#long so I put it behind a cut

[demcnsinmymind]

@kxllerblond​ asked: #6, #13, #15 | Questions for Problematic/Villain muses | Always Open!

6. Do they automatically assume certain people are lesser than them?

Lance: Certainly. In different ways though. He likes to do this stuff sarcastically all the time, especially in his job. He’ll shit talk other productions and professionals like there’s no tomorrow. Also people that he secretly looks up to and adores. It’s mostly done to prop himself further up and as a stupid way of showing actual respect. Because 90 per cent of the time, he won’t and can’t tell people how much he adores or respects them for the life of him. Which is funny, given how much he usually values given it to people straight.

Him seriously assuming certain people are lesser than him though? Pre!canon: not really. He’s keeping his distance from most people usually and isn’t much of a compassionate people person, but he does believe in people being equal regardless of any defining factors/groups/whatnot. Live and let live so to say. Post!canon: The second he catches wind of someone being an abuser in any shape or form, he considers them less than filth. In a way, he thought that way before canon too because it’s always bad, but he’ll have a  much more visceral reaction to that type of thing post canon. He utterly loathes evil, vile people and monsters.

Azzy: Given its chaotic nature and ‘godliness’, yes, it absolutely automatically assumes that not just certain people, but everyone and everything is lesser than it. It has no sense of kinship, worship or belonging whatsoever, so it’ll gladly regard anyone and anything as less than itself.

 13. When it comes to your muses love ones, are they the exception to their behavior or are they also treated poorly?

Lance: It depends on the intensity of the relationship. If they’re just a ‘friend’ then chances are, Lance will treat them somewhat poorly. That was fairly obvious in canon, too. In the way he treated Houston or even Matt and Sasha at times, with little regard for their feelings and fears at first. And to a lesser extend with my headcanon about his dad, where even though he loved him in his own way, he also wasn’t really there when he was sick and dying. His go to standard of reacting to things is with sarcasm and annoyance. He’s not a very loving, open and friendly person off camera and at first glance, even though that’s not entirely true and mostly a barrier he’s put up to keep people at bay.

If he cares very strongly about someone though? Like his mom for example, or people like Sasha? It’s like a 90° turn. He’ll be very kind, gentle and supportive and will not hide his affection and thoughts at all.

Azzy:

I portray it in a way that yes, there are glimpses of that with it. Obviously in my OC canon, it is very much obsessed with Lance. And he is the exception to its usual “you’re all insects” philosophy. It cares about him in its own twisted way. I’m not at all denying that it’s bad for him and treating him poorly though. I mean, taking away someone’s control and agency at times is as fucked up as it can be. However, it has its moments. I portray it in a way that it would never gravelly physically harm or torture him and would never let him die or get gravely injured. In fact, it will react violently to anyone attempting that. Also, unlike Friedkin and the 40s staff, it’s making sure that he’s at least somewhat comfortable, gets okay enough sleep and enough food and shelter. The mere basics so to say. It’s not beyond stealing stuff for him either. So it’s most definitely making some exceptions for him specifically, because it is very much interested in keeping him alive and going for it. HOWEVER. It most certainly is treating him poorly too as in that it likes to keep him suffering on a mental level so it can keep itself fed.

15. Do you think your muse needs to pay for all that they've done?

I honestly don’t. For both of them. Lance especially though. At least not in the way he was made to pay in canon. He’s obviously done some shitty things. Like lying, bribing and disregarding some very fair points from his crew as well as their safety. A fair way would’ve been for his show to flop and for him to get a good reality and ego check that way. But psychological torture? Kidnapping? Starvation and a freaking lobotomy? He did not at all deserve such harsh ‘punishment’, and I think he’s paid for a lifetime with all the physical and mental trauma he’s been put through. I also don’t think he’d deserve to go to prison for having committed a murder. He’s a victim through and through. He deserves redemption and a reward for it all instead. Especially considering the main post!canon verses where he’s actively trying to be a better person.

And even Azzy, I don’t think it needs to pay for its nature. It’s not entirely nefarious, villainous and outright evil. I’m portraying it as an entirely chaotic wildcard that does things for the heck of it and because it’s almost childishly curious and ‘delighted’ by everything. Like a toddler that’s playing with nukes. I also always like to stress that it got Lance out of his fucked up situation in my headcanon and is literally keeping him alive, even if it’s for its own parasitic needs.

[2700k-moogie]

Milk ref sheet done yaHOOOOOOOOOOO lookit my big beautiful baby they filled with joy and happiness

[azuree1733]

Y’all know I had to draw my boy

[thotsfortherapy]

having mommy issues be like I hate that you know me I hate that we’re related I hate that you birthed me I hate that you don’t know how to love me properly I hate that you can’t see how much you hurt me I hate that I’m expected to love you

[royalarchivist]

I really liked Ramon's idea of filling a tag with cute little things for Fit's birthday, and I was like "Hey, I got a bit of time to spare today, I can whip something up real quick. Surely I don't have THAT many clips of Fit!"

Well...

[lususnatura]

blamore having to wear things like back-less shirts / lower - cut tops and just items of clothing that will allow him SOME sort of free range of movement for his tail in general + will actually not constrict his rib cage may just make him a fashion icon y'all... sorry, i don't make the rules ( nah i'm just joking around with you guys LOL... mostly )

[adashofniallandasprinkleoflunacy]

home from work

[likecastle]

Ronance Femslash February - “do you really have to go?”

Thank you so much to the lovely anon who sent in the prompt “do you really have to go?”  I’m so delighted that some of you have sent prompts my way! Please keep them coming! (Anon asks are totally fine! You’re welcome to send more than one, if you want! And, for the record, I’m pretty open about subject matter. If a prompt isn’t something that works for me I may give it a miss, but chances are I won’t be offended. Don’t be shy!) You can find previous prompts I’ve filled here.

“Do you really have to go?” Nancy murmurs into Robin’s hair, and all at once, for the first time in a long time, she’s reminded of the day she stood in Jonathan’s empty bedroom, wishing he could camp out in her parents’ basement. She’s always felt that the Byers family moving to California was the beginning of the end for her and Jonathan, though it took a long time to recognize what should have been obvious to both of them. If she’s being honest with herself, which she tries to do these days, the fault lines were there long before Jonathan left—in her insistence that he always put her first, in the idea he had of her that reality could never quite live up to, in all the things they couldn’t say to one another—but even though she knows it’s more complicated than that, some part of her still believes the distance was to blame for the rift that grew up between them.

It worried her, when she and Robin decided to give the thing that was blossoming between them a shot. Nancy worried that their relationship would never have a fighting chance if they only saw each other once every couple of months, if they only talked over the phone. Some part of her is still worried, every time Robin gets on the bus heading back to Bloomington, every time she glances at Robin waving goodbye in her rear-view mirror. Because the thing is, she really wants this to work—even more than she realized when she first kissed Robin over Thanksgiving break of their sophomore year. She wants to make a life with Robin, and she doesn’t want to fall prey to the same mistakes she’s made before.

“Don’t tell me you fell asleep on me,” Robin is saying, and Nancy realizes that she’s been talking this whole time. Robin prods Nancy in the ribs—gently, but her elbows are perilously sharp. “I’m over here whispering sweet nothings to you on our last night together until winter break, and you’re catching up on your beauty sleep? Seriously, Wheeler?”

Nancy groans, and pulls Robin closer against her chest, as much to forestall any further attempted elbowing as to bask in the scent of Robin’s skin, sweat and the ghost of incense and her herbal shampoo. “I wasn’t asleep,” she says against the knob of Robin’s spine. “Just thinking.”

Robin nestles closer, a luxurious cat-like stretch against her. “Oh, yeah?” she asks, and her voice is still teasing, but soft, so very soft. “What about?”

“You,” Nancy admits. She’s tempted to say something provocative, to distract Robin by sliding her hands from her waist down to her hips, but she doesn’t let herself. “D’you ever wish one of us had changed our plans? That I’d transferred to IU, maybe? Or taken some time off to figure things out together?”

She can feel the change in Robin’s body, the way the languid ease disperses from her limbs. “Honestly?” she asks, sounding serious.

This is what Nancy gets for asking, she tells herself. It might not be an answer she likes, but that’s the risk of being honest with each other, of trying, at least, to really talk to each other. “Always.”

“I like how things are right now.” She feels one of Robin’s hands settle over hers, her thumb rubbing slow circles across the backs of her knuckles. “I mean, don’t get me wrong, I am very much looking forward to living together some day, and sleeping in the same bed with you every night and having, like, so many arguments about whose turn it is to do the laundry or whatever. But we’re good like this. I’m glad we both have the space to be stupid college students, and I also I love getting letters from you that I have to wait to read until I’m alone. You’re a really good writer, by the way, have I ever mentioned that?”

“Maybe once or twice,” Nancy says, smothering her smile against Robin’s skin.

“I guess what I’m saying is, I like that we can be apart, but no matter where we go, or how long we go without seeing each other, I always want to come back to you.” Robin lifts one of Nancy’s hands to her lips and kisses it gently. “OK?”

“OK,” Nancy whispers, blinking against the sudden sting in the corners of her eyes. And that’s enough, Nancy decides—more than enough.

[jils-things]

memoryshipping x studio ghibli: the masterpost ✨✨

see them separately: (x) (x) (x)

no need to rb!

[reflectionsofgalaxies]

.

[dnangelic]

whenever dark's life/existence as the niwa's curse gets equated to a living nightmare i fall over

[swampndn]

Friends, ya bitch did it again. We got yet another random man in love with me, and this time, he was the camera operator for an interview I was doing.

[amtrak12]

Possible Ending for Pushing Daisies

Thesis Notes:

Apologies, but this will not include screencaps to demonstrate my theories. I have other things I want to devote my energy to today, but still needed to get these thoughts out.

I will be using the word "artifact" in the Warehouse 13 sense of the word, aka: an object of human construction that has been imbued with unexplainable, and thus treated as magical, abilities. These abilities typically include an inconvenient or even dangerous downside.

Literally no idea what Bryan Fuller, et all ever said about their intentions for the show if it hadn't been canceled or if they ever said anything post-cancellation. I am working entirely off the canon text here.

Introduction:

Obviously, Pushing Daisies ended before it could reveal what its long term goals for the story were. Did they want to solve Ned and Chuck's issues with touch? Did they want to explain where Ned's powers came from? Were they ever going to explicitly admit to what they implied about the people (and animals) Ned kept alive being immortal???

Absolutely no idea and we can never know for sure. However, they did leave clues and untied plot strings, primarily with the history of Dwight Dixon, Charles Charles, and Ned's father (who was never given a name) and the pocket watches Dwight desperately wanted to find.

Now given the slow roll of these plot points and the deliberate mystery surrounding them, I suspect whatever that trio got up to was the long term plot. And for it to be the long term plot of Pushing Daisies, then presumably it would address the premise of the show, aka Ned's powers to wake the dead.

Foundation Theory:

Dwight, Charles, and Ned's father came across some valuable artifact during their time in the UN Peace Corp, stole it, and divided it up into three equal pieces that they hid in the pocket watches. (Alternatively, they hid the artifact somewhere and divided the map to the hidden location up into three equal pieces.) This artifact is responsible for Ned's powers.

Evidence:

The picture of the three men in the Blue Berets shows them on camels in the desert. This doesn't have to mean Egypt, however Egyptian curses are a very common motif, and Pushing Daisies loved taking story cliches and putting an exaggerated fantasy spin on them. The camels and desert was absolutely chosen on purpose which means it's relevant which means it shows where the men were when they at least bought the pocket watches.

So we have pocket watches and some version of an Egyptian curse. We also have Ned's father leaving after Ned's mother and Charles Charles died, which is important, not only for Ned's backstory, but as insight into his father's motivations.

Detailed Theory:

I posit that the three men knew of the dangerous repercussions when they took this artifact. Maybe it came with a written warning, maybe there was a legend about it, etc. Did the men understand the details of this danger? No. Did they even believe the warning? Well, certainly not enough to stop them from stealing it.

I don't believe they stole this artifact for power. I don't think they believed it was magical in any way. There was not one minuscule hint at any of these men having or tying to obtain magical powers, and Dwight was genuinely shocked at Ned bringing Charles back to life. I think the men were after money. Dwight would certainly be after money most after spending twenty years in jail, so his actions support this theory. Sell one piece of the artifact? Make a nice chunk of change. Sell the entire artifact at once? Make a fortune.

Ned's Powers:

Two ways this can go. Option A: Stealing the artifact, triggered the "curse" to go into effect. Like how the replacement victim when Ned keeps a dead person alive longer than a minute is a random proximity thing, the curse was a random proximity thing and landed on Ned. Option B: Breaking the artifact into three pieces, separated its powers from the object and -- again through random proximity -- the powers landed on Ned. I personally like option B, but I'm a WH13 girlie and your mileage may vary.

Ned's Father:

I think Ned's father knew about his powers. Maybe not before Ned's mother and Chuck's father died (most likely not before), but certainly after. When it happened, he remembered the warning about the artifact, put that information together, felt guilty, and then shipped Ned off to boarding school to try and forget it ever happened (hence the second family).

But it did happen and his father could never really put that guilt behind him. So, he abandoned his second family to dig into the artifact and figure out the curse, while also keeping a distant eye on Ned.

End Game of the Show:

Taking all of this to be true, then the end game would be for Ned and Chuck to learn about what their fathers stole and learn what Ned's dad has dug up about the artifact and curse. Then comes the decision: Do they collect the pieces and restore the artifact to its rightful place? It seems like an easy decision, but it does bring up the following hiccups. Would returning the artifact take away Ned's powers? Does he want his powers to be gone when he's just started to accept them as a super power? It's one thing to choose not to use them and another to not have them at all. Would he be able to touch Chuck if he didn't have his powers anymore or is that something already set into motion and his second touch would still kill her no matter what? Or, worse yet, would Chuck die the instant they returned the artifact?

Adding to the conflict is Ned's father who has done all this research and still sees Ned's powers as a clear-cut upside. A gift, ultimately, and not a curse at all. He doesn't want to return the artifact and isn't willing to handle over his piece of it in the pocket watch. "Look at all the people you've helped! The victims you got justice for, the families you helped find closure. You were able to bring Chuck back to life! You're going to risk throwing that away?" The words just fuel Ned's doubts and guilt. Because there has been good from it. He has helped people, and what if Chuck did die again?

But it was built on something wrong. So he and Chuck ultimately decide (together, of course, as always) that they don't want to live with that and choose to return the artifact. Again, you have two options here: they could convince Ned's father it's the right thing to do and he hands over his piece of the artifact OR he continues to disagree with them and they have to steal his piece from him and go behind his back to return it. It depends on whether you want to give Ned's father a redemption arc or not. Personally, I do not. :P Leave redemption to shows like Lucifer and The Good Place. I am here for technicolor spite.

Happy Ending:

Returning the artifact takes away Ned's powers, but it does not undo anything he did with those powers. The people who died (the funeral director, Dwight) are still dead. The people who are alive again (Chuck, Digby, Charles), are still alive.

But no longer immortal. The immortality was an extension of Ned's powers. No powers, no immortality. Both Digby and Chuck will now age again.

And both can be touched by Ned without dying. :) Relief! Happy ending! But earned, I feel. Even when I was watching it brand new, I definitely wanted them to be able to touch again because it ached so much, but I also didn't want it to be for random reasons, like the consequences wore off after 'x' amount of time. The journey I listed above is indeed a journey, and thus doesn't feel random to me.

Closing Thoughts:

I like how this integrates the loose threads in the show. I like what it says about the damage and trauma parents can pass on to their children and how it doesn't have to be intentional to leave lasting scars. Depending on how you frame the artifact theft, you can even do commentary on colonization, land back, and reparations.

And no, I don't think Chuck's father will suddenly start decaying the moment they return the artifact. This show uses the cartoon logic of a wagon of hay being enough to avoid injury after falling multiple stories out of a bell tower. So, even though Charles was dead and buried for twenty years and presumably has no internal organs because they would've done an autopsy at the time of his mysterious death, he will continue to live and age like normal, just with a permanent corpse face. :P

[ichorblossoms]

trying to summarize honeybee for an oc zine character booklet thing and. augh

[jamiebluewind]

Oh my god could I stop being sick please? It's been two freaking months and I got shit to do!

[painted-bees]

A quick, sloppy little comic about Magritte

[OC's]

(image description under the cut)

[Image Description: It's a vertical comic strip of 14 panels arranged one under the other. The style is realistic, done with sketchy lines in a dark burgundy. It is not colored or shaded and there is no background. The comic features the interactions of a couple, Magritte (also called Margie) and Rafael (also called Raf). Magritte is a young woman, she is wearing a baggy armhole tank top with a tight fitting black top underneath, shorts and boots. She has a messy bun and a small messenger bag slung over her left shoulder. Rafael is her partner, wearing baggy pants, sneakers, fingerless gloves, V-neck t-shirt and an open button-up jacket with a hoodie and the sleeves rolled up to his elbows. His hair has short side with long top bangs and a short goatee.

 (First panel): There's only Magritte visible from the waist up. Off screen, Raf says to someone else: “Magritte has our tickets.” Magritte is excited, looking straight forward. Her left hand in on her bag's strap, her right hand rummaging inside her bag. Magritte says: "Yeah! Even made sure to put them in my wallet so that I wouldn't- uh..."

 (Second panel): She is beginning to look concerned, now with her face turned to her back, both left hand holding the lip to open the bag wider and her right hand still rummaging inside. Magritte says: "wouldn't forget.... Hang on, it's not on it's usual pocket. Haha." The last is a nervous laughter.

 (Third panel): Magritte is kneeling on the ground. Rafael is standing to the side and behind her, only his feet visible. Magritte looks frantic, searching inside her bag. Her right arm is forearm deep digging in her bag. Magritte says: "It's definitely here-! It's the one thing I never forget 'cus I never take it out of my bag!" Rafael says, firmly: "Margie, when you took it out to put the tickets in, did you put the wallet back in the bag?" The letters are bolded, with the word "back" underlined for emphasis. Magritte says: "Give me some credit, there's no way I'm that stupid." The last three words are underlined for emphasis.

 (Fourth panel):  The scene has changed and now Magritte and Rafael are in a car. We see them from the passenger's side. Rafael is driving, looking straight ahead at the road. Magritte is hunched forward, hugging herself with the left hand. Her right hand is holding her head. She is looking out the passenger window, avoiding Raf.

 (Fifth panel):  Rafael turns slightly to look at Magritte.

 (Sixth panel):  The point of view is now a side profile view from the drivers side. Rafael has his left arm leaning on the open window, his right hand on the wheel. Magritte is hunched over facing the passenger window. Rafael says: "I'm not mad at you, if that's what you're worried about." Magritte says: "I can literally feel your disappointment."

 (Seventh panel): Back to the passengers side, Rafael is looking at the road. Magritte is frustrated, no longer leaning her head against her right hand and instead her hand is palm upwards. Rafael says: "Well, yes. It is a disappointing situation, but-" Magritte interrupts: "You'd think I'd be able to do the one thing I was asked to do-! That I'd at least learn from the last billion times I forgot shit. Rafael says, quieter: “that's not where I was going with this...”

(Eighth panel):  Magritte has her right hand holding her face with the palm on her cheek, left hand placing the tips of her fingers on her left temple and eye brows. She is frustrated and angry. Magritte says: "It's not like I've got anything more important rattling around in my brain.  But, for some reason, if it's not my music, or like.... food or something, then it's just not a priority. I can't make myself care enough to make it a priority!"

(Ninth panel): She now has both hands in front of her, elbows bent, finger extended in a vague hand gesture as if there was something in front of her. Magritte says: "I'm an adult in my 20s and I still manage my responsibilities like a child. I'd be more dependable if I could just stop and think for a second, but I'd probably forget to even breathe if it weren't for the..."

 (Tenth panel): Her frustrated expression turned to confusion. Her hands are still in the air in the same position as before. Magritte says:"... why are we parked?" Her noticing this stopped her rant.

(Eleventh panel): Magritte straightens up and faces the window entirely, left hand crossed over her body to lean on the car door. Rafael, off screen: "Margie." Magritte says: "Oh." Magritte's inner thoughts are written around her. "He stopped the car to scold me. No, not ‘scold’. Don't be a child about this. He's disappointed and just needs to make sure you understand so you can do better next ti-"

 (Twelfth panel): Magritte is still looking out the window, but now with a shocked expression. Rafael reached with his right hand, and its now resting gently on her upper back. Rafael interrupts her inner monologue with "I need you to stop repeating the shit your parents and teachers and such yelled at you growing up. They were wrong, and nothing you just said makes sense."

 (Thirteenth panel):  The perspective switches back to the driver's side profile. Rafael says: "A poor memory isn't synonymous with poor priorities. Nor does it speak to a lack of maturity. The priority was there, we just have to build a better habit of checking things before we leave the apartment. Both of us. It's gonna take time. You afford everyone else a ton of patience, all the time. Can you please afford some for yourself? The situation sucks, we were both looking forward to this. But it's not the end of the world. We didn't forget things on purpose. So let's take it easy and try to end the day on a good note. Alright?" Magritte says: "Okay... c-can we um...."

 (Fourteenth panel): Magritte has turned to face Rafael and her eyes are filled with tears and they're running down her cheeks.  Rafael looks startled, lifting his arm off Magritte's back. Magritte says: "Can we get some ice cream on the way back?" Rafael says: "O-of course!" End of description.]

This description was written and provided by Hiwi.