#it's one thing when i or others from (or who've at least been to) the midwest/south complain/joke about it

[opens-up-4-nobody]

...

[ereh-emanresu-tresni]

People get wayyy too comfortable shitting on entire regions istg

[brainmuncher]

So I had another idea come at me while making lunch (I'm starting to sense a pattern with myself, lmao)

What if when Jazz sends out letters to the colleges she wants to get into, she gets sent rejection letters from every single one... except the local community college. She's absolutely devastated about it. She thought that she did everything she could to be chosen. How could every single one reject her?

Danny, of course, hears about it and asks Tucker to check and see if something happened digitally. Surely, Technus or Vlad or someone messed with something to sabotage her. But when Tucker checks, there's absolutely nothing wrong. She still has her perfect grades and attendance record all set with no marks. Her community service hours are all there. It's only when he looks at the letters themselves that he finds the problem...

After looking online to see what the letters look like, he comes to a puzzling realization... the letters were fake. It's a good fake, but it's not the real thing. The signatures were off, and the writing had been changed.

This is what leads him down the rabbit hole.

He tries to ask about it online to ask others who've also been rejected. Except nobody is answering him.

Sam tries to call the numbers listed on the websites of the colleges... but the person who answers is strangely unknowledgeable about the college they represent.

The only college that seems normal about it was the nearby community college. And that somehow feels the least normal about everything.

It was only when he heard his mom complaining that they never heard from family anymore after they moved to Amity that he figured it out.

Containment. Nothing is leaving Amity. No emails, texts, letters, or posts online. Everything was being blocked.

Of course, this sends him on a mission as to why and how. He spends weeks on it. Sam and Danny actually began to become concerned for him. No, this isn't a pride thing, Sam. And yes, he is taking care of himself, Danny.

Technus is the one who gives him the answer. It was just a passing comment about how he needed to funnel through the GIW in order to infect the world. It didn't make sense to any of them because surely that's the last place you would want to do that. But then it dawned on Tucker. That's who has the power needed to do it! That's where he needed to look!

So he hacks into the GIW and is astonished by what he finds.

The anti ecto acts aren't real. There's no laws even acknowledging ghosts.

There's a file on Phantom, marked as 'candidate for X'.

And all he can find on the containment is a name he's seen described as the creator of the GIW and the main supplier of funds.

Amanda Waller.

[darkshrimpemotions]

You know, the counter to criticism of John has always been "John did the best he could under those circumstances" but that argument REALLY falls apart hard when the show gives us multiple examples of other hunters who had kids and provided them with stable homes or at the very least, didn't abuse, neglect, and exploit their children to the degree John did.

Bill and Ellen Harvelle. Krissy's dad. Tasha Banes. Hell, Mary's parents, even.

Hunters are all traumatized people who've lost someone, and yet not all hunters with children left them alone in hotel rooms for days or weeks at a time without enough money or food, used them as bait for a shtriga or god knows what else (I haven't forgotten or forgiven Dead Man's Blood), put them in danger constantly, isolated them even from other hunters, or emotionally abused them to have no self worth and view "I'm proud of you" as a dangerously out of character statement from their parent.

Jo grew up safe at home with her mom, viewing her dad coming home as an occasion for joy. After her dad died, her mother tried EVERYTHING to keep Jo from hunting to keep her safe, and finally only started hunting again herself to protect Jo. Dean reminisces about "when dad got home" with a haunted look in his eyes. Dean was hunting werewolves at sixteen. When Sam was afraid of the thing in his closet, John gave him a .45.

Krissy wanted to be by her dad's side all the time. Her dad even quit hunting, laid down whatever reasons made him start, to give her a shot at a better life. Dean gets quiet and changes the subject when asked if he misses his dad. Sam's fondest memories are of getting away from John. John drove his kids nearly to death with his obsession. Spent Sam's college fund on ammo.

Max and Alicia Banes were part of a community. Their understanding of hunters' funerals included friends and family gathered to celebrate the life of the departed. Sam and Dean knew very few hunters before John died. They only knew how to grieve in isolated silence around a solitary pyre.

Mary grew up in a house. She slept warm in a bed in a room of her own. She had family dinners. When she said the worst thing she could imagine was her kids being raised like she was, she meant hunting by itself. And I'm not saying hunting is good or healthy! It's not.

But it was the worst thing she could imagine. She couldn't even imagine the abuse, neglect, deprivation, instability, and hunger her children would one day endur on top of hunting.

But sure, yeah. John definitely did the best he could under the circumstances.

[allisluv]

Emily prentiss x single mom!reader, Emily introducing her new gf reader and her kid to the team?

meet the family -- e.p

summary: emily introduces you and your daughter, verity, to the team.

pairing: emily prentiss x single mom!reader

word count: 1.1k

content warnings: derek being a lovable menace and interrogating reader but he's just worried for emily! apart from that, i don't think there is anything else but if there is, just lmk! <3

author's note: thinking about turning this into a series so feel free to send in as many scenarios for these two as you'd like! <3

when emily tells you that she wants to introduce you to her friends from work, you're nervous, to say the least. you've heard great things about the bau— not only are they damn good at their job, they also treat each other like family.

you're sure they're lovely people, honest, but part of you wonders just how nice they will be when they find out you have a daughter. you've been going out with emily for the better part of six months, and while she has been nothing but supportive of you being a single mother, that doesn't mean everyone else will be as understanding.

over the last four years, you've faced a lot of backlash about being a single mother. in fact, you had started to give up hope altogether on finding someone new. people do not like to take someone on when they have priorities or "baggage", as one man called it. you were debating taking down your tinder profile when emily messaged you— and boy were you glad she did.

"relax, my love," emily soothes, resting her hand on your thigh as she focuses on the long stretch of road ahead. "it's just dinner. and i promise they don't bite. well, derek might, but he's all talk and i'll kick him in the balls if i have to."

you laugh, wiping your clammy palms down the front of your black blouse. "are you sure i look alright? i feel stupid in this skirt."

before emily can get a word in, verity pipes up from the backseat. "you look pretty, mommy."

you meet her eye in the rear view mirror and smile. her words settle your nerves ever so slightly. "thank you, honey."

"see?" emily quirks a brow. "verity knows her stuff, don't you, v?"

verity is too busy playing with her barbie dolls to give emily a proper answer, but she hums her agreement, which is good enough. emily brings your hand up to her mouth and presses soft kisses to your knuckles, something that she's learnt over the last few months that soothes you.

emily holds your hand, verity holding your other, as you walk into the restaurant. it's buzzing with life, and it's warm, which makes a change to the bitter cold outside.

you hear someone call emily's name, and your heart sinks into a pit in your stomach. as if she can sense your anxiety— and lets be real, she's a profiler, so she more than likely can— she squeezes your hand and leans down to kiss your forehead. "that's jj."

a blonde with bangs pulls emily into a hug as the rest of the team stand to their feet. before you have time to back out of the situation altogether, a woman with orangey-red hair squeals and envelopes you in her arms. "i'm penelope!"

"hi!" you giggle, placing a hand over your chest in an effort to keep your heart from beating so fast. you give her your name and she compliments you on how pretty you are. "thank you," you laugh.

as you go around the table, learning everyone's names-- david and jj and aaron and spencer and the infamous derek-- you feel a tug on your arm. verity's hiding behind your legs and you hoist her onto your hip, not caring who's watching. she winds her chubby arms around your neck, and buries her face into your blouse.

"who've we got here?" spencer smiles, trying to catch verity's eye.

you look to emily for help and she places a reassuring hand on your lower back. "this is my girlfriend, and her daughter, verity."

for a minute no one says anything, and you debate running back out the front door and away from the prying eyes. you swallow the lump in your throat as emily's thumb traces soothing patterns against your lower back.

aaron cracks a tiny smile, something that looks to be a rare occurrence, and puts his hands on his hips. "it's nice to meet you, verity. how old are you?" verity pulls her face away from where it's buried in your blouse for just long enough to hold up four small fingers. "i have a son, jack, who's just a little bit older than you! he's five! maybe next time i could bring him and the two of you could play together? how does that sound?"

verity flails her legs about, a sign that she wants to be let down. you oblige, and she stands by your side, gripping your hand like a vice. "does jack like superheroes?"

aaron grins. "he does indeed."

verity juts her chin out. "then it's a date."

the team erupt into laughter and derek mutters something fondly about how jack will have his work cut out with this one.

emily pulls your chair out and you sit down, offering your girlfriend a smile in return. she sits beside you and verity makes herself comfortable in the chair on your other side. "i couldn't find a babysitter on such short notice, i'm sorry."

spencer dismisses you with a wave of his hand. "don't be. 66% of babysitters are between the ages of 11 to 13 anyway. did you know that?"

you smile. emily had filled you in about spencer’s rambling. while some people found it annoying, you found it endearing. “i didn’t know that."

derek leans across the table, using his elbows to prop himself up. "so..." he says to you. "what are your intentions with emily?" penelope whacks him across the back of the head. "what? it's a simple question!"

your face flushes scarlet. emily takes your hand under the table. "well, my intentions with emily are strictly confidential, if you know what i mean." you bat your lashes and rest your chin in the palm of your hand. you cover verity's ears. "does that answer your question or do you need the nitty gritty details of our sex life, too?"

jj bursts into a fit if giggles, aaron almost chokes on his red wine and derek ducks his head to hide his embarrassed smile.

"she's fiery," david notes. "i can see why you like her, em."

"well, i'm in love with emily," you announce. "and, unfortunately for you guys, i'm in it for the long haul, so you're stuck with me." you catch derek's eye from over the rim of your cocktail glass. "have you got a problem with that?"

derek tongues the inside of his cheek, smiles, and shakes his head. "not at all. i hope you don't mind me being rude, i was just seeing if you could hold your own, that's all. no hard feelings?"

you shake his hand across the table. "no hard feelings."

emily lets go of your hand to fold her arms across her chest. "im glad the air is cleared between the two of you, but if you ever pull a stunt like that again, i will castrate you."

"is that a threat?" derek muses.

"no," emily says, slipping her hand into yours. "It's a promise."

[loveandleases]

Hey hi hello, I'm now obsessed with fantasy au rogue Cam lmao

I can imagine him just popping up at random to reconnect w/ MC, maybe even bringing lil trinkets (something he maybe took from his most recent robbery) that reminded him of MC. And maybe he gets teased by some of the other guild members about it like 'oh? going out on another date already? should we get a dowry ready for you, loverboy?'

Honestly, same. (Fantasy Au is just too fun to write. All the drama.)

As Cam steps up onto the old scared wooden table, narrowly escaping a wet kiss on the cheek from Bale, he looks among the other members. From the hardened rogues who've been scouring the city's underbelly for years, to the young pickpockets who are happy with a single gold coin.

He's never been good at giving speeches, the last time he tried he ended up in a back alley with a black eye and busted lip. To be fair, he was drunk. How was he to know that Eamon wouldn't be a fan of him critiquing how he was bedding his date?

They did well on the recent heist, so well, he worried that the boss might decide it's time to cut down on how many members there are. But luckily for him, Eamon is gone, and he's left in charge until he returns.

He clears his throat, the flame of the fire gleaming against the various rings on his fingers - each one representing a milestone within the guild.

He raises his hand, tapping his fingers against his tankard, a sharp ting-ting-ting cutting through the chatter. Each eye falls to him, some glazed over from far too much ale, some with lust.

"Alright you heathens, listen up." He calls out. "I reckon a toast is in order. The Vermilion Crescent pulled off the heist of the season - right under Christoph's nose. A round of applause for the guts it took to rob the man blind. The glory the guild will receive in the morning. And last but not fucking least, for the rich being a little less comfortable in this town!"

The room erupts in cheers and laughter. Mugs raised high and quickly downed again and again.

Cam's grin widens as he looks out at them, each happier than they were the night prior. "Oh, one last thing," he quickly adds, his tone taking on a mock-serious edge.

"The guild takes 10 percent, and I take 5 for finding. Don't forget it, or I'll kick your asses when I'm sober."

Bale smacks him hard on the back, nearly causing him to fall off the table. "You'll take what we give, just like you always have."

Cam waves him off, rolling his eyes as he places down his mug and throws on his cape. "Yeah, yeah. Listen, you keep an eye on everyone. Make sure they don't do anything stupid - "

"Like you would."

"Exact - Hey!" Cam turns, a pale finger pointed in Bale's direction. "I've never done anything stupid."

Bale quirks a brow, eyeing his friend. A friend who is deciding to call it a night far too early, right after their biggest heist to date. He knew what was up.

"You don't honestly believe that?" Comes a deep voice to their right.

Cam looks to Cybil, lifting a finger to flick his friend on the forehead.

"When have I ever - "

Before he can finish, Bale’s arms lock around him like a vice, dragging his arms back as Cybil steps closer, his sharp eyes flicking to Cam’s pocket.

“Hey! If you're not buying me dinner, then get your hands off.” Cam protests, his tone half-joking. But when Cybil’s fingers brush against his pocket, he stiffens. “Cybil, you wouldn’t dare—”

“Oh, I’d dare,” Cybil cuts in, triumphantly pulling a golden velvet pouch free. The room seems to freeze for a moment as Cam jerks free of Bale’s grasp, lunging for it.

"You really think," Bale starts, once he notices the eyes around him he lowers his voice, leaning closer to his two friends. "you really think you can take that necklace and give it to Red without Eamon noticing it's missing from the stash."

Out of all the years he had been with the guild, Cam never took anything for himself. Tonight, that would change. Tonight he would take the one thing Eamon wanted from the heist. The one thing he wanted to give to them.

"Then I expect you to make sure he doesn't notice." Cam straightens his shirt, pushing his wild red hair out of his eyes as he quickly scans the room to make sure no one noticed the exchange.

He knew they would try and keep Eamon from finding it, at least to the best of their abilities. He ignores the way Bale glares at him, the way Cybil clicks his tongue at him. He turns, quickly, before they can talk him out of it and begins to walk out the door. Only for that all-too-familiar voice to yell out for him.

"Look at that, Cam's out to see that little tramp at the Inn. Maybe we should join you, that way we can see what we're all missing." To anyone else, it would sound like Jade is joking. Teasing him about another night spent in Red's company. But Cam knows Jade, better than anyone. How could he not when it's her fault he's stuck with Eamon?

"If you spent less time worrying about where I'm spending mine, you'd probably notice that Eamon has been spending his with your mother."

The laughter around them doubles, with several gasps thrown in. It was a secret, not a well-kept one, but a secret nonetheless.

Cam gives a crooked smile, his fingers tapping just above his brow, then with a flick of a wrist, he waves his fingers outward. Like a small salute.

He didn't need to look to see Jade seething, he could feel her glare as he made his way out onto the streets. His steps are a little lighter as his hands press against the pouch in his pocket.

He knew taking the necklace from Eamon's share was a dumb ass move. Deadly even. But he also remembered when Red mentioned a necklace their aunt used to have. How they loved the color of it, red, like his hair they said. If death were to come for him by Eamon's hands, the smile Red gave him, the way they pulled him in to hug him...hell that would be worth it.

[r0-boat]

If it's okay with you, I want to request Nicole and Burnice.

Scenario: They find out that their s/o has kids, like a LOT of kids. Turns out, their s/o's spouse died a long time ago so they're the ones who've been raising the kids. How do they react to this info?

Aaaaa Oh my God! This is actually so fucking cute hold on!

Shout out to my readers who are parents I love you!!

ZZZ Nicole and Burnice react to S/o being a single parent

GN!reader is a hollow raider as well!

Sfw cut for length

I couldn't resist with the httyd gif

Nicole Demara

She honestly sees you as some kind of super parent. She could hardly handle Billy and Anby two grown adults and here you are all your children with smiles on their faces as you handle all their needs and more. And you somehow still have time to be a badass and raid hollows and help her and the rest of the Cunning hares. If she somehow didn't respect you before then she practically idolizes you now.

But when she heard your story how your spouse died And ever since then you've been taking care of your kids all by yourself at that moment Nicole just wanted to put a ring on your finger and adopt all these kids. Wanting to use her hard earned finances to make these children happy.

You're in a relationship with her, You have kids She adores kids obviously she's going to start treating your kids as hers as well. "You might as well be married hahaha, just kidding... Unless."

Every time she visits which will be very often she'll always have a new toy for your kids or treats or anything. Oh my god she will spoil your kids rotten You better stop her before she goes too far.

On a more serious note She will have a talk with you and tell you that if you ever need help ever at all then please don't be afraid to ask her. She is your partner as much as you are hers.

Burnice White

Literally when you told her that you have kids the first word out of her mouth was "Milf/Dilf/Pilf"

She's totally chill about it, I mean she has a big family in the outer ring too. That's what the sons of caladon are. Burnice is surprisingly really really good with kids She might be a little unhinged sometimes but she's surprisingly very gentle and has endless energy your kids will all be tired out before she is.

When you told her the story she listened and she listens silently before approaching you and wrapping her arms around you. She is so happy that your kids have an amazing parent like you. Your story touched her so much she started to cry in your arms. She didn't know why she started crying she's the one that's supposed to comfort you not the other way around!

Your kids adore Burnice She is willing to play all their silly little games and give them endless piggyback rides pretending she's a motorcycle or something. She even makes up games on the spot for them to play. Though I have to warn you Your kids will start learning a few things from her. At least it's not how to start fires and stuff.

"All right kids you're Mom/Dad/parent, And I are severely hungov- sick from drinking too much juice we're going to watch some Bluey today"// "All right kids Burnie has to go home and get dru-Go to sleep!"

[st0rmyskies]

What Your Favorite Link Says About You

A.k.a. The Links as tarot cards/your rising sign/your blood type.

Time

You're likely an older Zelda fan. Ibuprofen has become a food group for you. Anyone who thinks OoT isn't the greatest Zelda game has you clutching your pearls and tutting. Kids these days don't know how good they have it.

You are a person to whom young people come for advice, either in your career or in life in general. You're happy to give it, especially because you love to help, but on the inside you're silently screaming, What?? Why me???

You may have trouble sleeping through the night. Even if it's not every night, there are some where you just can't turn your brain off and worries or worst-case scenarios just keep playing and replaying ad nauseaum.

You enjoy time in solitude to appreciate the beauty of nature. I bet you know how to braid a mean daisy crown.

“The flow of time is always cruel...” - Some event in your life took your innocence from you, perhaps much too early. You grew up quickly because of it.

Legend

Either you had a crush on the emo kid in high school or you were the emo kid in high school.

You might be jaded by the world, but you still have a solid work ethic and a soft heart despite it all. Even if you hide it all beneath a healthy layer of sass.

You possess a multitude of skills, not all of which are related. Anytime a friend needs a piece of clothing mended or a picture frame hung on the wall or a leak in a faucet addressed, you have the tools and the willingness to help.

Either you have a history of moving frequently when you were young, or you have a restless spirit. You may never quite feel 'at home' in any given place.

"But, verily, it be the nature of dreams to end." - You’ve suffered a meaningful loss in your life and you have a hard time opening up again because of it. 

Hyrule

You root for the underdog, or perhaps you are the underdog. Any of those "against all odds" stories just hit you square in the chest.

Somewhat quiet by nature, you do vital work behind the scenes but you aren't the type to seek out a leadership position. Leave the limelight to somebody else, please.

You might sell yourself short when it comes to your skills and abilities, but you should believe in yourself, man! You can do it!!

You have a capricious streak in you that rears its head now and again. That smile can look sharp and devilish in the right light.

"It's dangerous to go alone!" - You either already have or are destined to find 'that one person' with whom you can open up and truly be yourself. 

Twilight

I'm willing to put money on the fact that Twilight Princess was your first Zelda game.

You have a strong sense of justice and get really bent out of shape when you encounter unfairness or flaw in the system, whatever that may be. You might be considered an outsider in some way because of this.

You're the friend who scoops spiders up in a cup and sets them outside. Live and let live.

You were the 'wolf kid' in middle school. Come on, those amazing tie dye shirts? Wolf Woman? Julie of the Wolves?? Even if you kept it inside, it was there in some way.

"Your current power would disgrace the proud green of the hero's tunic you wear." - You put a lot of stock in the opinions of others and hold yourself to a higher standard because of it. Sometimes that standard isn't achievable, though, so try to be kind to yourself. 

Sky

You, my friend, have a soft heart. You're generally a happy-go-lucky sort of person. You're likely to make excuses for those who've been mean to you in the past and come out as friends on the other side.

You're crafty, or at the very least good with your hands. You're the type to give someone a handmade gift rather than go buy something for them for their birthday, a holiday, etc.

You have a strong affinity for your friends. If anything bad were to happen to them, you'd turn violent at the drop of a hat.

You may have some level of chronic illness that affects you. Although you might do things in a different way or at your own pace, though, you still come out on top.

"You fight like no man or demon I have ever known." - You have the capability for great things. World-changing sorts of things. Don't give up!

Wild

You're some flavor of neurodivergent, if I had to guess I'd say ADHD. You have 42 tabs open in your brain at any given time and you have no idea which one the music is coming from.

You're an incredibly creative person, although you might have trouble finishing tasks/works-in-progress. Doesn't mean you didn't learn something along the way!

Rigid guidelines or deadlines stress you out. You'd rather be given a goal and decide for yourself when and how to get there. When you do have a deadline, you're a bit of a procrastinator.

Sometimes you don’t get the 'right' way to do things, but you carve your own path--although sometimes it's unorthodox--and get there in your own time.

"Courage need not be remembered, for it is never forgotten." - In spite of how your life changes you, for better or for worse, you have a driving inspiration or ethic or vocation that moves you forward at all costs.

Warriors

Those who don't know you well tend to boil you down to one or two trite traits. In reality, you contain multitudes. Most people couldn't handle all of you, not that they deserve to know even part of you.

You tend to lay it on thick--be that your charm, attitude, or whatever else your social shield might be--because you're hiding some deeper secret or insecurity at your core.

You're the mom friend or the planner in your group, or perhaps you're the oldest child. You’ll pass on an authority role if and when you can, but likely you’re still involved in some supervisory capacity in a given situation. 

You kill spiders with fire. Show NO mercy.

"You dare raise the blade of evil's bane to me? So be it. Hyrule's blood will be on your hands." - You have strong convictions and you aren't afraid to take risks, major risks, to do what you know to be right.

Four

Babe, if you ain't short, you've got short person energy. You scare me a little bit tbh.

You were praised for not being a problem child growing up, or for being very responsible at a young age.

You have a vivid imagination! You may have had an imaginary friend as a child or lived in your own little world altogether. I bet your notebook pages were strewn with little doodles in school.

You're a lover of information. If you could choose between an afternoon at the library or a movie matinee, it would be the former.

"Hanging around with you fools is dangerous for my health." - You're the snark friend, aren't you.  

Wind

You are extroverted to a fault. You need the company of others to recharge that social battery. The quintessential golden retriever friend.

You had active involvement in the music and theatre department. I'd be surprised if you weren't in at least one show in high school.

Having adventures is where it's at! You're a big fan of travel, either cross-country road trips or international flights. You could happily live out of a suitcase.

You tend to make friends easily wherever you go. If everyone in this classroom/workplace/bar doesn't know your name already, they will pretty quick.

"I have been waiting for you, boy... Do not betray my expectations.” - Against all odds, you've proven yourself to be worthy of great things. Screw what fate has in store! You're the type to take your own destiny by the 'nads.

[twilightkitkat]

Ok so if technically there are 2 Logans alive in the timeline rn (which doesn't make sense thank you Marvel)

How do you think they would interact if they met each other

Assuming that Logan is still alive and just in Mexico or Canada hiding out, I think it'd be interesting as hell if he heard about a Wolverine dupe. Because he definitely didn't live in the city and judging from the rumors, they wore a yellow suit and had his signature tufted hair. ...Which he was very much not sporting right now.

Deadpool's Timeline is before the Westchester Incident so Charles isn't yet classified as a weapon of mass destruction, even if the government is definitely wary of him. Therefore, Logan could justify leaving for a bit to investigate these rumors (if just for old times' sake and for an excuse to check up on the X-men).

He expects them to be, like most things, incredibly fake.

Except when he does some digging... they don't seem to be entirely fabricated? One guy even showed him the scars from claw marks that looked identical to his own, but Logan knew damn well he wasn't in the area at the time. Much less infiltrating a drug ring.

He snoops around and hears rumors that this new Wolverine sticks close to Deadpool. That's... an interesting name. It's vaguely familiar, and something in him recognizes it, but he can't quite place where he heard it.

But the way people react to the name "Deadpool" is telling enough. Even people who are entrenched in the underground look around warily, as if afraid to give out too much information. People are hesitant to speak, fearful of the idea of him alone.

But Logan's nothing if not persistent. He settles down in a seedy bar where he knows shady business happens and listens. If this guy was as big of a deal as people act, he should pick something up.

Soon enough, the name pops up.

"I'm thinking of hiring Deadpool for this job, actually," some sleazy rich guy remarks as he leans back in his chair. Logan's senses lock onto the conversation immediately.

"Really? Isn't that a little excessive? You know how expensive he is these days," his companion replies.

"But there's a reason he's in demand. It's a two-for-one deal these days, you know," another person at the table adds.

"Exactly," the guy nods, "Deadpool is already a force to be reckoned with on his own, but with Wolverine? They're unstoppable."

"I once saw them fight," someone nearby pipes up, "it was terrifying."

"Deadpool alone is terrifying. Did you hear what happened to Francis?" someone murmurs.

By the end of the night, Logan has a rough idea of what he's working with. Deadpool seems to be a mercenary who's well-known for getting the job done for the right price, no matter how gruesome it is. He's also someone you'd hate to cross and who would stop at nothing to get revenge, which apparently became known after he killed some bigshot named Francis.

Deadpool was definitely... interesting, to say the least (it isn't often that a mercenary is feared more than major organization leaders) but it wasn't what he came for. No, the real piece of information was that his copycat seemed to hang around Deadpool. The two were inseparable, they'd said.

"The Wolverine" apparently showed up out of the blue one day and has been trailing after Deadpool ever since. The two seemed to be partners of sorts, and Wolverine never made any appearances in battles where Deadpool wasn't present. Rumors seem to be that Deadpool hired him or that he owed Deadpool a great debt, although some people who've encountered them whisper that they might be something much deeper. Lovers, almost.

Logan snorted. What was the point of someone dressing like him if all they were gonna do was run around with a mercenary helping on missions? No evil scheme, no grand imitation, and the guy didn't even make public appearances. Maybe he was just a fanboy or some shit.

Although he wasn't as wary anymore, something in him still felt the need to investigate further. And luckily, he knew who was going to hire Deadpool next and the job he was gonna give. All he had to do was intercept.

And so he did.

He turned into the alleyway to see some guy in a red suit and... himself?

It wasn't just a realistic copy. It was an honest-to-god clone. He smelled like him, looked like him, moved like him. He had adamantium claws like him and the exact same build. Except this guy actually fucking shaved from time to time and still kept his hair up.

"Ohhh, looks like we have a visitor, Wolvie," Deadpool chirped.

Wolverine shook his head, "Damn it, I told you he was gonna drop by to check on the rumors eventually. It's what I would've done."

"...Who are you?" Logan asked warily, tensing up.

"I'm Deadpool, as you probably already know, and this is you! Well, you from another universe. Say hi!" the man in red dramatically gestured to Wolverine, who grumbled in irritation.

"From another universe?" Logan crossed his arms.

"Yeah, bub. Believe it or not, I don't care. But we're not here to cause trouble, I'm just stuck with this lunatic here so there's two of us right now." Wolverine insulted him, but let Deadpool lean over to wrap an arm around his shoulder, whining about how he chose to stay here so he was stuck by choice.

It was... a lot to take in. Logan didn't really know how to feel about it. It was odd seeing another version of him so close to someone. He forgot what it felt like, to be like that with people. Hell, even when Scott and Jean were alive, he wasn't like that. He fucked off most of the time and they were happy to ignore him until something serious happened.

It was also odd to see another, apparently older, version of him look... so much younger. Well, younger wasn't the right word, but energized? Less depressed? He still had wrinkles on his forehead and a hardness in his eyes, but it was softer. Like he had something to live for and fight for. (Something Logan hadn't in a while.)

Somehow, the other version of him was both more and less jaded. He had a vaguely haunted look on his face when Logan mentioned the X-men, one even Logan himself didn't quite understand the depths of. He'd clearly been through some shit in his original world, maybe even more fucked up than his own trauma.

But it was like someone sanded down those jagged edges. Until they stopped cutting into him every time he sifted through his emotions.

(Logan never had anyone do that for him, not really. Jean cared, vaguely, but she prioritized Scott and was more focused on her own life than Logan's baggage. Charles cared too—he'd taken him in and made sure he had the necessities—but he had so many children that there was only so much attention he could give to a rugged stray. He didn't ever manage to file down his sharp ridges, he just kept cutting himself and hoping one day it'd get easier. That he'd get used to it.)

When he sees the soft look in Wolverine's eyes as he looks at Deadpool, Logan thinks he knows who's responsible.

[spideyhexx]

Billy knew he didn't actually hate you, but it was the only front he'd been able to put up.

Ever since you joined his gang, you've been a thorn in his side. Your constant teasing and that sickeningly sweet smile that played on your lips every time his jaw clenched at your words would send him into a spiral. It's like you always knew the right way to thread words together to make him mad.

He admits to himself he's taken with you. He sees your beauty and understands the intrigue that other men express with ease towards you, but there's just a coil inside him that tightens with anger whenever words fall out of your pretty mouth.

Billy felt poisoned by you. You occupy every part of his mind. He isn't even sure how he's supposed to do his job when he's only thinking about your voice. Or the way you called him out for staring while you sipped on your drink. Or when he saw you come out of your tent, buttoning your shirt up and you just had to comment on his blush.

This morning would be like any other. Everyone is scattered, eating their breakfast. Billy leans up against a post and does the same.

"Mr. Bonney, I recall being promised an extra piece of bread," he hears you from behind him and you swoop in, taking his already half-eaten piece of bread from him. "I reckon that was Jesse, not me," his eyes pierce daggers into you, but it somehow never phased you. At least on the outside.

On the inside, you wanted to melt from his gaze but you're smarter than that. You knew how to keep yourself composed, so all Billy saw was a calm expression and a smile as you ate what was left of his bread.

He'd roll his eyes so hard, you'd think he wanted you to hear it. He stalks off towards a small group of his men who've gathered around to talk. You trail behind him, watching his arm flex as he reaches for his hat and puts it on his head, adjusting it only slightly before leaving it. You always like his hat and the way his little brown curls would peek out in tufts from it. The attraction you had for him was overwhelming at times but the power you felt when you got him so pissed off was enough to fuel your aching feelings for him.

A wild thought enters your mind as he comes to a halt, you a few paces behind him. Annoying him was the epitome of fun for you and why not start the day off strong? Without another thought, you sneak up behind him and yank his hat off of his head, backing away quickly as he turns on instinct, his hand at his gun. He relaxes when he notices it's just you.

"Give me that back," he snaps as the other boys whistle in amusement.

They were all used to your antics by now and loved it when you challenged Billy. You seemed to be the only person to really get under his skin so it was for their amusement too.

A taunt plays at the tip of your tongue like venom. "You gonna catch me?" You tighten your grip on his hat, a smile still on your lips as his mouth opens to say something, but nothing comes out.

Billy's mind is racing. He's still tired and he only got to eat half of his food cause of you and now you have his hat of all things. All he feels like he can do at that moment is let out a little chuckle, shaking his head.

He begins to walk towards you and you both circle one another as all attention is focused on the two of you. "We both know I can run faster than you, sweetheart," Billy tries. He tries so hard to not come off as irritated as he is but it's so obvious. You loved that about him.

His brow is knitted and his lips purse in frustration when you shake your head. "You think so little of me, Bonney."

The two of you circle one another for a bit. You want to just run but you're waiting to see his first move. Billy on the other hand doesn't think you would even run. He knows he can very easily get a few steps closer and grab his hat from you. He's trying to study your face like he wants to read your thoughts, but he just can't. You're too good, too concealed.

"You too scared, Bonney?" A few of the men around you snicker at that and you feel your smile turn into more of a smirk as Billy's face emits more anger. He swallows hard, nose flaring as he watches you like prey. But then again, maybe he's the prey. He takes two steps to move forward and you tsk before turning heel and dashing away.

"Fuck!" He curses as the men laugh and he takes off after you. Billy had to admit that you were faster than he thought, but he still caught up enough to try and reach out his hands to grab you. You spin out of his grasp, his fingers barely grazing your waist before you run off again.

You don't miss the way he lets out a groan and you so badly wish you could turn around and see the look on his face, but you book it. The land is vast where you are, so much room and you take that advantage.

When you're a decent distance away, you stop, "you're pretty slow, Bonney!" You watch him heave it as he keeps running after you and you decide to slow your pace as you continue. Maybe he's had enough. And maybe you wanna see his handsome face up close again.

The lake comes into view as you run and Billy nears closer to you. It's like the adrenaline kicked in for him full-time as you feel your own heart pounding, just waiting to feel him catch you.

When Billy gets close enough to grab you, and he does. His hands grip onto your waist hard and he's tugging you close to him as you let out a shriek. The force of this, however, with both of you running and the hold he's got on you makes him lose his footing. He falls onto the ground, bringing you down with him.

He takes most of the fall and you land on top of him, his grasp on you so fucking tight. Despite the wind being knocked out of him for a moment, Billy's made aware of how your ass is now pressing right against his crotch and it takes every nerve in his body to not just buck his hips up against you to continue the sensation that's rocketing throughout his body in that instant. He knows he's digging his fingers tight on your hips and it gives his clouded mind all the more reason to grind against you, but he doesn't. His grip loosens.

He tries to sit up after a moment and that's when he realizes you're...laughing? Laughing so hard as you roll off of him onto your back next to him in the grass.

You both pant from exhaustion and you place Billy's hat on his chest, patting it before continuing in your fit of laughter. He looks at you with his brow raised. Billy's never had such conflicting emotions course through him before, but he knew he loved the sight of you laughing this hard. And that it was him and only him.

He really did his best to keep his lips from quirking up into a smile, but you were already looking at him. "oh don't hide it, Mr. Bonney, you loved that," you get out as you continue to laugh and that's when Billy noticed you were crying from it.

And all Billy could do, despite whatever had been holding him back, was smile and laugh along.

He drops his head into the grass as you sit up and wipe at your eyes. Billy can't take his eyes off of you. The morning sun hits you perfectly and he's even seen you laugh like this. For this one moment, any anger you've caused him dissipates, and he's left only with some sort of happiness.

You finally look back at him and notice the slight flush on his cheeks as he stares up at you. You try to return your breathing to normal as you glance at his hat, but then you see something else.

"Are you hard right now?" Billy lifts his head up, moving his hat from his chest, and sees his arousal from the situation had been more than he might've expected and he looks at you as you try to hold in your laughter.

"Sweetheart, don't-" but you're already cackling and Billy accepts his defeat in the matter, watching you with a squint in his eyes due to the sun and a smile on his lips.

let's chat about billy, here :)

[wings-of-fire-confessions]

People stating that Sora is less sympathetic and/or is worser than Icicle and - God Forbid - stating that Sora only wanted to kill Icicle in order to take revenge of Icicle for killing Sora’s sister, Crane, honestly makes me feel the urge to rip my hair out.

Sora (unlike Icicle) grew up in a kingdom where dragons from other tribes are able to invade and then attack and kill dragons living within their homes. Her own sister was murdered by Icicle only a couple MONTHS ago when she joined the JMA. Sora is also the closest dragon who shows symptoms of having PTSD, due to the flashbacks she’s shown to experience from the war within Moon Rising.

Due to Sora’s trauma from Icicle killing her sister, she was fearful paranoid her own safety around Icicle, despite the fact that weren’t fighting in the war anyone.

Because of this, when Icicle mentioned in her sleep that “killing is easy enough”, Sora believed that Icicle would be the type of dragon to continue ending other’s lives with her own claws, regardless that the war ended or not. Which made Sora believe that Icicle wouldn’t just kill her sister, but multiple other dragons within the Jade Mountain Academy too. Sora didn’t just kill Icicle to get revenge on her for killing Crane. She did it in order to protect other dragons from being killed by her too.

Like- I’m not making it up nor even exaggerating this part of Sora’s character, this is literally stated in canon.

“Our very first night here, when I still wasn't sure — I was almost sure it was [Icicle], but I thought I must be mad, and I couldn't let myself sleep because what if she did the same thing to me that she did to Crane? And then in her sleep, she muttered, 'Killing is easy enough.' ❗️That's when I knew. She's a murderer and she won't stop until someone does what I failed to do.❗️

-Sora, Moon Rising, Pages 267 - 268

Of course, you could say “But that’s stupid for Sora to think! Icicle didn’t kill Crane because Icicle’s a bloodthirsty murder, it’s because they were fighting in a WAR!”

And while that’s true, here’s the thing: Trauma isn’t (always) logical nor rational.

Fear isn’t an emotion people experience from logic and reasoning.

Let alone for someone having PTSD from a War and living around the very person you saw murder one of your closest family members.

Expecting someone, specifically an Traumatized teenage ex-soldier who only JUST turned 18 - who only recently stopped fighting in a war & only recently clearly saw her sister being murdered - to think rationally towards the person (let alone their PoV) who murdered her sister, is honestly quite illogical and even unreasonable to expect from Sora and her character.

Does this make Sora’s actions excusable and/or justifiable, especially since she didn’t mean to harm any other dragons while attempting to kill Icicle?

HECK NO! It does NOT excuse nor justify literally bombing a room of a school, and attempting to commit literal murder.

Sora’s grief and trauma explains Sora’s motives and actions, and makes her PoV understandable and even sympathetic, but does NOT excuse and/or justify her actions and choices at ALL, what-so-ever - this is true about ICICLE’S character as well.

Then does this mean that Icicle is worser and/or less sympathetic than Sora? HECK NO to that too!!

Icicle was being manipulated by Queen Scarlet, who stated to Icicle that if she didn't kill the DoD, that her brother, Hailstorm - who Scarlet knows the whereabouts of - will DIE, resulting in Icicle to be forced into making the decision of killing multiple of her teachers and a Queen (who she doesn’t know very well) and her brother who she believed was dead for literal YEARS.

And Icicle not caring about killing others is due to her being raised as a literal child soldier throughout her life, being made to repeatedly harm and kill others out on the battlefield.

Sora and Icicle are BOTH morally-gray ex-child soldiers who've been traumatized by the war, who are both sympathetic or at least understandable characters who commit awful and/or immoral actions out of the fear and trauma of losing someone that they love.

So stating that EITHER ONE OF THEM is “less sympathetic” and/or “is worser than the other” honestly feels quite icky and/or irritating to me.

.

[coraniaid]

It's true that the Buffy writers' answers to the closely related questions "is there a meaningful distinction between a vampire and the human being who was sired to create them?" and "when you get down to it, are vampires basically people?" clearly undergo something of a shift in the second half of the show.

This is a transformation that starts with Buffy's reluctance to stake Willow's vampire alter ego in Season 3's Doppelgangland and continues at pace with the gang's collective reaction to finding out that Harmony has "become" a vampire in Season 4. It's a process that continues as long as Harmony remains a recurring character on the show, until, by mid-Season 5, Buffy (and Buffy) has essentially undergone a complete switch in its view of vampirism. The later seasons handling of vampires are very hard to square with the speeches made by Buffy in Lie To Me ("you die, and a demon sets up a shop in your old house [...] but it's not you") or Giles to Xander [about the late and largely unlamented Jesse] in The Harvest ("you're not looking at your friend: you're looking at the thing that killed him"). Whether this is a change for the better or not is a matter for debate, but that it is a real change that happens is pretty hard to dispute.

It's also true that the writers are obviously increasingly reluctant to show their show's protagonist, the titular vampire slayer, actually going around killing vampires. At least any vampires who've had a chance to establish some sort of personality. How many of the dozen or so named, recurring vampire characters does Buffy actually kill over the course of the show? Not very many.

I make it two in Season 1 (if you're generous and count Luke as a recurring character), one in Season 2 (if you're similarly generous and count Buffy sending Angel to hell for almost three whole episodes as killing him) and ... that's it, right? Somebody other than Buffy kills Darla [=Angel], and Colin the Anointed One [=Spike], and Dalton [=the Judge], and Mr Trick [=Faith], and vamp!Willow [=wishverse!Oz, twice] and Sunday's only-named-in-the script henchvamp Tom [=the Initiative], and Sandy [=Riley], and Spike[=... well, Spike, ultimately, I guess]. Nobody ever kills Drusilla or Lyle Gorch or Harmony, all of whom make multiple appearances on the show and (un)live to the end of the series. And Angel and Spike (and even Darla, eventually and temporarily) all come back after apparently being killed.

Buffy might have a sacred calling to slay vampires, but the show is very uncomfortable about her killing non-human characters who've had a chance to establish themselves as people. Perhaps that's why the show stops having vampiric Big Bads completely after Season 2, and why Season 7 tries to introduce a whole new category of personality-free, definitely-not-people monsters to replace its existing vampires. (Perhaps not entirely succesfully, if we're being diplomatic.)

It's certainly true that the show does not have a consistent take to offer on vampire lore. Like everything supernatural in Buffy, vampires are essentially walking metaphors: and the things that they exist to represent and comment on change and evolve throughout the show's run. Buffy's worldbuilding is not very deep or rigorous.

But what's not true at all, and what I wish people would stop claiming, is the idea that Angel's awkward "well, actually..." when Buffy assures Willow in Doppelgangland that "a vampire's personality has nothing to do with the person it was" represents some sort of big departure from the show's established or implied lore up to that point. It does not. At all.

In fact, it's Buffy's claim that is at odds with everything that the show has been saying up this point. A vampire's personality has always, always been something that the show wants us to believe is informed by the personality of the person who died to create them, This goes all the way back to Season 1.

In Angel, Giles does tell Buffy flat out that "a vampire isn't a person at all", but he also says that a vampire may have "the memories, even the personality of the person that it took over". In the part of her speech from Lie To Me that I elided earlier, Buffy admits that if you're turned the resulting vampire "walks, and it talks, and it remembers your life" [and the clear implication here is that the vampire walks and talks like the original person did, otherwise what is this supposed to be saying?].

If the show's original position was that a vampire's personality had nothing to do with who they were in life, why would Giles have felt the need to tell Buffy (in Season 1's Never Kill A Boy On The First Date) that Andrew Borba had been on the run for a suspected double murder the night he died and rose as a vampire? Why would he have told her in Season 2's Bad Eggs that the Gorch brothers "massacred a village" before they were vampires? Why would he warn her in Season 3's Helpess that Zachary Kralik was a "criminally insane" serial killer even before being sired as a vampire? If the show -- or even just Giles himself -- really did have the position that a vampire's personality has nothing to do with the person they were before death, as Buffy claims in Doppelgangland (and some fans apparently believe), how would any of this make sense?

If we weren't supposed to think vampires inherited at least some part of their personality from their host then why, in The Harvest, would vampire!Jesse still be obsessed with pursuing Cordelia Chase? Why would Drusilla still be driven mad as a vampire as a result of the pyschological tortures that Angel inflicted on "her" when she was a mortal? In Halloween, why would Buffy be trying to find out more about the sort of person Angel was as a human? Why would Willow and Xander still be together in the world of The Wish?

The idea that a vampire inherits the personality of the person whose body they take over [or who they were before "becoming" a vampire, in the later seasons' parlance] isn't any kind of retcon. It's one of the few consistent takes on vampires the show had from beginning to end. Continuity of self; moral standing as a person; capacity for self-reflection and personal growth, whether or not vampires can breathe ... these are the things about vampires the show changes its stance on. But a vampire's personality was always informed by who they were in life, right from the very first pair of episodes.

(Spike and Drusilla being capable of at least some kind of romantic love and mutual jealousy in Season 2 is also not a retcon, incidentally. We saw that with Darla and Angel in Season 1 as well. And even the Master clearly felt emotions and had some sort of affection for his favorites among the vampires that worked for him. Spike and Dru do represent a significant -- and welcome! --change in the tone of the show, but they aren't somehow a walking refutation of what Giles has been telling Buffy (and through her, us) about vampires for the past year.)

I mean, I don't really have a big point to work to here, it's just that I keep seeing takes on my dash about how this particular scene represents a big change in the show's lore about vampires. And that .. just isn't true?

[starcollectorsilas]

Thinking about Chuuya- specifically in reference to school aus.

Because Chuuya is SMART okay. He is one of very few people who can keep up with Dazai's chaos, from a combination of knowing him for so long and also from just being smart himself. In stormbringer, Chuuya is shown to at least accurately estimate the answer to rather complex physics equations that cannot be done in your head. He does it anyway. He has an advantage in this where he himself needs to be very concious of gravity and its affects and how it works, and he also has years of first hand experience with how it works he can apply practically to the situation to make estimates easier based on prior knowledge and experience. However, the biggest detriment to that in Chuuya has probably never seen the inside of a school in his life.

It's reasonable to assume that he receives some form of education in the PM as a teen, especially given the fact he needs to work with numbers for running the jewel market. He runs that market with the most success it's hard in years if I recall correctly, while likely not knowing his seven times table. (In chuuya's defense- I don't know my seven times table either and I have a HISTORY with physics that is actually largely sunshine and rainbows so.)

but he does physics that people who've been in school for YEARS fuck up. Mentally.

So he's far from stupid.

However- I am a firm believer in the Chuuya doesn't preform well in school. Regularly a B or C student. He doesn't fail, but he's not scoring the marks he could be.

Because things aren't explained the way he needs them to be. He questions why things work the way they do, explores other possibilities to a point where he confuses himself over the material because school only ever covers a surface level explaination of how and why things work, and expect students to just get it.

When Chuuya does understand something, he UNDERSTANDS it. It becomes common knowledge to him, he can remember it and apply it well in classes, any grades or scores on in class work about the material is scored high. But the second he's under test or exam conditions, he just blanks. It's not the stress or pressure, because he works well under both. It's the lack of practicality to it. It's question after question with no running line he can use to tie everything together and get it the way he needs too. On top of this, he doesn't understand the questions, with nuance and implications his brain isn't wired to pick up on, taking questions literally in a way that costs him marks repeatedly.

If he was in a college or university, he would do so much better, even under test and exam conditions, but while in high school I think that environment just would not work out for him.

As I can make anything about skk, the countermeasure to Chuuya not understanding the way certain things are explained is that Dazai explains them better in a way that's understandable and fills any of the gaps in his knowledge that trip Chuuya up because it should be 'common sense'.

In my head the ada and pm have a joint study group held in Fukuzawa's classroom after school onnnnn... hm. Tuesdays. Because by then the topics for the week have been established, and they each should have had at least one of each class. They all work on their school stuff until everything is covered and then they just watch a movie on the board in the class because it shuts them up (totally not because Fukuzawa has just a little bit of a soft spot for the rowdy group of teens all pressed up against each other sitting on the floor on a random tuesday in early decemeber because none of them really want to go home and it's too cold to go anywhere else. It's not like they're causing trouble or being annoying- they're watching Barbie princess and the popstar for the third time this term.) and they're not causing any harm.

Chuuya isn't the only one who struggles like this, just maybe the one who does so the most, but he would be an incredible physicist, and through support from a few of the nicer teachers and his friends, I'm sure he'd find a way to do well anyway.

I do know he'd get to college and have a realisation like 'huh? learning is actually kind of enjoyable' and that'd be it. He'd become a certified genius. A gilmore girls extra, if you will.

anyway autistic + dyslexic Chuuya who stuggles in school agenda is real.

[tyrantisterror]

At Sea Without a Map Post-Script

After two months of so, my little writing experiment At Sea Without a Map has come to an end. And because I'm vain, I not only felt compelled to share it, but to talk about it in depth after the fact, so here we are. This is going to be long, though, so I'm not only going to break it into sections, but put it all under the cut for the sake of your dashboard. So go ahead and dive into the depths of the Sea of Monsters with me one more time!

Part 1: Never Stop Blowing Up

The writing process of Wizard School Mysteries Book 3 was really strained - not because of the book itself, mind you. When I was actually able to work on it, Book 3 came together really well - I think it required the least substantial rewrites of any my novels thus far. It's just that real life was kind of beating the shit out of me while I was trying to get it done - or maybe the better metaphor was that it was just slowly but steadily draining me of energy all the time. I'm honestly surprised I got the book out in roughly the same amount of time as the first two - by the way life had been treating me, it should have taken longer.

But when I got done with it I was accutely aware of how tired I was. I still had the creative drive, but fuck I needed something simple as a palette cleanser - something easy, and more importantly, something that was allowed to be bad. I needed something creative to do that was surplus to requirements and fully within its rights to suck ass so long as I had fun making it.

Around this time, I decided to rewatch Dimension 20's Never Stop Blowing Up. Brief explanation of what that is: Dimension 20 is an actual play show, i.e. a recording of people playing D&D and other TTRPGs. I'd say its reputation is built on the contrast of its main DM, Brennan Lee Mulligan, who makes these meticulously crafted campaign plans, and his chaotic band of improv comedian players who promptly derail those plans spectacularly. Like, a good deal of the show's humor comes from Emily Ashford or Ally Beardsly doing something so off-the-wall that it shatters whatever the scene was going to be and creates a far more absurd and zany spectacle in its place. Which is why Never Stop Blowing Up is pretty notable, because it's the one campaign where Brennan himself is the agent of chaos, fully unleashing his own brand of madness that the players struggle to keep up with. And fuck does he seem to have fun with it.

Of course, all of the analysis above is purely from the outside looking in - it's likely that a lot of the "chaos" is played up for the audience. But still... there is something to the idea of a person who's been working on meticulously structured stories letting loose and just doing something extremely stupid.

So I decided to give myself a Never Stop Blowing Up moment - a short story that would be simple by design, with no standards to live up to or goal beyond "have fun telling a silly little story." I then came up with a few key criteria:

It can't be set in the Midgaheim/ATOM universe. I don't want the burden of figuring out where this story would fit among others.

It's gotta be a romance. People who've read my books might have picked up on the fact that I like to write about people falling in love, for the same reason I like to write about fire-breathing reptiles and friendly monsters (i.e. I use writing to indulge in things I'll never experience in real life). I've only used romance as subplots in my fiction before, and tend to feel a bit guilty if I focus on it too long - like I'm being self indulgent. Well, this is all about self indulgence, so the romance should be front and center.

It's gotta be SIMPLE, episodic even. Not complex plotting required.

I almost chose my xenomorph romance for this, but I had developed its outline to the point where it would be too complex to fit. I then considered a sort of superhero story that could be pitched as "what if Bringing Up Baby but Katherine Hepburn's character is a Harley Quinn-esque supervillain and Cary Grant's character gets turned into some sort of horrifying genetic mutant in the first ten minutes." That one hit a weird roadblock when I got to the character brainstorming phase (the first phase of any writing project I do) - I was trying to figure out what the mad scientist who turns out Cary Grant-figure into a mutant would be named, came up with the name "Dr. Skullfuck," immediately realized that having a character named "Dr. Skullfuck" is a Mark Millar-ass writing move that I could not allow myself to do, but then couldn't stop thinking of the name "Dr. Skullfuck" and giggling, which just brought all thinking to a grinding halt on that project.

(I'll still probably do it someday, though - just, you know, without Dr. Skullfuck)

Inspiration struck again, though. I'd been getting into Epic: The Musical, a musical retelling of The Odyssey, and it put me in the mood for a sea monster story. But, more than that, it got me thinking about one particular archetype from sea monster stories - but that brings us to the next part of this Post Script...

Part 2: It Was Always About Calibani

Ok, so, one of the big changes Epic: The Musical made involved Odysseus's encounter with the sirens, and before you read more of my rambling, I'd like you to watch two animatics for the two songs in question here:

A summary: one of the sirens takes the form of Odysseus's wife to try and tempt him into getting in the water, Odysseus tricks her into giving him directions, captures her and the rest of her kind, and proceeds to have his men slaughter them horribly. In the OG story the sirens don't die - nor does their song involve imitating a man's wife, for that matter, it's just a really pretty song.

This is done for an important narrative purpose - Epic: The Musical is focused on analyzing the moral ambiguity of Odysseus, and how it is constantly challenged by the impossible choices he is forced to make in his attempt to get home. At this point in the musical, Odysseus has decided to stop trying to be a compassionate man, shirking all mercy in favor of utter ruthless pursuit of his goals. These two songs are meant to be unsettling as hell - this is the beginning of a series of heartless choices by both Odysseus and his men that will culminate in the mutiny and complete annihilation of Odysseus's crew, as well as Odysseus himself being so hopelessly stranded that nothing short of divine intervention will save him.

I bring this up because when I first heard these two songs - specifically while watching these two animatics - it, like... it devastated me. I was so horrified and sad, so shaken by it. And part of it was for the reasons outlined above, but admittedly that wasn't the gut reaction I had. No, my immediate reaction was, and I quoute my own broken brain verbatim here: "You can't kill the sirens! They're not for killing, they're for loving!"

...now, those of you who know me are probably not surprised by this very stupid sentiment coming from me. One of my more popular posts is just me talking about how down bad I would be for various folkloric monsters whose whole shtick is "looks like a pretty lady but Watch Out." But as a person filled with immense self loathing and doubt, my brain immediately looked at that very stupid sentiment I expressed and said, "Wait, no, that's fucking dumb, I'm fucking dumb. The sirens are remorseless murderers. These sirens in particular preyed upon a man's love for his wife, who he has not seen in twelve years, to convince him to let them kill him. They are, by all standards of morality, Very Fucking Evil, and if they were not women you would not feel bad about them getting killed."

And as my brain argued with itself over this topic, I got to thinking about the various monstrous/othered sea women of The Odyssey - not just the sirens, but the witch Circe, the nymph Calypso, the monsters Scylla and Charybdis. And I thought about the others of their kind in other myths and folktales - selkies, mermaids, etc.

There's an archetype of sea monster that focuses entirely on one specific anxiety sailors are prone to, namely the fact that (for a good deal of human history) being on a boat meant spending a lot of time away from women. The horror of this monster is how it uses that desire for female company to tempt people into danger - like a mirage, it leads you to expose yourself to danger in pursuit of an illusory comfort.

But, unlike real world mirages, these monstrous sea women DO exist in their stories. More than that, they're often, like, sad and lonely. Their narrative purpose is just to be a temptation, but that doesn't change the fact that they do have lives of their own in these worlds. And, softie that I am, I can't help feeling sad for them, especially the ones who actually seem to want the same companionship the sailors they tempt want. Sailors don't stay with their Circes, they don't marry their Calypsos. The sirens live on a barren rock, alone, Scylla is left to wallow in misery at her monstrous form, and the selkie always has to leave for fear of being trapped by a person who won't love her on her terms.

I realized I had my hook for this simple, easy, silly little sea monster romance story: I was going to give a sea woman the happy ending she'd never get from anyone else.

Sailor may be the protagonist, but make no mistake: At Sea Without a Map was always, always, ALWAYS about Calibani.

The goal with Calibani was simple: I was going to set up a fairly standard Monstrous Sea Woman, but where other stories would let her be in one episode of the travel narrative and move on, this one would stick around. She'd be an unambiguous predator of human beings - an open and admitted maneater - but she would have no true malice to her. She, like all predators, eats what she can get to survive, and it just so happens that she's adapted to eat humans. And the story would pose the same question to the reader that my brain posed to me during Different Beast: is there any way you could make a siren-style sea monster sympathetic? Can you make a normal person who doesn't have my particular brain rot look at a maneating siren and think, "You're not supposed to kill her, you're supposed to love her!"

One of the few unavoidable plot points of At Sea Without a Map was that Calibani and Sailor's relationship would become romantic. What kind of romance it was could have varied substantially - it could have been one-sided, it could have been toxic, it could have been far more tragic OR far more comedic. But it was always, always going to be a romance of some sort - the goal of this experiment was to make you, the reader, love Calibani. All else was icing on the cake.

I decided to base Calibani's personality on Miranda from The Tempest - i.e. a sweet girl who is both wordly and naive, who understands the strange setting of our "lost at sea" story far better than the audience viewpoint character does, but views the mundane world of the audience viewpoint character with wonder and naiveté. In fact I almost named her Miranda outright... except I already had a character in the setting I chose for this story who had that name, and as an allusion to the same Shakespearean character no less. So I settled on naming her after Miranda's adoptive sibling (of sorts), Caliban - more fitting in some ways, as Caliban is a fish-human hybrid who is arguable more native to the magic island in The Tempest than Miranda herself.

(Calibani isn't the only Tempest name homage, either - her mother, Sycorax, takes her name directly from Caliban's unseen but oft-spoken of witch mother. Dr. Antonia Warefore takes her first name from Antonio, one of the human villains in The Tempest who hopes to use being lost at sea as a way to perform a coup. And the mothman Iriel takes her name from Ariel, the wind spirit in The Tempest who aids the wizard Prospero in controlling the magic island. If Sailor has a "real" name, it's probably either Ferdinand or Miranda, the two lovers who manage to blend civilization and the wilderness together with their romance.)

Visually, I wanted Calibani to not be any common archetype of sea monster woman, but rather something that evokes the popular images while still being her own thing. She's not a mermaid or a siren or a selkie - she's basically "what if a sea serpent was also a girl." In-universe, she's chubby because she, like all marine megafauna, needs blubber to survive. Out-of-universe, she's chubby because I've found that routinely drawing cute chubby girls is good for my mental health.

Part 3: CYOA

Now, while we live in a post-Muncher society where shame and cringe are emotions only the cowardly should experience, I am nonetheless Very Catholic about expressing my own feelings of, like, liking girls and shit. I cannot help feeling guilty when publicly expressing adoration of women without, like, an excuse - it's gotta be a joke or something, you know? I can't be genuine about it, or else Jesus will beat me with a cane for disrespecting women with my lecherous gaze.

But luckily I've cultivated a loyal audience of fellow monsterfuckers, which meant I had an excuse lined up: if I made this a choose your own adventure type deal, a story with audience participation, then you all would be my accomplices. And Jesus can't cane all of us! He doesn't have enough hands! I found a loophole bigger than his stigmata!

Plus I love collaborative story-telling - there's a thrill in not having total control of where the narrative is going. As Brennan Lee Mulligan must know, there's a joy in having to deal with the chaos thrown your way by letting others grab the figurative ball, even if just for a moment.

Part 4: Offbeat Melody

Since I did not want to set this story in Midgaheim, I decided to steer myself away from a vaguely medieval setting altogether. But I also didn't want to limit myself with the need for "realism" that putting it in a normal sea would require, and making a new setting whole cloth would start pushing this project into "not easy" territory.

Luckily, I had a setting lying around that I hadn't played with in a while, which just so happened to have a location that was PERFECT for the sort of Never Stop Blowing Up style madness I was aiming for. For a few years I ran a Monster of the Week TTRPG campaign called Offbeat Melody, and one of its core setting elements was taking the goblin universe hypothesis in paranormal science (yeah it's a real hypothesis) to an illogical extreme. We had specifically seen glimpses of the Sea of Monsters in Offbeat Melody, i.e. the parallel universe where monsters like Nessie, Ogopogo, Champ, and the like all hail from. Well, why not have a whole story set there? It's literally a universe devoted solely to creating sea monsters - what better place to strand our modern Odysseus?

Offbeat Melody was always sort of a Never Stop Blowing Up project, or at least NSBU adjacent. Some of my most unhinged story-telling moments are in that campaign - you could make a supercut of just the "commercial breaks" in the various sessions and it'd basically be an I Think You Should Leave episode. Taking one obscure corner of its multiversal world and exploring it in detail was perfect for this project.

Part 5: Monster by Monster

With our main romance as sorted out as could be for a CYOA story, it was time to figure out the "episodes" of this sea voyage. I settled on there being ten to roughly align with The Odyssey - just in terms of number, mind you, not in a one-to-one comparison. The first was, obviously, Calibani herself, which left nine more slots for me to fill with monsters. Let's go through them together in brief:

Tree Storks - any lost at sea story eventually has to get its protagonist into an island at some point, but this immediately begs the question, "Why don't they just stay on the island where it's safe?" The answer to that question has to be, "it's not safe there, actually." The Odyssey does this quickly and cleverly with a one two punch: the first island seems safe until you realize the food on it brainwashes you into forgetting everything except your desire to eat it, and the second island is full of delicious sheep but also giants who will eat you just as easily as they eat the sheep. When other islands show up in the story later, you immediately regard them with suspicion, because you don't know HOW they're going to be fucked up, but they definitely will be. My goal with the second episode was to establish the same sort of danger - that land is NOT safe, that islands WILL be fucked up and dangerous in ways you might not expect.

I also wanted to establish that this is not just a sea of monsters, but a very WEIRD sea of WEIRD monsters. It couldn't be any old monster on this island - it had to be one that was unique, unexpected, and maybe just a bit silly while still being menacing.

I've always felt that there's a lot of un-mined horror potential in storks, cranes, and herons - any bird with a long neck and spear-like beak it uses to stab smaller creatures from above. Just imagine yourself in a frog's place in the world - tiny, going about your business, when suddenly something shoots down at you from above and impales you before you even feel the shadow fall over your face. Or perhaps you did see the shadow - some of these birds spread their wings to create shade specifically to attract fish, and then spear the poor little bastards.

Well, what do people often look to islands for when out at sea? Shade - the shade of a palm tree. And palm fronds kinda resemble feathers, don't they? Wouldn't it be both ludicrous and terrifying is there was a stork big enough to mimic a palm tree - and wouldn't that be a DEVIOUS trap for a sun-drenched sailor to fall for? So the Tree Storks were born.

The Globster - I made a list of sea monster archetypes in the early planning for this project, and one I wanted to include was a kraken, i.e. some sort of tentacled sea beast. But I didn't want to do JUST a big squid or octopus, or even a riff on them. I wanted to take the idea of "big sea monster with lots of tentacles" into a stranger direction.

Since the Sea of Monsters is explicitly the home universe of lake and sea monster cryptids, I thought it might be fun if ASWaM's kraken equivalent was a globster - just a big ball of rotten meat. I love drawing monstrous faces, so I decided it'd just be, like, MADE of hideous rotten faces, all melting and congealing together, with its tentacles doubling as the tongues of its many mouths. A perfectly wretched image that, like the Tree Storks, would do well to establish how Fucked things could get in this setting. Plus similar monsters had appeared in Offbeat Melody, which would make for a fun sense of familiarity for the, like, five or so readers of mine who had listened to that campaign before.

Captain Peter & the Dolphin - Another thing I did in the early planning stages of this project was make a list of the different sea voyage stories I know and love, the most contentious of which is The Life of Pi. That's a story that I love on a literal level but kind of hate on a figurative level - its whole theme/message is that doubt is the worst thing you can have, that if you don't commit to believing something with zealous conviction you are a coward. As a person who thinks doubt is valid, that "I don't know" is sometimes the ONLY truly valid answer to a question, I have issues with that message.

But I can't help loving the beautifully ludicrous idea of a non-anthropomorphic tiger sailing the ocean on a big Odyssey of its own. Like, if that story didn't actively hate me for being agnostic, it would be one of my favorites.

So I decided to, you know, just steal the idea of a tiger Odysseus. The tiger in The Life of Pi is named Richard Parker. Richard Parker also happens to be the name of Peter Parker's dad. Hence we get Captain Peter - the figurative son of Richard Parker, if you will. And to ratchet up the absurdity of a tiger Odysseus, I made him a pirate and the sole sailor of his voyage. Somehow, this tiger has manned a boat on his own.

Captain Peter was intended to be the hero of another story - a sign for the readers that it IS possible for a stranded person (or, in this case, tiger) to survive out here. To that end, he had to rescue our heroes from another threat, but not one that would be interesting enough to take the focus off of the tiger pirate. Originally I planned for that threat to just be a big shark, but I ended up liking my shark design too much to put it in a role that small, so I quickly designed a nasty dolphin for the role instead. I think that worked out well, honestly.

Dr. Neptune - Episodes 5 and 6 were the mid-point of this journey, so I wanted the two monsters of those to escalate things significantly. I figured episode 5 was probably a good place to FINALLY give some meaningful exposition on what was going on, and there are a lot of stories about mad scientists doing weird shit on islands in my big list of sea voyage stories I love. So we get Dr. Neptune, a classical brain-in-a-jar mad scientist who's affable enough to give more-or-less accurate exposition but loony enough to be a problem. This also felt like a good spot to remind the reader that Calibani is not just a girl with a tail but rather a Sea Monster herself, and one that we'd been making stronger by allying with.

With his human-but-not-quite nature and cyclops eye, Dr. Neptune could sort of be seen as the Polyphemus of this story, couldn't he?

The Crocodisle - One of the sea monster archetypes on my list was "the island that's actually a sleeping monster," of which there are many in mythology and folklore. My favorite is the Jasconius from the voyage of St. Brendan, mainly because it's more or less benign and actually comes back to help St. Brendan and his crew at the end of the story. I always love when I can find an old story with a friendly monster in it.

When thinking of my own spin on the island monster concept, I remembered the only Magic the Gathering card I had as a kid, which I still have and love to this day: The Sandbar Crocodile. This card already inspired Crocogon's color scheme in The Atomic time of Monsters, but I felt I could go to that well again one more time, and so made a crocodile that wasn't just a sandbar, but a whole damn island to itself. And, like Jasconius, it turns out he's pretty chill.

I did not think of the pun name "Crocodisle" until I was actually writing the chapter in question.

The Femdom Mermaids - These three were a late addition to the roster. When I had Calibani bring up mermaids early in the story, I realized as soon as I wrote her rant about them that we'd HAVE to meet some later on in the story.

The readers had significantly shaped Calibani and Sailor's romance by this point, and I decided that it could be useful to have a chapter that was devoted to showing definitively how these two were good for each other. I thought the mermaids could provide a good contrast: have them act out a seemingly more benign take on the monstrous sea women trope (they abduct our hero to protect and care for them!) only for it to quickly feel MORE deranged than Calibani's comparatively simple desire just to eat him.

The spirit of Calibani's rant about mermaids was taken from weird* girls I knew in high school complaining about cheerleaders, so I wanted the mermaids to look like the sea monster equivalent of popular kids to Calibani's chubby weird girl. Two of them got the names of famous beauties - Helyne = Helen of Troy, Clio = Cleopatra.

(*when I say "weird" I mean it in a complimentary and affectionate sense)

Bob, meanwhile, kinda... rebelled, I guess? Before I had names for them, I listed "bob" by her as just, like, a descriptor for her hair cut, but then I liked it as her name, and once she was named Bob she became more than just a mean popular girl. She was a weirdo too, the little punching bag of the two mean popular girls who did their dirty work and smiled through their abuse because hey, at least they included her. It gave the trio an easily defined dynamic, helped make two of the three more visibly nasty, and gave us comic relief in an arc that could very well have gotten too uncomfortable otherwise.

And I guess it worked - readers REALLY loved Bob, and were very vocal about it, and I realized mid-arc that I had accidentally made her too likable to just leave in this arc. So Bob got to be rescued from her awful friend group thanks to readers like YOU.

Lord Ironteeth - yeah, this was the shark that was too cool to be a minor threat. When I drew his noggin, I realized he would need a chapter of his own, one with gravitas. I decided he'd specifically be the threshold guardian -once we beat him, we'd know for sure how to get home, even if there were a few more threats in store.

Spindle Inc and Sycorax - when I was a kid I used to have this recurring nightmare about being on some sort of underwater sea station that had this huge sea serpent trapped inside it. I'd look at the sea serpent from a window within the station and see it coiling in its tank, only for it to look at me with fury. In that glance I would suddenly realize two things with absolute clarity: first, it was going to break free and kill everyone, and second, we deserved that destruction for what we had done to it. The terror of the dream was less that the sea serpent was going to break free, and more the guilt of knowing that all the mayhem that was about to unfold was our fault to begin with.

I thought that would be fun to homage with the penultimate chapter of this story. OBVIOUSLY the sea serpent was Calibani's mom, obviously the trauma of its capture was why Calibani grew into a predator that specializes in hunting humans, obviously we would have to free the sea serpent despite that running counter to Sailor's goal of getting home. Easy, easy, easy plot point to include.

Spindle, Inc. is the primary antagonistic force in Offbeat Melody, so they easily slotted into the role of the arrogant humans who captured this monster for nefarious and selfish motives. They could tie a lot of other plot threads together too - Dr. Neptune was a scientist who worked for them as a contractor only to get screwed over (i.e. they stranded him in the Sea of Monsters, expecting him to die, and then used his research to make their own base of operations in it), we'd learn of him through a spindle briefcase left behind by some unfortunate rogue agent who got eaten by the Globster while he was trying to escape, hell they could even be one of the possible origins of Sailor themself (more on that later). Very useful villains, Spindle.

The Abyssal Mother - I knew the last sea monster would need a lot of punch to it. I briefly considered just a big whale - the Moby Dick to Spindle's corporate Ahab - but it felt underwhelming after all that came before. So I went for arguably the most dramatic possible sea monster, a full on Cthulhu-style elder god. If you're a frequent follower of this blog, you might know I have particularly high standards for Eldritch Abominations, so I realized this was going to be a pretty big challenge for me to live up to, and decided to keep the cthulhu in question reserved to the last few entries as a result - the less it appears, the less it has to live up to.

I realized I had a good angle when my experiments with the Cthulhu "squid for a head" concept ended up having a face framed in shadow - you know, the same visual that our protagonist has in most appearances. That provided some very juicy parallels between the two that made this final monster feel particularly noteworthy to me, ones that I'll leave you to ponder, since they tie into...

Part 6: Themes

I did not set out to have a theme in this story. I just wanted to make a sailor and a sea monster kiss. That was my only goal.

But I really don't begin with theme in ANY of my writing. I figure out topics I want to address, but for all my novels I feel like the themes didn't start coming together until about halfway through the first draft, when enough of the elements of the story had been set down and interacted with each other enough for me to realize what I was saying with them. A huge part of my second and third drafts for my novels have focused on making the themes of my stories more concrete and unified.

Well, ASWaM is very much a first draft of a story, but it's a simple enough story that I think the theme found itself pretty well despite lacking subsequent drafts to refine it.

ASWaM is about doubt and direction. It's about being adrift in a world that is in many ways hostile by nature, about not feeling like you're where you're supposed to be or even WHO you're supposed to be, and about setting off aimlessly in the hope that maybe you'll find your way to that mythical land of "what my life is supposed to be."

When I began the story, Sailor had amnesia and wore clothes that obscured their identity as a way to make it easier for anyone to step into Sailor's role. Sailor had to feel like You, the Reader, and so we don't know their name, their gender, their eye color, their hair color, even their skin color (note that their hands are always wearing gloves, and their face is always in shadow).

But it also meant Sailor is, well, undefined, at least at the start of the story. Sailor doesn't know who they are, what they are, how they came to be. Sailor feels distinctly that they should be Something Else, should be Somewhere Else, should be Someone Else, should not be who/what/where they are. Sailor is plagued by doubt, by a need to go in a different direction, by a need to be other than they are.

This initially contrasts with Calibani, who begins the story very confident that she is doing exactly what she was designed to be doing and acting exactly like she should be. As they interact, they begin to shift each other in opposite directions - Calibani questions her existence and nature, sometimes to a self destructive degree, and Sailor begins to find something about who and where they are that they like. They find a healthy middle ground together - doubtful enough to want to be better people, but with love for themselves that allows them to not feel the need to up-heave their lives entirely.

I knew at the start that I would build an expectation for there to be some answer to the question of who Sailor is and where they came from, because those are the questions that begin the whole narrative. I brainstormed a number of answers to those questions, but once I got a few chapters into writing the story and saw this theme of doubt developing, I realized I couldn't answer them. From a thematic standpoint, the doubt HAD to remain. So I gave hints to possible answers, bits of evidence to support the possibility of them being true, but never planted a smoking gun that answered it for sure.

Sailor can't know the answer because NONE of us know the answer. Outside of blind Life of Pi style faith, you cannot know for sure that you are living the life you're supposed to live. All you can do is figure out whether you're happy with the life you've got, or if you need a change. Sailor will never know who they are supposed to be, but they did learn who they are, and they love that person now.

For those curious, the possible Sailor origins are:

Occam's Razor: they're exactly what Dr. Neptune theorized, i.e. a human who got stranded in the Bermuda Triangle (or the Devil's Triangle or any other number of paranormal triangles) and fell into the Sea of Monsters. The trauma of that experience gave them amnesia. It's just brain damage and bad luck.

A Spindle Experiment: Dr. Warefore mentions that Spindle has been trying to find a way to make a human who can evolve like the denizens of the Sea of Monsters. Sailor may well be an attempt to do just that, perhaps one they wrote off as a failure and abandoned (they do that a lot)

A Deep One: Sailor is the offspring of one of the denizens of the Sea of Monsters (most likely the Abyssal Mother herself) who has somehow been tricked into believing they are human, to the point where they seem to be human to everyone else, even other monsters. Maybe a human summoned a sea monster to breed with on earth, and Sailor ended up being subconsciously drawn back to the Sea by their blood. Maybe Sailor never actually lived on earth at all, but was only made to THINK they had as part of the transformation into a human.

The Platonic Ideal of a Sailor: the Sea of Monsters is full of archetypal concepts, and arguably a sailor trying to find their way home is just as archetypal as any sea serpent, mermaid, or kraken. Our only proof that humans aren't native to the Sea of Monsters is Dr. Neptune, and he's not as reliable an expert as he claims to be.

This theme of doubt and direction also made the compass more important to the narrative than a simply mechanic for audience participation - a compass, after all, gives direction, and the feeling that Sailor is not where they're supposed to be, that they need to head in a different direction, is ultimately the catalyst of the plot. The compass is, in many ways, the antagonist of the story - the force that keeps Sailor from accepting themself. I realized this a little after I started making the different directions have personalities - initially they just represented broad concepts (North = follow conventional wisdom ala the North Star, South = preserve your short-term self interest at all costs, East = act with curiosity and be willing to take calculated risks, and West = throw caution to the wind and do anything that seems novel and exciting), but over time they became little characters themselves.

Since it was our thematic antagonist, I decided to pepper in some ideas about what the compass might be in-universe - and, in a move that would no doubt frustrate the compass, we also don't know for sure which of those is "correct." Is the compass a poltergeist, some amalgamation of dead sailors who try to steer other lost souls home? Is it a malign entity that leeches off of those desperate enough to seek its aid, living through them while pretending to aid them? Is it a device Spindle made to lure sailors to their clutches, OR to guide their experiments in human/monster hybrids? Was it a cursed item that forced a sea monster to assume a human shape? Who can say - the compass sure can't, it can only tell you a direction to go in.

Part 7: Q&A

Since this was an interactive story, I felt it was only fitting to add one last interactive element to this post-script write up, and some of your happily obliged me by sending in questions.

When I noticed how fast readers were falling for Calibani, I figured there was a good chance we'd end up staying in the Sea of Monsters. By chapter 7, I figured it was more or less a given, and by the end of the Lord Ironteeth encounter I was almost 100% sure Sailor would remain at sea. There was always a chance, though - while a look at the polls shows that the audience got more and more on the same page towards the end, there were always dissenting voices, and the desire to get an answer to the question of Who Sailor Was remained strong, as a number of people kept trying to find angles where they could get that AND stay with Calibani.

I was surprised early on by how easily the audience fell in love with Calibani, to the point where I made a few posts commenting on it. I mean, I shouldn't have been - as I said earlier, I have cultivated an audience of fellow monsterfuckers on here, and I know at least a few of them saw my bait and knew they could get me to be freaky in a way we found mutually agreeable (thank you all again for helping me escape being caned by Jesus for being horny).

Like, we REPEATEDLY ignored developing the plot in the Tree Storks chapter for several days just to spend more time with Calibani - something that I enjoyed immensely (this whole thing was an excuse for me to write and draw a cute chubby sea monster girl as much as possible aftter all) but also knew as a storyteller was not what most would consider a good story call. I like how it turned out, but it defied conventional narrative wisdom, you know? I was surprised.

On the other side of the coin, I was also surprised by how the audience NEVER chose an option that was humorously disastrous. I gave plenty of them, and, like, generally in collaborative storytelling there will be at least one moment where your collaborators decide to do the really, REALLY stupid thing that makes everything spiral out of control really quickly. I figured at least once the audience would choose the troll response, but no, you guys worked hard to keep Sailor and Calibani alive. You refused to let them hurt each other, refused to let them throw themselves into danger, refused to imperil them for your own chuckles. It was very sweet and unexpected.

I say "you refused" but to be fair it's not like NO ONE voted for the troll options - they generally got a handful of votes, just one that was beaten by a landslide of more reasonable options. Hopefully those of you who voted for the troll options enjoyed Bob throwing you a bone by disintegrating Dr. Warefore - that was my consolation prize to you.

Yes. I knew at the beginning that there would be two endings for this story: either Sailor leaves the Sea and goes home, or Sailor stays there forever. Or, you know, Sailor dies as a result of you guys choosing several stupid options in a row, but as stated above you guys avoided those scenarios pretty decisively.

Had Sailor gone home, the following would have occurred: first, they would forget everything that happened in the Sea of Monsters. Second, they would wake up in a hospital, having been found in the Atlantic Ocean by a human-recovery charity run by... oh, isn't that funny, some tech company named Spindle Inc! Spindle would foot the medical bills and even offer Sailor a job, but Sailor would decline because even now they're still not sure what Spindle even does. Sailor would go back to their life and find it familiar and utterly mundane, but not particularly happy. Their father died when they were 18, their mother was never in the picture, they have no siblings. They worked an office job and were sort of a nonentity - that position has long since been filled, but Sailor gets a new job and lives out much the same life: simple, mundane, dreary. Every now and then they get a pang of desire to leave, to go to sea, but they push it out of mind. They never even see the ocean again as long as they live.

Sailor would have gotten the normal life they thought they were supposed to have, the normal memories and name and identity, the mundane life of a normal person. And they just had to trade everything they found in the Sea of Monsters to get it. A question is answered, a direction is followed, but is it the right answer, the right direction?

Well, I think doubt would have remained.

I had a very vague idea for there to be some sort of man-eating giant in, like, a crystal castle. He got cut to make way for the mermaids.

I wanted to fit in a big whale and a giant crustacean, but there wasn't room or an interesting angle for me to want to make room for them. Saved for a possible sequel, I suppose.

I also wanted to have a scene with, like, DOZENS of sea monsters, including some of the ones from Offbeat Melody, but the goal of "this should be EASY you dumbass" made me kill that idea pretty quick.

Thank you!

The primary inspirations were:

The Odyssey and Epic: the Musical

The voyage of St. Brendan

The many "weird shit happens on an island" movies in Toho's filmography, i.e. Godzilla vs. the Sea Monster, Son of Godzilla, Yog Monster of the Deep, Matango, etc.

The Island of Dr. Moreau

The Boy and the Heron

Ponyo (specifically Ponyo's parents - I wanted Sailor to have the same desperate energy as that wizard who fucks the giant sea goddess)

The Life of Pi

Slay the Princess (perhaps most obvious in the use of second person narration, multiple voices in the protagonist's head, and falling in love with a creature that has tried to kill you at least once)

I'm going to use this to springboard to a related point in a second, but first a genuine yet humorous answer: Yes, absolutely yes, I am enough of a big romantic sap that I would give everything about my life away to be with a person who loves me and explore a world of monsters in a heartbeat. Hell, I would have jumped in the water the minute Calibani asked and died with her fangs in my neck and a smile on my face. I am dumb this way. Do not follow my example.

On that related point, though... Most stories like this, I daresay ALL stories like this that I know of, end with the hero abandoning the fantasy world in favor of reality, never to return. And that seems like the proper choice and lesson on the surface - we don't want to tell audiences to give up their real life in favor of a fantasy, after all. That's encouraging escapism, and that's not healthy!

But, like... textually speaking, the fantastical world IS real to the characters in these stories. And it's often not really an escape - was Sailor's life devoid of conflict and suffering in the Sea of Monsters? Fuck no! It's just that they figured out how to deal with that conflict and suffering - they built skills and a support system, they adapted, they learned how to overcome what was there.

I think it can be argued that sometimes the return to a "normal" world is, in itself, an escape - the idea that your life can spiral into chaos but that's ok, you can just reset everything and go back to The Way It Was and Should Be is just as unrealistic and unhealthy an idea as You Should Escape to A Better World. Sometimes your plans for your life fall apart, sometimes you're thrown into a place you never intended to go, sometimes you have to learn skills you never anticipated needing and ally with people you never thought you'd befriend to deal with problems you never dreamed you'd have to overcome. And sometimes it's ok to look at your derailed life, your Not Where You Should Be life, and say, "Well, I've learned how to live here... maybe I can stay."

Especially if there's a cute chubby sea monster girl who loves you.

Bob was never supposed to appear past chapter 7, but about halfway through that chapter I realized the audience and I myself would be heartbroken if we didn't rescue her. Definitely for the best - she provided some well-needed comic relief in the final chapters.

This is gonna sound snarky, but, yeah - there were 58 choices with four options a piece, and we only chose one of the four. While some of the options would have similar results, almost none would have had identical outcomes. And some would have been VERY different.

Like, to go back to the beginning: when Calibani attacked, we could either throw a net on her, harpoon her, try to drive around her, or hide below deck. We picked the net, but for the other three options:

Harpooning would result in us hitting her in the thigh, causing her enough pain that she collapses on our deck and we, horrified at the violence we committed, just sort of push on. Calibani would be wounded for at least the next chapter, perhaps longer, and significantly weaker (and probably harboring a great deal of hidden resentment while also being genuinely scared of Sailor). She would be vulnerable during the stork attack, forcing Sailor to take a more active role in that chapter.

Trying to steer around her would result in us essentially fighting her with our boat, resulting in the boat capsizing and Calibani getting tangled up in it. We'd wake up alone on Stork Island and have to travel in search of our boat, alone and vulnerable among man-eating trees. We'd run into Calibani again, also beached and in trouble, end up recruiting her to help us get our boat out of the sand.

Hiding below deck would end in a sea storm that leaves us inside our boat as it's beached on Stork Island. We'd fend off the storks alone, and run into Calibani once we get our boat out to sea, as she got away more or less unscathed.

All of these would have majorly changed the trajectory of our relationship with Calibani and our identity as Sailor, despite seeming to have the same component parts on the surface. Now account for how similarly slight changes in the other options could have gone, and we could have had a very different story indeed.

Part 8: Our Girl

I just think she's neat!

[fallenrocket]

Some Random Galinda/Elphaba/Fiyero Thoughts

Note: This is mostly based on the musical, looking at the movie in particular--while I love the book, Fiyero is so different between the two versions that he needs to be viewed as two separate characters. Also, my shipping thoughts go hand in hand with my neurodivergent headcanons. For the purposes of this post, we have Elphaba (autistic,) Galinda (high-masking autistic/ADHD,) and Fiyero (ADHD.)

For as long as there have been love triangles and shipper wars, there have been fans who've pointed out the obvious solution of "So-and-So has two hands!" I've certainly seen the appeal of various OT3 ships in the past, but after watching Wicked: Part 1, I'm not sure if I've ever seen a love triangle as much in need of an OT3 resolution as Galinda/Elphaba/Fiyero.

Any way you look at it, it's clear that Elphaba is the apex of this triangle/polycule, so let's start there. The Elphaba/Galinda and Elphaba/Fiyero ships are both rock solid. Both have certain similarities, the popular hottie paired with the gorgeous outcast whose beauty can only be seen by them. But the road to how they get there in each case is a little different, so we'll take them one at a time.

Elphaba/Galinda

We have to talk about them first, obviously. That's why we're all here, right? The relationship so iconic, you can build a whole marketing campaign purely off the colors green and pink. These two have a classic love/hate setup, the old I Hate My Roommate, Oh No I Love Them! routine. But with both characters, it goes so deep. Being seen as a good person is crucial to Galinda's sense of self, and from the moment she meets Elphaba, who sees through her self-aggrandizing vow to use her not-yet-developed sorcery skills to "help" her, that sense of self is challenged. The image Galinda presents to the world is so carefully controlled and precise--her popularity is thanks in part to the fact that she's constantly performing "personhood" for those around her. But Elphaba immediately sees through her performance, calling her out in front of everybody.

That, I think, is at the heart of their early conflicts. It's not just that Galinda is pretty and popular and Elphaba is green and weird. It's that Elphaba has no issue pointing out that Galinda isn't what she pretends to be, and that rattles her. At the same time, it probably burns her up that Elphaba refuses to give in to what other people think about her, at least giving the impression that she doesn't care about their opinions. That isn't true, of course, as Galinda rightly recognizes at the Ozdust Ballroom.

When Galinda steps forward to dance with Elphaba, it's a revolutionary moment for her character. It's an unspoken acknowledgment that she had been cruel in giving Elphaba the hat, willingly admitting that she's not as "good" as she likes to think she is. But at the same time, this dance is the first truly kind thing Galinda does in the story. Like Elphaba, she hasn't stopped caring what people think about her, but for the first time, doing something right means more to her than just giving the appearance of it. So she stands with Elphaba among the stares and whispers, following her lead and doing her dance regardless of how it looks.

"Popular" is more than just a recompense, a genuine way to try and help Elphaba after tricking her earlier with the hat. Even as Galinda tries to make Elphaba more like her--ultimately giving up when she realizes how lovely Elphaba already is as herself--this is Galinda at her most unmasked, which actually makes her a little more like Elphaba. She is extra as hell throughout this whole song, delightfully goofy and hyper and excited. It's in stark contrast with Elphaba, who doesn't know what to think here, but this is who Galinda is when she's not performing for everyone around her. Elphaba is always 100% herself and never lets anyone take that away from her, and in "Popular," Galinda lets Elphaba see her.

When the break happens between them in "Defying Gravity," it has nothing to do with how they feel about each other. Their angry/frustrated accusations of "I hope you're happy" give way to their sad/wistful farewells of "I hope you're happy." Their essential breakdown is about, not who they are but how they are. Elphaba doesn't know how to go along to get along, even for the sake of playing a long game, so she immediately blows everything up with the Wizard and Madame Morrible because she knows how wrong this all is. She shows her hand without a second thought and is instantly prepared to throw everything else away for her ideals. Galinda, meanwhile, has spent her life being who other people expect her to be, and she doesn't really know how to give all that up--including her dreams of becoming a sorcerer and her chance for real power and influence--to take what feels like a shortsighted stand. Elphaba has no plan beyond "I won't do this" and "We have to get out," and as much as Galinda loves her, she's not ready or able to take that leap. They're both caught on diverging paths, reaching out for each other even as they're being pulled apart. Gaaaaah!!!

Elphaba/Fiyero

Even though Elphaba/Fiyero plays with similar archetypes and some similar themes as Elphaba/Galinda, their interactions and relationship are different, which is valuable. This isn't just a case where the canon M/F ship gets to "go there" while copying the F/F ship Because Compulsive Heterosexuality. I will say, the movie in particular gives me lots of Fiyero feels that I don't necessarily have with the stage show, so my thoughts on both Elphaba/Fiyero and Galinda/Fiyero rely heavily on Jonathan Bailey's interpretation of the character. In this version of the story, Fiyero does feel important to me, not just a shoehorned-in love interest for the sake of it.

Like Galinda, Fiyero is a character who masks/performs a lot. A key difference between them, I think, is that Fiyero has much more self-awareness about his. He knows what he's doing when he plays the role of the shallow party prince, essentially "giving the people what they want." But as hard as Galinda works to maintain the image she projects, I'm not sure if she entirely realizes that it isn't the real her. Both characters are trapped behind the masks they've made, but Fiyero definitely knows it, and I'm not sure if Galinda does.

At any rate, that's what we're working with when Fiyero meets Elphaba. In this instance, he clocks her before she clocks him--Fiyero easily defies her expectations when she rattles through her standard "no, I'm not seasick" list, and he immediately treats her like a person, something that not many people in her life do.

Elphaba quite can't see that at first, though. I don't know if she initially buys the performance Fiyero sells everyone else, but she's pointedly unimpressed by it. While everybody else is tripping over themselves falling for his charms in "Dancing Through Life," Elphaba huffs and rolls her eyes, even when Fiyero specifically meets her gaze in the middle of the number and gives her a little "hey, I know you!" wave.

So even though we get a bit of a love/hate trajectory again, it's not mutual this time. Fiyero is intrigued by Elphaba from the start, though not particularly because of her greenness--rather, he finds it interesting that she's immune to his charm. He likes that she speaks her mind and causes "commotion," and post-"Popular," he tells her she doesn't need to change herself. The unspoken implication? He likes who she already is. Elphaba is the one who holds back here.

It's not clear exactly where and how the change happens for her. Obviously, the rescue of the Lion cub marks the moment where Elphaba realizes her feelings for Fiyero, voiced in "I'm Not that Girl." But her opinion--and understanding--of him had already shifted. As he points out, some part of her chooses not to knock him out with the poppy spell, recognizing him as a potential ally to help the Lion. And it's in that scene where she acknowledges that he just pretends to be shallow and self-absorbed, adding that he's unhappy within that performance. So she's already made those observations about him. But when did it happen? For me, that's the part I'm not seeing on the screen, and it's an interesting question to wonder what causes Elphaba to reevaluate Fiyero in the first place.

With both Galinda and Fiyero, I think it's important to note that loving Elphaba doesn't change who they fundamentally are. This isn't character growth via The Love of a Good Woman. Both of them already are the people Elphaba comes to know and love, but the parts of them that she values are the parts that they tend to hide. Loving Elphaba makes them want to let themselves be seen, at least by her. By the end of the movie, Fiyero's feelings about how he wants to show himself are already changing, while Galinda is torn, breaking her own heart as she's dragged back into other people's expectations.

Galinda/Fiyero

Mileage on this one varies, I know. Plenty of fans will argue that this "triangle" really only has two sides, that it's Elphaba/Galinda and Elphaba/Fiyero. That Galinda/Fiyero is purely fake performative comphet. If that's your interpretation, that's cool.

For me, though, I do think there are real feelings there, on both sides. Galinda lamenting, "I don't even think he's perfect anymore, and I still want him!" feels major for her character, and I see Fiyero's care in how gently he responds when Galinda is knocked out by the poppies. And it's just more interesting to me if they both care about each other. I'm not saying their feelings for each other are the same as what they feel for Elphaba, or as intense. But in a hypothetical OT3 resolution for this story, I think their relationship would add up to more than just passing each other coming and going from Elphaba's bedroom.

I find Galinda/Fiyero very interesting because, even though they're the only "official" couple within the triangle by the end of the movie, there's far more potential in what their relationship could be than what it actually is at this point. In an OT3 scenario, I feel like their dynamic requires the most speculation or imagination. It's very clear what Elphaba/Galinda or Elphaba/Fiyero would be like romantically. But what would Galinda/Fiyero be to each other?

The way I see it, their canon relationship is hampered by two chief points: masking and outside expectations of monogamy.

Because both of them are performing most of the time, that extends to their relationship. Fiyero and Galinda start dating because each is very much The Sort of Person I'm Supposed to Date. When they flirt with each other, it feels like you're watching a play, two master performers "yes and-ing" their way through a relationship that's far more about the image they want to present than what they themselves really want.

Again, they're both drawn to Elphaba in part because she sees them for who they are and makes them want to be who they are. Fiyero's mask makes him actively unhappy, and at minimum, Galinda's puts her under a lot of pressure to maintain it and forces her into heartwrenching choices. So as they date one another--largely because other people expect it of them, because they're "perfect together"--their relationship is tied up in this thing that brings them misery and stress.

Furthermore, they're not really dating one another, they're dating one another's masks. We know that the real Galinda and the real Fiyero are both great--Elphaba wouldn't like them if they weren't! But in in their relationship, they don't really get to see the parts of each other that Elphaba loves.

That brings me to their other main hindrance. If Galinda and Fiyero are artificially forced into monogamy, then of course it's not gonna happen for them. They're just not it. Neither of them would choose the other over Elphaba, and if only one of them can be with her, than one person's happily-ever-after is the other one's loss.

In that way, I think a real Galinda/Fiyero relationship could only be possible inside an OT3. If both of them were free to date Elphaba, free to love and be loved by her, that could give them space to love each other, in whatever form that would take. Maybe it'd be romantic, maybe not (Lesbian!Galinda truthers, I see you!)--maybe they'd both have a romantic/sexual relationship with Elphaba and be platonic partners for each other. I'm not sure. But I do think they genuinely care about each other, and I think they'd be able to figure out what that looks like for them if they were both comfortable and secure in their relationship with Elphaba. If they didn't 1) feel forced to compete for her or 2) feel that, not being with her, they were one another's "consolation prize." And since I also think being with Elphaba would help them both feel more comfortable in dropping their masks and being their authentic selves, they'd have a much better opportunities to actually get to know one another.

[mirrorball-leclerc]

i did something bad - part ten

KARMA'S A RELAXING THOUGHT

masterlist//previous//next

CANADA 2024

teaganhorner monthly dump!

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username boyfriend charles is my favorite charles

francisca.cgomes when i followed you it was to see your beautiful face not sharl.

↳ lilymhe i agree, go back to being a secret.

↳ teaganhorner stop being haters. let me be in love!

arthur_leclerc ew what is that thing?

↳ charles_leclerc i'm telling maman!

↳ username typical sibling behavior. always pulling mom into things.

↳ username in charles defense, arthur's acting like a typical younger sibling.

alex_albon BOO! WHERE'S THE RED BULL CHARLES CONTENT?

↳ username alex gets it.

↳ username this man also helped poach charles from ferrari of course he'd be glad to see charles at red bull.

↳ teaganhorner god, you must hate love albono

↳ alex_albon GIVE THE PEOPLE WHAT THEY WANT HORNER!

maxverstappen1 oh come on! is no place safe from you two?

↳ username pray for max, my guy has been going through it.

logansargeant mom? dad?

↳ charles_leclerc no.

↳ teaganhorner yes!

↳ username i bet charles never anticipated becoming a grid dad to two rookies and an f2 driver.

redbullracing you know the drill people. it's a red bull 1-2 here in canada! il predestinato is on a role with another win!

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username the way charles ran up to max to celebrate their win. those two are best friends.

↳ username no, you're forgetting the way both of them ran up to lando to celebrate their first podium of the season together. they're brothers ladies and gentlemen.

username LET'S FUCKING GO!

username i was going to say that another season of red bull dominance was going to be boring but this season has been so interesting. with mercedes back on the rise and williams/alpha tauri pulling through this season. it's been so interesting.

↳ username i hate that mercedes is back on the rise because lewis once said that when he had his 8th wdc he'd consider retirement and i'm not ready to watch him go.

↳ username DO NOT EVEN PUT THAT OUT THERE!!

username the best fucking karma to ferrari would be if charles won the wdc in texas.

↳ username if he keeps up his streak of wins he probably will

↳ username fuck that, he's winning monza and he's winning spain because fuck sainz sr. not sainz jr.

↳ username wasn't carlos the one who punched and bashed teagan? why not fuck him?

↳ username because it's his father who's the dickhead not carlos. the man genuinely seems to dislike what's happening at ferrari now and we all know people say things when they're angry.

↳ username but also it's his parents who've been constantly bashing charles in the spanish media. i can still remember a specific situation involving honor last year.

SPAIN 2024

teaganhorner posted a new story

hola españa, are you ready for it?

lance stroll horrified looks from everyone in the room...

daniel ricciardo seriously? again? lance stroll once again, says the guy who sang our song in an interview and has basically made his love for taylor swift known daniel ricciardo she is arguably the most talent person born in 1989 lance!

lando norris slander to sza but okay.

lewis hamilton i don't know if i should be impressed that you know who sza is or not?

lando norris i had to look up other celebrities born in 1989, sza was the only one i recognized on the list

logan sargeant i recall teagan playing nobody gets me by sza last year

teagan horner listen, my boyfriend was having a horrible season, i was allowed at least one depressive song per race.

alex albon heathens, is maximillian okay?

teagan horner he's fine. the impact winded him and it was definitely a little dramatic bringing him to the hospital. but yes, he's fine. max verstappen that's not my name alexander! alex albon he's fine. got it.

oscar piastri i bet daniel wishes he were travis kelce.

daniel ricciardo DUDE! WHAT THE HELL HAPPENED TO AUSSIE SOLIDARITY? oscar piastri IT DIED THE MOMENT YOU DITCHED ME AND LEFT ME WITH CARLOS'S DAD AND GIOVINAZZI. IF LOOKS COULD KILL I SWEAR I WOULD BE DEAD!

charles leclerc but you didn't do anything?

logan sargeant oh funny thing, people want oscar on the monza podium as a fuck you to sainz sr.

max verstappen fuck that guy. i can’t stand him.

teagan horner amen to that brother.

pierre gasly spanish media has been real quiet lately

lewis hamilton teagan, charles, and i grabbed lunch two days ago. i’m waiting for a ‘teagan horner trading company secrets’ article. teagan horner they’ll leave out the part where charlie was with us and say something like ‘teagan horner cheating on disgraced ferrari driver with 7x world champion’

charles leclerc wow calling me disgraced is a bit mean no?

oscar piastri it’s what they’ll say. we all know it.

mark webber you people are so dramatic

logan sergeant zip it multi-21

lewis hamilton i would agree but i also have a flair for the dramatic.

george russell yes, we all recall the “well he’s not my friend.” alex albon hearts were broken that day. mine included. esteban ocon didn’t he also get asked if he was a better driver than he was in 2016 and didn’t he respond “yes, and teammate” i could be wrong. teagan horner AND WASN’T NICO PRESENT DURING THAT INTERVIEW??

lando norris expecting brocades 2.0 and we got brorarri instead.

lando norris that doesn’t sound as nice.

lewis hamilton i get it i’m dramatic, it’s the capricorn in me

yuki tsunoda that excuse would work if you actually believed in zodiac signs but since you don’t, it doesn’t lewis hamilton i could! yuki tsunoda but do you?

teagan horner lewis how do feel about songs such as the great war and my tears ricochet by taylor swift?

lewis hamilton haven't heard them, why? teagan horner no reason!

liam lawson the real question is how does max feel about seven?

max verstappen if i cried, it's no one's business but mine charles leclerc he totally sobbed like a baby. max verstappen fuck you charles, i didn't! teagan horner he did, i was there! max verstappen go back to being a secret!

redbullracing despite issues this week, charles and max were able to come out on top this week. it's another red bull 1-2 here is spain!

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username calling giovinazzi crashing into max and later trying to provoke charles issues seems so funny to me

↳ username it seems hilarious to me

username they were on a mission this week and i loved it

username this is for everybody who said it was pure luck charles kept winning races. he went from p18 to p1 and max went from p19 to p2. those are MY red bull drivers

username they were not about to lose that red bull streak in spain of all places.

username spanish media has been real quiet today

↳ username they can't say anything because charles handled the situation yesterday with grace.

↳ username they can't even say anything about teagan leaving with max to the hospital because the camera's literally picked up charles telling her to leave with her 'brother'

↳ username i knew max was basically christian's son but this just confirmed it for me.

username two failed by ferrari drivers and carlos sainz sr.'s least favorite driver being on the spain podium is my favorite thing ever

username crying as a ferrari fan but also crying because charles has had his best season ever and i love that for him

↳ username leaving red bull was definitely the correct choice for him

↳ username facts!

taglist: @landonorizzz @nichmeddar @bionic-donut @embrosegraves @six-call @unluckyyoshi @jamie-selwyn @storminacloud @cool-ultra-nerd @kami10471633 @int3rnetgf @fernandoswarcrimes @skynel09 @arieltwvdtohamflash @mimolovescookies @brekkers-whore @natcha888 @camdensreg @mycenterfold @baw-sixteen @dear-fifi @chiliwhore @cataf1

note: i can only tag up to 50 people in one post so i'll be rotating the people tagged every other post. so if you were tagged last time, you won't be tagged for this one and so on. this is just so everyone gets tagged, i hope y'all can understand.

¡leclerc-s speaks! i'm not dead, i just lost motivation for this story for a little while but i'm back! it's a new year miracle! as i said before, someone had to be the bad guy and i didn't want it to be carlos for too long in the story. sorry to antonio giovinazzi, i'm sure he's a great guy but for plot purposes it's just the way it goes.

¡disclaimer! this is in no way making assumptions about the people involved in this story, this is all fake. it is a fanfiction please don't take any of what is said seriously. this is all for entertainment purposes and as a creative outlet for me. enjoy!