the direction of how Jimmy uses Curly's belief/comfort in him. Curly wasn't forced to enable Jimmy but he was emotional and mentally on edge around him in almost every scene in some way. Mental and emotional abuse are not contingent on what positions you have at work. Yeah, he's Jimmy's boss but he was Jimmy's friend first and it's like getting into Psych discussion to talk about how social power tends to overshadow any perceived organizational power in the human mind. People are concerned about their jobs ofc but they tend to hang onto and put more value/investment into their personal relationships, hence why there tends to be laws and restrictions around mixing the two.

I always see the sentiments that "Curly is a grown ass man", "Curly is bigger than Jimmy", "Curly is Jimmy's boss", "He just needed a backbone" as criticisms of Curly and while I do agree that on the surface level all of these to be true and viable ways Curly could've taken more control of the situation, I often look at the parallels of Anya and Curly as victims of Jimmy pre/post crash.

The way Jimmy talks to Anya post crash is how he talked to Curly in the pre-crash segments. It's hard to pin-point mainly because we know he hates and wants nothing to do with Anya compared to his contrary but similarly handled obsessions with Curly. It's a weird sort of "honey-moon" effect of abuse Jimmy does in terms of emotional and mental victimization. He is always horrid to Anya, always talking down or questioning her abilities and thoughts in a situation, this of course includes the harassment and assault. However, he has a moment of attempted gentleness/conditioning when he question her about the mouthwash when she's contemplating drinking it at the table. The key difference is he has no personal investment in Jimmy outside wanting nothing to do with him, meaning there is no sort of romanticized version of him that he can condition her off of. He knows this, hence, why he always reverts to trying to make her to scared to oppose him.

This sort of give and take of "kindness" doesn't work on her because she knows he is just doing it to take more from her than whatever he could possibly give but it reflects even the "softer" scenes between him and Curly where he always rewords or rephrases Curly's sentiments and concerns to sound more shallow. He is feigning a deeper understanding by reworking Curly's emotions into something bad and needing to be hidden. Everything is laced with envy and resentment, an outburst just around the corner, I mean he even slams the table in the birthday party scene, a tactic in emotional manipulation to set the victim on edge and cloud their ability to respond. Even if Curly knows Jimmy won't get physical in that moment, the physical actions is intended to make him back down in the confrontation in case it does. This is something that is just not person specific. It ingrains itself into how you interact with the world and life and it shows in major and minor ways with Curly.

Post-crash, the abusive nature is more in tandem to the physical victimization Anya went through and the stripping of voice and autonomy we see take place. Like the parasite in HFIM, Jimmy speaks for Curly most of the time and puts words in his mouth, similarly to how he takes Anya's plans as his own. He very commonly, with the both of them mind you, supplements the worst aspects of himself into them; pettiness, selfishness, lack of understanding... And tries to cover himself with their best qualities; kindness, planning, initiative, etc...

These parallel are just to say that positional power has little to do with if a person can be abused and how it can even be flipped to further the abuse. There is no doubt that Curly could've picked up on Jimmy's envy of his position hence another reason he never confronted him as a Captain but as a friend as doing so would immediately put Jimmy in a space to be confrontational/combative.

I think the disdain some people have when they talk about the heavily implied if not implicitly stated emotional/mental abuse Curly experienced being Jimmy's friend is when treating it as an excuse to why he didn't do more. I can understand that completely because it is not an excuse to why he didn't do more but is a very real reason people in his position in these scenarios can experience whether in the context of a work or social environment. However, I also think the way people talk about it really does demonstrate a bigger problem when talking about abuse when somehow who is/was abused is either part of the issue or enabled it.

Harkening back to the sentiments about Curly's inaction regarding Jimmy, I think the exact phrases I used/have seen show how there is an inherent belief that it is easier to overpower the effects of emotional/mental abuse that go in tandem with the perception of Curly as someone who should be able to. There is not an age you suddenly stop being susceptible to abuse nor a set point or low where you realize how it has affected you. You don't suddenly know to stand up or put a face on to face your abuser nor admit that you inadvertently enabled them to subjugate someone else to the same treatment. Maybe it's my psych brain but their is this growing belief that direct action is somehow easy or always the best method with the game shows you instances where it is not always the case. In real life that rings true too. He should have done more, but it's not impossible to see why he struggled to find a way or didn't even if it makes us mad.

It's not easy to suddenly gain a "back-bone". You don't immediately want to resort to aggression, especially if it mirrors the type you were a victim to. You don't want to believe you allowed yourself to be treated this bad, let it get that bad or allowed something bad to happen to someone else. It is easy to be in denial, to retreat to your thoughts or make excuses to avoid the painful truth. It's frustrating but in a way we know is relatable. It why we both hate and love Curly for it. We know we'd be better, we think we'd be better, we like to think we wouldn't falter in the same ways but it's always easier to say that from the outside looking in. It's easy to see what he was doing wrong because we are seeing it, not him, but the game really does make you picture what you would do if this was your raw reality and it's why this debate about Curly seems so never ending/contradictory. We can all say what we'd do but bottom line is that's much different when you're in the moment with all the emotions and human feelings attached.

I personally think Mouthwashing tackles the themes of rape culture, enabling, toxic masculinity, types of abuse and patriarchy in ways that are meant to deconstruct the typical straightforward views we mostly have of these concepts and how little subtilities of them are just as, if not more, detrimental than the overt/obvious parts. The game deals with the idea of little details and bigger picture in a way to show that sometimes the bigger picture is not the issue but the little details that make it up. It's why I have a personal dislike of depictions of Jimmy as the typical horrible person who would of course do something like this because the game is about noticing the little warning signs, the foreshadowing and foresight.

It's why I dislike the typical discussion of "bro code" and "boys will be boys" for the game because the game makes a point to avoid the standard depictions of such. It is about the type of men who still enable despite not condoning, agreeing or even perpetuating harmful beliefs because they can't see the little details or the ways it seeps into their everyday. The severity is not obvious to them as it was not obvious to Curly, Swansea or even Daisuke the way it was to a woman like Anya. There are little details about Jimmy that should ring alarms but if you are too naive like Daisuke, too distant like Swansea or too conditioned like Curly, they are just off markers.

There is 100% more constructive/concise ways to say "Curly was a victim of Jimmy's abuse on an emotional and mental aspect that clouded his judgements and perceptions in the scenario" while also critiquing on the side of "Curly still had a responsibility to protect Anya as a crew mate and Captain that he failed to do due to biases and stigma's he failed to surpass" without the weird condemnation people give him about should've knowing better than to let himself be manipulated by a person he considered a close, if not family/best-friend and had his own reasons to trust initially. Also stop being weird about victims of abuse in general with this fandom, like sorry not everyone has a like social epiphany the moment someone's nasty to them. People are treating it like you immediately know when you are in a toxic relationship immediately or comprehend when a person is actively dangerous and either it's your fault for not knowing how to leave/cut them off or you deserve it. Like the hypocrisy of people believing how certain fans treat the story reflect their irl views but not their own is crazy.

End statement is: I honestly don't even know man, I've been writing this too long and just like no man on that ship was perfect or really helped Anya when it mattered and I feel like pitting them against each other in discussion on who did the least or most or how it was justified sucks cause in the end Anya always did the most and best thing for herself.

[nabwastaken]

Reblog for larger sample size!

[jasperthejester]

me: finally accepting theres a good chance im autistic and starting to work up the courage to ask my parents to see if i could get a diagnoses but being scared to

my mom: do you ever think you have adhd? if you want to do a screening for add next time your at the doctors you can

me:

[felassan]

.

[melrosing]

a while back you mentioned bran being a fisher king type of figure if he becomes king. i am so intrigued by that concept. can you tell us more?

so full disclosure, I don't have a great deal of familiarity with Arthurian legend or British/Welsh mythology, which is what the Fisher King really draws upon, so I don't think I can say anything of real substance on this subject! i keep meaning to just sit down and swot up on this stuff but it's. not really something you can do in one sitting lol

HOWEVER i think even to a wiki peruser it's patently clear that GRRM is drawing on the Fisher King concept with Bran (as in, once you know he's doing that, you realise he isn't even trying to hide it). and I do tend to think that GRRM is more likely to stick with the top line of a myth or historical event he means to parallel rather than get lost in the minutiae - e.g. Matilda v Stephen succession crisis inspiring Rhaenyra v Aegon, the Black Dinner of 1440 inspiring the Red Wedding, this is GRRM taking the substance of an event but not the details of how it came to pass.

I'm going to guess that rather than getting into the finer details of the Fisher King mythos, GRRM is going to utilise it much like he's used Shakespeare's Richard III for Tyrion, which is another inspiration that seems painfully obvious from the moment you spot it, but is hardly lifted beat for beat, and I seriously doubt that Tyrion's story ends up anywhere like the end of RIII. but you can see GRRM taking the bits and pieces of RIII he finds interesting and twisting them for Tyrion in ASOIAF.

so with that in mind, I'm just going to quickly list the key points I can personally gather from the Fisher King myth that seem to gesture to Bran, and why I think these are probs interesting to GRRM as a writer (but as I say there are people who know lots about arthurian legend and british/welsh mythology who would probs have a lot more to say here):

the Fisher King is usually depicted as being wounded in the groin/legs/thigh - this is considered synonymous with his inability to have children and so propagate his line. immediately obvious parallel to Bran, and I think through both ASOIAF and F&B, GRRM is trying to show that ruling through dynasties where everything hinges on how the next guy's son turns out, is not a viable way to run a country. Bran will not be succeeded by children of his own blood, but I think much in the way that he himself has succeeded Bloodraven

the Fisher King is one with his land as such: his welfare is the welfare of the land, and when he takes a wound (and becomes infertile), the land too becomes barren. the Fisher King awaits a hero who will heal and restore him and so the land (but I can only imagine GRRM would subvert this - it's clear through GRRM's writing of disability that he doesn't see value in just 'curing' his characters. he wants to actually write them as disabled people). and I think there's a lot in Bran's story about man learning to respect the land he lives upon - the children and the first men's peace pact was agreed upon the grounds that the first men would essentially preserve Westeros and its weirwoods etc, and so I think it's generally agreed ASOIAF could end with a similar kind of pact to end the Long Night (or after the end of TLN)? so again, think this point is about Bran representing a renewed relationship between the lands of Westeros and its peoples - the welfare of all is tied together through him

the Fisher King is guarding the Holy Grail. im way out of my depth on this point, someone with more knowledge re. the Holy Grail needs to weigh in here lol, but I would guessssss that maybe this has something to do with Bran ending the story on the Isle of Faces, protecting the peace from there or SOMETHING idk

then the most obvious point: the Fisher King as he appears in Arthurian legend is thought to draw on the figure of Brân the Blessed, a character of Welsh mythology - which immediately recalls Bran the Broken (something Bran literally calls himself several times). the name 'Bran' also translates to crow or raven in Welsh, so, duh. and Brân the Blessed's story ends with his requesting that his head be buried on the White Hill of London - and as long as it remained there, Britain would be safe from invasion. more about Bran being tied directly to the welfare of the land and its peoples

(again there's doubtless a lot more that could be added here by someone who understands the Fisher King myth better than I do, but these seemed like the most obvious points that anyone could draw on)

anyway I absolutely take it as a given that Bran will be King at this point, and whilst it's really hard to imagine what that looks like, I do think it resonates. GRRM likes writing about dynasties but I don't think he believes in them. I'm sure he feels much the same way about feudalism, but I doubt that will be gone by the end of ASOIAF, too, so this is how I picture it??

KL: destroyed. red keep: fucked. some level of politics may continue here post-series, but I think it will no longer be the heart of westeros. the fact that it is in AGOT is I think GRRM trying to show the corruption at the heart of this country - KL is constantly described as a cesspit where the rich play their games and live and eat luxuriously directly atop the shoulders of the poor and downtrodden, divorced from what's happening in the rest of the 7K.

the new heart of Westeros will be the Isle of Faces. this is where I think Bran will end up. we don't know much about it, bc noone is able to sail there, but this was where the pact between the COF and the First Men was created, and it's one of the last places in the south where weirwoods still grow (here, in abundance). and apparently there was once a Green King of the Gods Eye?? if the Green King, of the Rivermen, is in any way the role Bran will soon be occupying, maybe this is where his Tully heritage is somehow relevant. and also like 'god's eye', Bran's whole thing is about learning to see all, so. likely place for him to be. ultimately, I don't think Bran will remain in Winterfell; the story is supposed to be about unity I think, and not northern exceptionalism, so a remaining Stark sibling will take up that seat and as I said before, I tend to think that will be Sansa.

and I guess the most I can imagine beyond this point is Bran living alongside the COF (perhaps in the company of Meera idk?), functioning less as a political entity and more as a figurehead, perhaps an oracle, who lives for the welfare of his people. there will still be politicians to run the country, but they will be guided by Bran in some way, and like Bloodraven, Bran will choose his own successor. what the intricacies of any of this look like i have no idea, but this really does sound to me like the start of GRRM's answer to all his concerns re. dynasties and corruption etc etc

sorry this was all garbled as hell but this is basically what the Fisher King endgame means to me for now. in short, not a whole lot that I can make sense of but I like the feel of it, I think it's consistent with the themes of the text and suggests the start of real change at the end of the story, rather than the start of yet another dynasty.

[aromanticofficial]

i know that theres nothing wrong with realizing that youre not a sexuality you thought you were but im scared that im not actually aro. ive never been in love or been interested in relationships before (i had the basic aro story of everyone crushing and dating in highschool while i just sat there) but there is sometimes when i think about my future and wonder if i'll actually find "the one" but idk im fine with being single and know i will be happy by myself but its always in the back of my mind.

idk i could be over thinking

don't worry, no one (or at least, no one who matters) will like excommunicate you if you stop identifying with the aromantic label. if you're wrong, you're wrong and you get a chance to understand yourself better. just take a deep breath and let the future come later

[themyscirah]

Complaining abt Suicide Squad yet again but the fact that they have Waller exposing the alien community to space racist attacks and talking abt how she got to her position through deceit and being a terrible person and stuff is just. Ahsfiwueh JUST SAY YOU DONT KNOW WALLER.

Anyways literally the 3rd mission of the Squad ever (and the first framed as smth Waller picked and not orders from above) was the Squad discrediting and stopping a rogue vigilante who was only arresting POC and funneling white people into white supremacy groups (of which he was the most prominent member) in SUICIDE SQUAD #4. and it's explicitly framed as this mission being personal for Waller that she's hiding from the government bc its illegal like. Guys. Please why are we having her incite (space bc comics) racist attacks now

Also the whole "Amanda got her position through deceit and being a terrible person" NO. she KEPT her position through being shitty and playing complicated political games!!! She wasn't always that way like there is a difference and it is IMPORTANT ppl PLEASEEEE. In Secret Origins #14 we learn Amanda's backstory and she used to be a normal, caring person! Like even after she entered into working in government and politics she wasn't automatically morally bankrupt like please people. She was originally given control of the Squad by Reagan (*sigh* 80s comics...) to distract and get rid of her because she was so successful at pushing progressive social policy in Congress. Acting like she's this static pillar of evil is such a waste of her character and so fucking uninteresting and disrespectful to her arc it drives me MAD.

Like I am NOT saying Waller is all sunshine and rainbows, she fucking SUCKS (said w love <3) but like there's a human being there. It's a progression, she has a character arc like please, DC, please!!! They've fucked up Waller so bad and made her so opaque and uninteresting she can't even be the protagonist of her own story for fucks sake!

Like I don't know how many times I have to scream it until DC hears me or remembers but WALLER IS THE MAIN CHARACTER OF SUICIDE SQUAD. ITS HER BOOK. yet right now she's a cutout to be used as the villain wherever the writers please. Even in her book we get none of her perspective really displayed, no exploration of her thoughts with any kind of understanding of the role she traditionally has played and was made to play in the story.

[nonbinary-morro]

people fandomizing an ongoing genocide need to drop fucking dead what the actual fuck

[yourfavaschips]

could u do Hiroshi Odokawa from odd taxi? i love ur blog!!

Hiroshi Odokawa from Odd Taxi would be Lay's BLT Sandwich Potato Chips!

[hypogryffin]

Your art is so flipping pretty, and I just adore how you style all of the persona characters! But my question is, are there any other fandoms/works of art that you want to post or start rambling about? I hope you have a lovely day! (o゜▽゜)o☆

you can have those?

[sculien]

someone with your eyes might come in time, to hold me like water or christ, hold me like a knife

hozier – "who we are"

[project-sekai-facts]

what songs have a different instrumental in the sekai versions compared to the original?

a lot of comms and covers have slightly differing arrangements for the game (usually minor, like changing the pitch, or changing the volume of certain instrumental parts), and I don't really have the time to go through every single song one by one. I can tell you ones that were rearranged specifically for the game though. That list includes Asu no Yozora Shoukaihan, Kagerou Daze, Children Record, Lost and Found, Amanojaku, Summertime Record, Superhero, and the April Fools version of Roku-chou Nen to Ichiya Monogatari

[a-loose-collection-of-ants]

I love your amrev art sm it'd my favorite I think you're my favorite artist on here, please make more art

Hey anon I'm crying a little bit, here are some sketches just for you

[qoldenskies]

what's your separated au about? :0

WHERE WE WENT WRONG ASK SPOTTED [LOCKS IN]

okay essentially without going into spoiler territory (it all seems kind of typical but there's a lot of twists and turns i have planned!!! trust me)

VERY basic premise, with leo/donnie with draxum and raph/mikey with splinter. i'm going to keep leo and donnie's names as they are for simplicity's sake and say that at one point they just decided to use the names their bio father gave them when they asked draxum for like... Actual names, they were probably just numbered before. they both have kind of messy complicated relationships with him

^^^ draxum is a pretty shit parent but im not going to make him super abusive (its fine when people do, im just going for the more nuanced approach!!). he's very goal-oriented and for a long time he's struggled to see the weapons he created as people, although he never outright Abused them. he was pretty emotionally neglectful and hard on them when it came to training/pushing them into their roles, and over the course of the story he's going to grapple both with humanizing them and also descending into a spiral of paranoia as things go on (all im gonna say about what's going on with him right now)

personality alterations are more subtle in some places and more obvious in others. raph is a lot more serious and overprotective, mikey's very similar to his canon characterization but he's a lot more rebellious and determined to prove his own independence, and donnie's actually very blunt and deadpan to counteract leo being UHHHHHHHHHH. hmmmmm. an insane person!! (lmao raph/mikey are dog-coded in the way that mikey is an excitable puppy and raph is an old sad sheepdog, and leo/donnie are cat-coded in the way that donnie is a cat that stays in high up places and glares at you, and leo is the type of cat that rolls on its back and looks cute and then ATTACKS when you try to pet it. thats the best way i can summarize them)

donnie was very much the family stickler on his side of the equation and leo was unruly and untameable, but that kind of... switches after some things happen. leo becomes complacent out of fear (he is so complicated and fucked up god bless) and donnie changes his priorities after he meets mikey.

because essentially the core of the story is that donnie and mikey being the youngest of their families, with overprotective older brothers who are actually kind of more reliant on them than the other way around, want to connect and actually be a family (as well as stop the conflict going on) but raph and leo REALLY DO NOT WANT THEM TO.

and i mean REALLY. really really. raph distrusts donnie and hates leo and leo DESPISES both raph and mikey (disaster twins are really codependent and its gonna shine through), so there's really just opposition on every side of the equation. things turn out alright in the end, but it's.... a long, long process. there's a point in the story where they have to do the unlocking ninpo thing and it takes so much longer and it is so much worse and its such a fucking mess LMAO

wow i love my sep au (one man's junk but with more crying and blood in it)

if things go according to plan it'll start after i finish canary continuity, i already have it all outlined. its just beginning stories that is kind of a struggle for me so the first few chapters are gonna be hard. even though i KNOW what im doing bleckgh.