#moving on i want to put more narrative into my works so i made that short comic :)

[alicenpai]

⭐🌛🌞 november trick or treating... spooky season can be anytime if you aint a scaredy cat!!! flynn, terence, nate - from my series Lost & Found Children

some WIPs!

^ some theatre costume designs that inspired Flynn's outfit. originally I wanted more of a pierrot motif, but I went with a sortof celestial angel to match nate's fiery devil. I do want to draw them all as pierrots one day...

my friend asked about the "costume" part of this - terence is not wearing a "halloween costume" per se, because he thinks he's too mature for costumes (haha). hence the star moon and sun theme to unify all of their outfits. he IS a piano player in the story, who wears a similar outfit to concerts, so you can see him as being a sort of astronomical musician for the occasion. i think these designs turned out pretty rad and since they're not "stereotypical" halloween fare, i would like to use them again...

tumblr killed my drafts... and unfortunately I am too tired to type out more of the description that got lost.

[marlshroom]

came to the fucked up realization after finishing gravity falls again last night the parallels of the dream bubble bill made for mabel and the literal state of delusion he keeps himself in.

in the book of bill on the page where bill cipher describes how he figured out a way to manipulate her into giving him the rift, it says:

"Summers ending, my guy. Ending to death, bro. She'd do anything to make it last just a day longer. Probably something RASH and OUT OF CHARACTER, even!"

as we know, mabel cannot handle the fact that she will be growing up. that the relationship with her brother is going to change. she is scared of high school.

bill then says "That was it. She'd never make a deal with me. But she'd make a deal with someone she believed could give her more time. The dream was done. I had her."

bill then creates the dream bubble for mabel, he makes every one of her dreams come true, a place where time is still and she can be a kid forever. a lie so great that she wont have to face the truth.

in journal 3 on one of the pages bill is writing in code, we see this:

[ID: "I ask you, why must[should] time only move forward? Why must cause preceded effect. Who voted on the law of physics."]

my friend helped me break down what bill means by this:

why can we only move forward in the 4th dimension of time. why does something have to make another thing happen, why must cause come before the effect. why cant you move backwards, in the other direction, change the decisions youve made.

how interpret this is bill asking why he is not able to back and stop what he did to his family. he says to ford that he tried and failed to undo the past.** why did him wanting people to acknowledge his advantages instead of suppress him lead to the destruction of his whole dimension?

**(i just want to point out that this is probably the time where bill is the MOST open to anybody, or at least the first. to his henchmaniacs he had been telling them that he liberated his dimension until the oracle discovered the truth. here, to ford, he got so much closer to telling the truth. he SHOWS ford the last atoms of his world. he says that it was destroyed by a monster, not that it was liberated! destroyed)

back to when bill says "I had her" about mabel, he had her cause he knew exactly what needed to happen to trap mabel in a delusion because it is exactly what he is doing to himself. creating a fake narrative of what happened to him, that he was vindicated in killing his whole dimension. only ever doing exactly what he wants because confronting the truth is too scary for him(good fucking lord). the morality page offers good insight into this too.

i am actually just going to quote the whole page and highlight the important part. it speaks for itself really

"THE POINT IS it's[morality] is a very flexible concept! But parents and presidents don't want you to know that, because then you might start asking other questions, like who put them in charge, anyway? So they cram your brain full of guilt and regrets for transgressing the laws that they just made up(the laws that they made to prevent the destruction of their dimension, regardless of if the law + the wrongful medication of a fucking baby triangle did any good to actually prevent it). Wouldn't it be nice if you could put all that baggage down? Quell the shame that follows you everywhere for a lifetime of crimes? MAKE THE SCREAMS FINALLY STOP? The good news is you CAN silence that annoying voice, and here's how!

DENIAL

Works 100% of the time in every situation. What you you mean there are people who disagree? I can confidently say there aren't!

RATIONALIZATION

If you can do it, you can justify it! "Truth" is open-source code and anyone can edit it anytime! Want to be like me? List 3 "evil" things and then 3 "reasons why they're actually good." You'll be rationalizing like Bill in no time!

DETACHMENT

Did you know 100% of your human cells die and are replaced every 7 years? That means that anything you did 7 years ago wasn't even you-it was some dead loser! You can't be held accountable for what a dead person did! What? You think this is just another form of rationalization? I DENY THAT!

THE BILL CIPHER DECISION METHOD!

Working over the eons, the voices in my head teamed up and worked out a foolproof method for making any decision in any situation.

DO WHATEVER I WANT."

ooooooooooooooooooh boy.

he is fully admitting here that he is living in a completely different really in order to justify doing whatever he wants. he gives mabel the tools to deny, to rationalize, to detach herself from the reality of it all. that time has to move forward. and he thinks it will work because it worked on himself.

but it doesn't work on mabel because she understands that she needs other people. shes vunerable, she lets people in, admits when shes wrong. and bill cant do that because it would destroy the fantasy he's created for himself.

[dragonmuse]

Keep It In The Box : An Essay on OFMD Season 2 and the Failure to Heal

(here in is my season two reaction. It contains many many spoilers. It's also about 3k words long so you know what you're getting into.)

“See, I have a system for dealing with all the terrible things I've seen. There's a box in my mind, and I put the things in the box..” -Frenchie, Season 2 of Our Flag Means Death

…..and then he never opens it. Chekov’s locked box has no key in season two.

On first watch, it seemed clear to me that Frenchie’s declaration was a narrative plant. Clearly the whole season would be about that box of pain and trauma being opened, sorted through and at least the beginning of healing. The show had developed a reputation after season one of being kind and focused on queer narratives of healing from childhood. Ed and Stede’s parallels in their childhood traumas were frequently on display through season one and were repeated in flashback throughout season two. Jim’s season one arc about becoming someone who doesn’t think just of revenge and can now forge meaningful connections was profound, beautiful and often funny. Izzy is an antagonist because he doesn’t want Ed to move on or stop acting like the trauma-response version of himself. The antagonist wants to stop healing. The point is to grow, to change, to learn how to love. It’s one of the things that made season one work for me at the time, despite reservations about pacing and tone.

So naturally season two should follow suit. It’s a kind show! About healing and falling in love!

For the first several episodes, the remaining crew on the Revenge go through a gauntlet of trauma, forced to do and receive violence at Ed’s whims as he careens from self-destructive behavior to self-destructive behavior. This is the wounding setup. It was dark, but it seemed like it would have a payoff and at first it did.

Perhaps one of the most beautiful moments of the season comes in one of the small respites in those early episodes as Jim recounts Pinnochio to Fang to soothe him through his grief. That was the show that I expected. The kindness of that moment struck me very deeply. It gave me some understanding of Archie too, who seems to fall for Jim right at that moment.

That scene is the show season one promised. Season two led with packing Frenchie’s box full to bursting. Here is the fight to the death between lovers, there is a first mate who is mutilated and rotting in the very walls (the rot of the Revenge itself), and there is the storm of Ed’s rage and pain that threatens to consume all of them.

So surely these remaining episodes would concentrate on finding the humor in healing from those moments. That is the setup. Frenchie has a box. The box must eventually open.

Except time and again, all the characters who suffered are told that the only way to deal with what they’ve been through is to stick it in the box and never open it again.

Pete tells Lucius that he’s unable to move on and needs to let it go. Izzy has a story about a shark. Ed’s apology to the crew which doesn’t even contain the words ‘I’m sorry’ is just…accepted. I kept waiting and waiting for a meaningful apology to the people Ed had hurt the worst with his actions, but it seems all we get is Fang saying ‘eh, no problem, I got to hit you back so I feel better’.

The playful theme of ‘pirates are just violent sometimes’ from season one becomes a grinding horror machine in season two when every atrocity visited on someone is forgiven because the narrative needs it to be. Ed and Stede spend more time making amends with each other over the bloodless night on the beach than either of them spend trying to repent for their actions towards anyone else.

And let’s talk about Ed. Arguably this season pivots on his narrative, on his path to healing and growth. A path that starts at a very low point. His moment in the gravy basket, deciding he wants to live because there are still things to live for is so great! So one might assume that what would follow would be him pursuing those things, making amends, making connections. He and Stede have a wonderful moment, talking about being whim prone and how they’ll work to avoid that, build a relationship by going slower.

Yet, at no point do either of them stop following whims. They never heal or learn from what’s happened to them. They both keep running from thing to thing, particularly Ed. It’s a whim to sleep with Stede, it’s a whim to run off to fish, and the finale gives us just more of their whims. Ed drops fishing as fast as he picked it up. He finds those leathers in the ocean, murdering the symbolism of leaving them behind. Even the inn is a whim, one of those things Ed decided he’d be good at without evidence. And Stede joins him in that without a single on screen conversation about it ahead of the moment.

Ed needs to heal himself and to do that he needs to confront what he’s done and do the work to heal the wound. Instead, he doesn’t meaningfully apologize to anyone, besides Stede and Fang. Despite Izzy’s dying words (we’ll get to that), not only do we never see the crew caring about Ed, working to make him family in the same way they do with Fang and even Izzy, he also doesn’t choose to stay with them. So what is the point? Where is the healing? Or does even Ed, beloved main character, have to live with it all stuffed in a box?

He ends the season in the leathers he threw away, in a relationship that’s barely stabilized, going to live in a house which we are told by the narrative (in that they are very very clearly paralleling Anne and Mary with Ed and Stede or why do we even get that whole Who’s Afraid of Virginia Woolf? episode) will only end in them setting fire to each other to stay warm.

But Vee, I hear you cry, it’s a ROM-COM. This is all meant to be ha-ha funny and you are taking it so seriously!

Cool beans. Then why the hell isn’t it funny? Healing is often filled with comedy because people deal with pain with humor. You can heal and laugh at the same time. The finale especially is almost entirely devoid of laughs, almost entirely devoid of joy until the last minute for that matter. The episode that should show off with a flourish how far everyone’s come, mostly serves to show that no one has grown.

Okay that’s Ed. I want to talk about Lucius next. Our former audience surrogate (that’s taken away in season two when he doesn’t get enough screen time to perform that role and no one takes his place) really goes through the wringer. He experiences many many terrible things, including sexual assault (which is made into a grimace-laugh line that doesn’t take away from it’s seriousness because oh hey, that can be done as it turns out). He’s nervous, he’s smoking, it’s clear he’s suffering.

There’s a beautiful moment where Pete tells him ‘hey, I was also in pain. I grieved’ and that’s great. It’s good that Pete sets a boundary about Lucius not obsessing over the past to the point of occluding their future.

We even get our comedic moment where Lucius pushes Ed off the boat (still not apology, but I’d lost hope for that by then) and that doesn’t help enough. So Izzy comes in with a shark and the advice that you just have to move on.

Just…you know. Play pretend. Forget.

Shove it in a box. Ed didn’t take my leg, a shark did. Ed didn’t kill you, a shark did. Live with the person that tried to murder you because it’s your fault you dangled your leg over the side of a boat. That is the show’s message. I thought on first watch, that surely this would also come back up and be explained that you can’t live that way, that that is no way to heal. That it would become clear that this was no way through. You cannot make everything into sharks.

Lucius can move forward and still carry pain. He can still want a meaningful apology and still want to talk to his lover about what he’s dealing with while moving forward toward a brighter future.

And what of the flirtatious promise of relationships and connections being the way to heal? Look to Oluwande and Jim, whose heartfelt romance from season one was relegated to the bins of history in favor of a narrative that made him a brother Jim once had sex with. They could have had Archie AND Oluwande, who in turn could also have Zheng, but that never seems to be an option. With a single short conversation, they are broken up with, despite a brief tease at the birthday that they still ‘dance’ together, it never actually manifests. Jim and Archie never talk about what they went through. It’s swept under the rug as fast as knives are lowered.

Lucius also no longer flirts with other people, the solution to his pain is to propose and get married (but not too married, lest we forget that they’re two men, they don’t even get to be husbands or even the more respectful mates, no. They’re mateys.) This season proposes that the only happy endings are monogamous ones, where no one talks about anything painful that went before.

To ensure that message, beyond assuring the success of Oluwande and Zheng’s relationship, Jim and Archie almost entirely disappear from the narrative. Sorry you guys were given layers of trauma and no growth and not even much to do this season, we need to make sure that everyone remembers Oluwande is the break in Zheng’s day so when he says that to her five minutes later we know exactly what he’s referencing. No time for Archie to learn what an apology is or for Jim to get one line in with Oluwande that isn’t affirming their newfound broship. Must do more flashbacks to things we just did two episodes ago!

The show even dangles the conversation of the Revenge being a safe space. Why would any of them ever feel safe when the man who tortured them is allowed to walk among them and they are expected to forgive and forget? What’s safe about that? The ship is never made safe for any of them, but that’s never addressed.

And Zheng! Amazing, hysterically funny Zheng! She loses her ships, her entire way of life, the kingdom she built for herself and then…she doesn’t even get to captain the Revenge. We don’t know what becomes of her fleet, of her plans, her ambitions. Don’t worry about it, she has a romantic partner and isn’t that what every lady wants in the end?

(But Vee, I hear you cry again, there will be a season three! Maybe it will be All About Zheng! To which I say: then why did they present us with the most series finale feeling episode ever? If there’s more, I have no idea where it’s going. BUT VEE: BUTTONS AS SEAGULL ON THE GR- Fine. It’s time.)

Let’s talk about Izzy Hands.

Izzy manages more healing than anyone else this season. He reaches his lowest point, suicidal in the bowels of a ship that’s become a prison (very much in contrast to Ed’s suicidal low). The person he loves most in the world has shredded him physically and emotionally (and if you’re in the camp that thinks Izzy deserves the abuse that Ed gave to him, I would really like you to sit quietly with yourself and ask why you think there is ever anything anyone can do to deserve that treatment). He’s low, he shoots Ed to protect everyone, and then seems to plan to drink himself to death, mourning his losses.

And then another beautiful moment! The crew move past their own pain to help him. They work together for the first time and it’s to give Izzy mobility back. He treasures it. He cries over it. He uses that kindness extended to him to reach a new understanding of Stede and help him succeed, doing the work to make real amends. He sings in drag, he’s vulnerable and beautiful, celebrating the side of himself that he must’ve loathed in the first season. He’s an elder queer man, coming into himself.

He never gets an apology though. (‘Sorry about your leg’ without eye contact is not an apology. There is no responsibility taking, no acknowledgement of the weeks of torture that came with it.) Izzy also never really has an honest conversation with anyone about what it means that the man he loves punished him so severely for the crime of trying to protect the crew (yes, lest we forget, Izzy lost his leg because he was trying to keep Ed from re-traumatizing the crew and himself).

Izzy does all this work, but even he’s not allowed to take it out of the box. It’s a shark, not Ed. Ed is just ‘complicated’ (the language of abuse here is so upsetting and I think not even intentional).

And then he dies. His last act? To apologize to the man who tortured him and shot at him. To have done all this work, to take on all the blame. And then die.

In a rom com.

This show ends in a profoundly unfunny moment of telling the audience: this is the one character that did the work, that made amends, that tried his hardest to accept the parts of himself that he had a hard time embracing and formerly embittered him. He’s fully accepted his queerness and turned it into beautiful music. He’s disabled, and he worked hard to accept that. The man he loves will never love him back, so he worked hard to make Stede able to meet Ed on an even playing field. The Giving Tree gave up its limbs and its trunk, and it’s not even allowed to be a stump to sit on.

Kill the queer elder, who has managed to figure out how to live and in his own way how to heal. Kill him before he manages to teach anyone else how to meaningfully move forward (he almost gets it with Lucius, almost, but it’s meant to be rule of three, you know. Cigarette..shark…and then…and then fuck it, Lucius doesn’t even get to say a word at his funeral).

The message of this season again and again is that there is no healing, just moving forward. Like a shark. Like a bird that never lands.

That is not a kind show.

Season two is not a kind season.

It splinters people up and jams them back together without purpose or reason. It tells everyone who experiences pain that they should shove it in a box and not deal with it. No one who really needs one gets an apology of any sincerity. No one puts in the work to gain forgiveness. (Ed wearing a onesie is not The Work. Ed fixing a door is not The Work. Ed broke people that the show wants us to care about. Ed never does the work of making those amends. He fires off a Notes app apology at best. After all, it’s what he told himself via Hornigold in the gravy basket: you move on or you blow your brains out! Good thing he took his own advice and therefore had to change nothing to get his just rewards.

I would’ve taken just fifteen minutes of Ed trying to actually make amends. It could’ve been hilarious! Imagine awkward Ed trying to dance around what he’s doing with Jim and the two of them having a knife throwing competition about it. Or him and Frenchie attempting to make music together, writing a song about the raids they went on! It’s not just the crew robbed of their healing because of this, it’s Ed himself. He never meaningfully changes or makes amends. How is he any different at the end of the finale then he is standing on the edge of that cliff with Hornigold? He hasn’t moved on, he hasn’t healed. He tried one thing (fishing) that doesn’t fucking work and then he runs right back.

No one leaves this season better than they went into it. They’ve lost an elder queer, they’ve lost their joyous and queer polyamory, they’ve lost a chance for meaningful reconciliation with Ed and Ed lost any chance of looking like he gave shit if they did. Stede grows enough to accept the crew’s beliefs as important and then leaves them behind without a care.

Izzy gets a beautiful speech about piracy being larger than yourself. Ed and Stede, within twenty minutes of that speech, leave piracy. They are incapable of giving themselves to something bigger, apparently. They haven’t learned to be a part of a community. They haven’t healed from their childhood trauma or their fresher wounds. They are still just following their own whims.

Zheng’s life work is in tatters, but it’s fine, she has love. Oluwande and Jim aren’t together, but it's fine because they both have dedicated monogamous partners. Lucius was deeply scarred by what happened, never recovers much of his first season personality, but hey he got-well it’s not married exactly- but you know good enough!

Frenchie, who has a box forever locked in his head, is captain. Because the key to success is to lock it all in a box and never open it. What a message. What a show. Conceal, don’t feel. Smile because it’s a happy ending. Don’t mourn the dead, don’t try to tell people what happened to you (they will literally run away or cry too hard to listen and really you’re just bumming them out), and any meaningful change you make is only rewarded with death.

Frenchie is now a pirate captain with a box in his head full of trauma that’s never been opened, leading a crew with more wounds than scars. Wonder how that could turn out? Wonder how many years before he might want to retire and then happen to run across a gentleman pirate. As if no one learned anything at all.

[diamonddeputy]

Okay I put this together for a buddy who couldn’t make it so I may as well put it here too now that I have it all in one place

All the dev commentary I picked up from the UTY anniversary stream

PLEASE REBLOG WITH ANYTHING I MAY HAVE MISSED

• It apparently took them FOREVER to solidify a design for Decibat. One of the early concepts was a literal baseball bat with wings and I enjoy this fact very much

• They originally had an idea that Dalv would accidentally try and move into Martlet’s house after leaving the Ruins LMAO

• They expanded on this piece of concept art that had been floating around: there were never really plans for the Feisty Five to be evil, they just made their own wanted posters to inflate their own egos LOL

• I didn’t really write any of the specifics down, but listening to them talk about the Flowey fight was so interesting because they were all chiming in about who worked on what parts and where the inspirations were from and where they sourced their materials. Some details I remember off the top of my head:

- Flowey’s voice lines were pulled from the same McDonald’s commercial as his canon ones

- The audio for the scene where Martlet melts before Meta Flowey was a combination of a stock laugh and a clip one of the devs just so happened to have, when they used to edit for a YouTube channel, and the file got corrupted and just randomly made that sound

- The heartbeat monitor sound that plays during the Organic speciman is taken from the frequency of an actual human heart. Don’t remember the story about how they acquired that one

- The graphics for the Polygonal speciman were inspired by PS1 horror, Ben Drowned and that meme that went around in the late 2010s of a gif of a bug that made it look like a bug was on your screen (in specific reference to the little Flowey gremlins that crawl down the screen)

- They originally had plans to include a spectrogram in the fight, but decided it would make them seem too tryhardy

• There were plans for an underwater segment that were scrapped extremely early in development, something about a bridge in Waterfall breaking

• The comment Starlo makes in the Wild East about there being a fourth mission that was scrapped from the regimen is a reference to a literal fourth mission that the devs cut because they felt like it killed the pacing, where Virgil would kidnap the Feisty Five and tie them up in places around town and you had to go rescue them and it was a stealth game type thing

• - The designs for the Feisty Five have a lot of funny inspirations

- Ed was originally designed to be a normal monster, but they liked his design so much they used it for something more important

- Initial concepts of Moray’s design had them in a fisherman’s cap or a paper boat hat, to show how unserious they were about this. Also, they weren’t originally designed to be Angie and Gillbert’s child, a playtester just made that assumption and they were like y’know what sure we’ll roll with it

- Mooch’s design originated from a Minecraft RP OC that one of the devs had that she never got to use. Which is iconic tbh

• Mo was inspired by this lil dude, who showed up and had babies in one of the devs’ attic. Additionally, while coding the game, there were little variables they put in for fun like a timer. One of them was a number that just incrementally increased, and was labelled “Crimes that Mo has committed”

• The fact that sparing Dalv doesn’t abort Geno, that everyone chalked up to being a genius narrative decision, was AN OVERSIGHT??????? It was a coding error caused by the fact that they were initially gonna make everything that happens in the Dark Ruins not count towards any route, like Flowey implies in his dialogue, but they went back on that decision and fixed it for everyone except Dalv. They made a comment on stream like “we should really fix that” and everyone in chat was like PLEASE don’t LOL

• There were never really concepts for a Geno Starlo fight. And a lot of it is the reasons the fandom talks about that he’s a coward before his character development and it makes more sense for him to back out in the face of real danger. But also because in terms of power level, it didn’t make sense for him to stand a chance. And also because they were making all the routes at once and designing the boss fights at equal times and this was the first chance they got to make a boss fight for Ceroba LOL. But the plan was already set by that point that it was gonna be her instead of him

• No one truly knows the origins of the super faded silhouette standing in the background of the UG Apartments shop in Geno. Apparently the dude who made the CG just. Put it there

• We got more insight into the Martlet transformation animation. It was made with SO much purpose. If you look closely, she starts to melt and the determination puddles underneath her, but then she gains control of it and the puddle ABSORBS BACK INTO HER, then shoots out in a burst when her first wing transforms. THAT’S SO COOL

• Additionally, they also canonized that Martlet took the determination before Alphys had any of the fallen-down bodies, and that she had no idea what it actually WAS, other than that it had something to do with the human SOULs. Which makes this even MORE impressive because she wasn’t intrinsically prepared to control determination, she just DID it

• Additionally, they also canonized that Martlet took the determination before Alphys had any of the fallen-down bodies, and that she had no idea what it actually WAS, other than that it had something to do with the human SOULs. Which makes this even MORE impressive because she wasn’t intrinsically prepared to control determination, she just DID it

• The dive-bomb attack Martlet does in her first-phase Zenith fight was inspired by Dyna Blade, as a Kirby fan that fact just made me happy lol

• Retribution was the last song made for the game, and was composed in just a couple days, which is WILD to me

• We got confirmation that Flowey is still in control of saves after defeating Axis in Geno, and Clover’s text in the overworld/after dying is just them being so focused on their mission that they’re drowning out everything else

• CANNOT forget The Jincident

[senseandaccountability]

“It takes the wrong sort to put the world right.”

A huge problem for me with the tone of the narrative is that outside a very carefully curated playthrough experience with preconceived ideas of and love for Solas, Veilguard is probably the least compassionate game I’ve played in forever, while spouting out lines about how everyone can find a new path in life because our nature isn’t written in stone, our fates are our own, as well as plenty of HR department lines about working together as a team.

“It takes the wrong sort to put the world right.” The game says that, but it definitely doesn’t mean it. At least I don’t feel it. You are so very rarely challenged in your idea of who this wrong sort is and what they could bring to the table. Davrin speaks of the Wardens recruiting at the Gallows but you meet only adorable, righteous and charming ones. The Crows aren’t the wrong sort anymore, they’re just adorably Antivan upper class. And so on and so forth. Rook certainly isn’t the wrong sort either, they’re mentally around 19 years old and stumbling their way through the world like some romance novel protag. In one of the most thematically shallow plots, Rook gets thrown into a prison of regret fit to hold a god but unlike Solas, Rook doesn’t do regrets or guilt because Rook isn’t that complex. Rook hasn’t been allowed to feel any guilt for three acts, just how are they meant to be stuck in a regret prison?  

Compare with Origins where you yourself could be just that wrong sort that would put the world right. ALL of my Origins PCs would get stuck in Solas’s prison due to the weight of their own fuckups. If not during the game events where you could make shitty moves en masse, then because of their origin stories. Brosca and Tabris would get out of there through sheer fury alone - fuck you, I am a wreck because YOU MADE ME ONE, WORLD OF THEDAS - but the nobles would stew. Amell would loop in some guilt trip regarding blood magic and Jowan and whatnot.

Compare with Origins where Loghain is a piece of shit for most of the narrative. He actively wants to kill you and your Order, it’s nothing personal (okay, a little personal) but he just needs you gone. If you want to, you can hack and slash your way through some release there and just have him executed. BUT the game also challenges you on that idea. It presents a very pragmatic alternative that comes with a very plausible downside (you lose Alistair). It presents not excuses but explanations - do with them what you will. Loghain has people in his corner through the entire trilogy, arguing his case. Cauthrien FALLS TO HER KNEES before you, pleading to spare his life. Threnn in DAI will stan him for the rest of her life. Anora tells you stories about the man behind the name.  And Arl Eamon’s world view and idea of Loghain is shown to be more than a little self-serving when faced with the politics of the Landsmeet. Things around Loghain blur. In the Ostagar DLC they allow things to blur even further when Loghain’s pragmatism is countered by Wynne’s player character-moralism (ie “someone died, it’s always wrong if someone died even if that death prevented 9000000 deaths you KILLED someone!!!!!111”). Origins tells me - or hints at - why Loghain became the wrong sort, shows me ways in which he is also the right sort and leaves me wondering about him. Because the game is gritty and dark and weird but also yes, compassionate. If you execute him, Anora will mourn him because she loves him regardless. If you have him join the Wardens she will sit with him while he recovers because he is undeniably an asshole but he’s also her father who braided her hair and showed her the world. A good narrative never, ever forgets that.  Veilguard feels so different here, maybe it's just me. I'm pretty sure I'm almost done being salty now, I just... feel a lot about narratives.

[inconveniently-discorporated]

My heart hurts so bad for Aziraphale because I can honestly just relate to him so, so, so much.

(not putting this one under a cut so warning season 2 ahead, I'll tag it at the bottom too)

Aziraphale says, "Nothing lasts forever," but I don't believe for a second he doesn't wish that it did.

He WANTS things to go back to how they used to be. He WANTS the seraphic Crowley squealing with joy as he cranks up the universal machine and sets the stars aflame. He WANTS there to be no sides, he WANTS to believe in the idea of the host united, he WANTS to go back before Crowley got himself in trouble by asking questions. He wants, I think, to be in that moment of creation and adoration forever.

Change seems to frighten him. There's an aspect of uncertainty. There's an element of chaos, the loss of control. I understand this deeply. And what the Metatron offered him was just that: certainty, control, the ability to dictate his own narrative.

I used to be in a toxic job. On top of it, I had intense anxiety and other undiagnosed neurodivergencies that made it even harder to fit in and understand the untold rules I was supposed to follow to get along. When I first got there, it wasn't so bad -- perhaps I was, like Aziraphale, also a bit idealistic. Then there were some changes that brought instability, significant more anxiety, and a lot of nights spent agonizing over my lack of control over it all.

My friends and significant other tried to convince me to leave, but I didn't want to. I didn't know what else was out there. I didn't know if it would be worse. I didn't know what kind of stability it would have.

Then my manager left, so that spot opened up. I had worked there for a long time, and honestly, I never saw myself going into management. I didn't think I could. I wasn't sure I even wanted to. All of that extra stress, on me? Not to mention, getting FURTHER into the job that was taking a massive toll on me? But then...

Then I would have control. Then I could run things the way *I* had always thought they should run. I wouldn't need to worry about who would replace my manager and whether my life would be a living hell -- I would make it what I wanted it to be. Upper management was really pushing for it, so I applied.

To make a long story short: I don't think it went very well. I didn't have the support I needed. I didn't have the emotional skills I needed. I think I did my best, but I'm not fond of those times. At the time, I was SURE that I wanted to move up even more, I was SURE this would make it all better. I thought this was what I REALLY wanted.

But that's not what I needed. What I needed was to get out, and eventually I did. Even as ready as I was to leave, it was absolutely agonizing. I could barely stand to handle the unknown. I was going to work together with my spouse, actually, and I was so excited for that, but I still... I still was upset and worried sick over the dramatic change that would befall my life, after I had made the decision to leave.

That's where I can relate to Aziraphale. I wonder what would've happened if, before I had actually left for good, the head honchos had come up to me and said, "We want to keep you -- how about we offer you (an even higher position)?" -- would I have said no, or would I have wanted to make a difference?

Funny, I said exactly that, too. That's almost why I didn't change jobs in the first place. I said, "But I feel like I'm really making a difference with what I'm doing now." But what pushed me over the edge was realizing that none of that mattered to them, it was all about THEIR control of ME, not the other way around.

I'm so intensely curious to see what happens with Aziraphale next, but I'm sure he will learn what Crowley understands: nothing lasts forever, and sometimes it's good that it doesn't -- even if sometimes we wish it did.

[starry-bi-sky]

"Stillborn? No, still born" Danyal au -- VLAD MASTERS THE BITCH HIMSELF

*Points at Vlad* THIS MFER GOT SOME TEEFS TO HIM. !! Okay okay, Vlad Masters in the stillborn au is different compared to most of my other aus in the fact that I am far more heavily leaning into his original ambitions of wanting a family and being desperately lonely. Because you know what wanting a family implies? Wanting to be a parent.

Fucked up father figure that could've been Vlad. Complicated love-hate relationship between the only two halfas in existence.

Danny hates Vlad, but he hates even more that he's genuinely considered his offers of mentorship. Vlad is the only halfa around, and they both have fire cores. Danny has these powers he doesn't understand, can barely comprehend some days, and can't control. But Vlad does. Vlad can. And Vlad wants to help him. He's the only other person who can get close whenever Danny runs too hot. Whenever his igneous hair cracks, splits, and spits back out into magma and his friends can't get close, Vlad can.

His hair is made of magma, which runs so hot that people need specialized suits in order to get near it. He physically cannot get close to the living as a ghost unless he's calm enough for his hair to cool into igneous rock. Which isn't as often as he would like. And sometimes he's too hot for other ghosts to get near unless they have fire cores -- which Vlad has.

There have been many times when Danny's having a meltdown (literally) and gone somewhere to be alone, to let his anger and hurt and loneliness overflow and spill out, that when he's come back to, Vlad's right there with him as an anchor. It's desperately frustrating, it's the only time they can get along. They don't say anything, Danny just turns and clings onto the only person he can touch as a ghost.

Its not fair. Vlad wants to kill his foster dad, and Danny can't let him do that. But he wants to be trained by the man, he wants his help and wants what he can offer. But Vlad can't step away from his revenge long enough to let him. It's just not fair. He thinks for a moment that maybe it could work, and then Vlad does something to remind him that no, it can't.

Vlad Masters sees too much of himself in Daniel Brown -- from the way he holds himself, to the defenses he puts up, his quiet anger that builds and builds and builds until it explodes. That simmers beneath his skin. All the way down to the fact that they have matching cores. This boy is cut from the same cloth as him, and by god does he want to help him. He's always wanted to be a father, and Daniel Brown is too much like him for him to ignore. He genuinely, truly cares about Danny and his wellbeing.

He wants to help him, child just let him help you. Let him kill your foster dad so he can adopt you himself and help with these powers that terrify and intrigue you -- he knows what that's like to have something that you can't control, to have a heat that you can't cool down from. "We're in the same boat you and I, let him help you please."

But his methods are all wrong, and Danny is too much like him -- stubbornness and all -- for him to agree when they oppose each other so greatly. But again, Danny is much like him -- which means that Vlad is equally stubborn, and in every single one of their fights he's parental. He's annoyingly parental. He drops his interest in Maddie to focus his efforts in trying to coax Danny onto his side. It's like trying to get a traumatized cat to trust you, and on some levels it works. It's like he makes some progress, and then moves too quickly and the cat immediately runs off and you have to start back from square one.

TL:DR; Vlad and Danny both want to find family in each other but they're too different to get along and ultimately they are doomed by the narrative to be at constant odds with one another unless one of them is changes, and it doesn't matter who.

[dootznbootz]

Hello, I want to ask this question but I don't want it to sound disrespectful, I really want to know and I'm not trying to be rude.

Why are Helen and Menelaus one of your OTPs? I mean, at least the versions I know Helen falls in love with Paris and willingly goes to Troy with him (but I have to say that this was told to me, I didn't read it from any legitimate source, so I could be wrong) so I'd like to know what makes you love them! And that's all, I hope you have a nice day:3

YIPPEE! :D First of all, I wanna say thank you for being polite and genuine with your ask :3 I really appreciate that you seem to be coming from a genuinely curious perspective and want to know why! I hope you have a lovely day too <3

And then~ Ima put some links to other posts of mine (AND some other lovely folks) that discuss Helen and Menelaus and the whole thing with Paris. Most have text evidence :3

I have made the ones that I think are most important to read in bold

Menelaus in the Iliad talking about how Paris stole Helen

A fantastic essay written by another Tumblr user (deactivated now. you will be missed!) that delves into the reality of Paris and Helen's relationship alongside Paris as a person

My own essay about how Odysseus and Helen play "similar roles" in their stories. I'm assuming you've found me through my Odyssey and Water Wife stuff, so you're probably an Odysseus fan so this kind of delves into how I, personally, believe that Odysseus and Helen mirror each other in many ways plot wise. So if you are also in agreement that Odysseus couldn't have cheated because cheating requires consent, Helen is basically in the same situation. Paris is just basically having Aphrodite strongarm Helen for him.

My Own personal feelings on Paris

A neat essay on how, narratively, the story fits into the themes of the whole Epic Cycle and the Iliad if Helen was actually kidnapped

Some stuff on Menelaus being a soft man in canon :3

My Own post delving somewhat into Helen's unwillingness with some text evidence

I recommend reading most of these (or at least the ones that intrigue you) and then I can chatter about these sillies below 🥹

So in canon, just for the Iliad and the Odyssey, Menelaus is often portrayed as a quiet, shy even, and I would even go so far as to call him gentle, man. (It's kind of a collective fanon headcanon that Menelaus is austistic coded based on his behavior in the texts) It's something really interesting that one of his epithet's is "War Loving" and yet, he's one of the more "peaceful" kings there.

Adrestus rolled out of the chariot beside the wheel, face down in the dirt. Menelaus, son of Atreus,                        stood there over him, holding his long-shadowed spear. Adrestus clutched Menelaus by the knees and begged: “Take me alive, son of Atreus—you’ll get good ransom. My father is a wealthy man, owns lots of things—bronze, silver, well-worked iron. So he’ll give you a splendid ransom, if he learns I’m by Achaean ships, alive.”                             Adrestus pleaded. Menelaus’s heart in his chest was moved. He was about to hand Adrestus to his attendant, to take back captive to the fast Achaean ships.           But then Agamemnon came running up to him, sharply criticizing Menelaus:  “Menelaus, you soft-hearted man, why are you sparing men’s lives like this? In your own home, Trojans treated you exceptionally well, did they not? So don’t let any one of them evade a terrible destruction at our hands— not even the young child still carried in his mother’s belly. Let no one escape.                         Let everyone in Troy be slaughtered, without pity, without leaving any trace.”    

(Book 6, Johnston)

Like the main reason WHY Menelaus is fighting this war in the first place and fighting so hard, is because he just wants Helen back. Literally the most "violent" we've seen Menelaus is, imo, during his fight with Paris, the man who kidnapped Helen and is forcing himself upon her. As he literally starts DRAGGING Paris by his helmet on the ground. And when Paris offers Treasure in place of Helen, Diomedes' declines on his (and technically all the other Achaeans') behalf as Menelaus was injured.

And if you've looked at the bolded links I put above, you'll see how Helen also desperately does not want to be there and just wants to go back home, missing Menelaus and their daughter, Hermione.

And with Helen, she literally basically tells Paris that since he would've lost the fight with Menelaus, therefore would've been killed, if not for Aphrodite, that he should kill himself because that's what's honorable.

“You’ve come back from the fight. How I wish   you’d died there, killed by that strong warrior who was my husband once. You used to boast you were stronger than warlike Menelaus,  more strength in your hands, more power in your spear. So go now, challenge war-loving Menelaus to fight again in single combat. I’d suggest you stay away. Don’t fight it out man to man with fair-haired Menelaus, without further thought. You might well die, come to a quick end on his spear.”  

(Book 3, Johnston)

I honestly fucking love how Helen straight up says to Paris' face that she wished Menelaus killed him. Deserved.

In some ways, I think Paris is a very neat contrast to Menelaus in how Paris left his wife and child behind to start a life with a new "better" wife, while Menelaus is willing to go to war to bring the wife he loves so much back home, safe and happy, with him. Menelaus can't even think of the idea of just "starting anew".

And in the Odyssey, it's just... It's just so sweet seeing how these two interact when Telemachus goes to Sparta to talk to them. Helen is no longer in tears, and while she's still dealing with her self-loathing and guilt, so does Menelaus. They share this burden together and are very gentle with each other. The way she's back to being so happy and hosting as a happy Queen and wife should, is so SO different from how we see Helen in the Iliad, as she's finally happy, safe, and at home. 😭

Like, please look at how silly these two are when they see Telemachus:

Right away she started speaking to her husband, asking him some detailed questions:                                   “Do we know, my divinely cherished Menelaus, who these two men who’ve come into our home claim to be? Shall I speak up and pretend, or shall I tell the truth? My heart tells me                            I must be frank. I can’t say I’ve ever seen                            someone who looks so much like someone else, whether man or woman. When I see it, I’m amazed—this man looks just like the son of brave Odysseus—I mean Telemachus, who, when he left home, was a new-born child, when, because I’d acted so disgracefully, you Achaeans all sailed away to Troy, your hearts intent on brutal warfare.” Fair-haired Menelaus then answered her and said: “This likeness you’ve just noticed, my dear wife,               I’ve seen, as well. His feet are similar, as are his hands, the glances from his eyes,                                              his head, and his hair on top. And just now, as I was remembering Odysseus, discussing all the troubles he’d endured because of me, he let a bitter tear fall from his eyes and raised the purple cloak across his face.”

(Book 4, Johnston)

Like??? She feels free to speak and state her mind because she IS free with Menelaus. She feels respected and loved in her own house and is the queen to his king and slkdjf kljdsfalj THEY'RE HAPPYYYYYY

In the Odyssey also, it was she who interpreted the omen that Telemachus and Pesistratus even though Menelaus was asked to interpret it! ANOTHER EXAMPLE OF HER HAPPILY BEING A QUEEN AND HER AND HER WORDS BEING RESPECTED.

Menelaus, for all his warlike qualities, was at a loss to give him the correct interpretation, and his beautiful wife forestalled him. 'Listen,' she said, 'while with such inspiration as I have I explain this omen and what I feel sure that it portends. [...]

(Book 15, E.V. Rieu)

LOOK AT EURIPIDES' HELEN

Like to me, these two in canon are kind of "opposites attract" while OdyPen are "Likeminded". As Helen is definitely one to chatter more and Menelaus is perfectly fine letting Helen talk for him.

And while young, Menelaus and Agamemnon after their father, Atreus, was killed by their uncle, they had to flee Mycenae to stay safe and were exiled. And where did they stay during this time?

In Sparta, WITH TYNDAREUS AND LEDA, HELEN'S PARENTS >:3

And with most depictions of Menelaus and Odysseus when getting married to Helen and Penelope, both are usually beardless, implying youth/same age. So I love the idea of them being childhood friends to lovers. (that's just MY interpretation though) It's part of the reason why Helen picked him out of all the suitors (though yeah, another interpretation)

AND look at this depiction of them reunitiing!!!

So for the context for this specific version/interpretation of them reuniting, he has just killed Deiphobus, Paris' brother that Helen went to after Paris died, (Troy was fated to fall, if Helen was returned, Menelaus and the other Achaeans would go home and Troy would be left alone, so... Fate interfered with Helen even possibly going home) and she was in the room when it happened. Helen, being somewhat scared that Menelaus would try to kill her, started to run. (That's Helen on the Right, the left is supposed to be Aphrodite, who, while she did keep Helen in Troy for Paris, is still the goddess of love. So that's why she's there.)

BUT LOOK HOW HE TOSSED HIS SWORD TO THE SIDE TO RUN TO HER?! 😭

In general, I love the dynamics that play into their relationship AND how their relationship even plays with other characters like OdyPen. I'm not as detailed with their lives as I am with my OdyPen, they're still heavily involved in my ideas and they're all very close. They go on double dates!

Heck, since I have the whole "childhood friends" stuff in my stuff, Helen, Menelaus, Penelope, Castor, and Deiphobus all grew up together and were kind of a goofy lil crew :3 (I have aged up Clytemnestra to work with my Agamemnon more with how I have my timeline work out :') The timeline is a mess and this is how I'm making it work)

Like, My OdyPen are my "Freak4Freak, Likeminded, ADHD, squirming, wriggling, giggling, nuzzling noses and constantly moving and chattering" couple while my MenHelen are my "Slow and relaxed, long kisses, Helen chatters while Menelaus listens, Menelaus is Helen's weighted blanket person who eases her anxiousness with his quiet demeanor, staring at each other with big eyes." couple 🥹

Snippets of my goobers being affectionate in their own special way, my OdyPen one from my one longfic and my MenHelen is just a snippet I wrote recently.

OdyPen squirm and wriggle while MenHelen stare at each other with big eyes and are each others safe place.

My dear friend, @thehelplessmortals (One of MenHelen's super fans! Check em out if you're even more curious about them! they have their own fanart and headcanons for them too!) doodled my version of the goobers being silly. My Helen is Chubby and 6'4 (Zeus' child and most beautiful woman in the world) and she likes to wrestle, and Menelaus is 6'2, she can pick him up >:3

"DAD, I WANT THIS ONE!"

Also~ Here's my list of Odyssey translations I've gathered :3 Feel free to pick one if you ever wanna read the actual text.

[kleinv01]

hi everyone! this one's a bit of a long post, i want to publicly address something that i still receive comments about, so to avoid further confusion i'm making this post and i will put it in the master list so everyone may see it.

a while back, the creator of pocket lover (bingzi) reached out to me regarding similarities between our games. after checking out the game, i understand why she might feel upset when seeing certain aspects of my game resembles hers- and i see why it might be hard to dismiss as coincidence. i want to reiterate that prior and during the development of my own game demo, i had no knowledge of pocket lover. that said, i made adjustments to my game's page and scripts. and ever since i've been made aware of this, moving forward i've been trying to be more mindful progressing with my own game's narrative with respect for her work and to avoid any further misunderstandings and still is now

i never intended to plagiarize. i can confidently say that my game is progressing with its own ideas, narrative, and story direction, which i believe sets it apart; especially as more updates come out

as a last note please refrain from leaving comments on bingzi’s pages about this issue, as i’m sure she doesn’t want to be reminded of it anymore. and if you see anyone brings this up anywhere, i’d appreciate it if you could refer them to this post. i do understand that those who are unaware may unintentionally hurt everyone involved

to bingzi too, if you’re reading this, i appreciate your work and wish you the best, please know that if you ever wish to have a discussion about this again or share any further concerns, message me and i'd be happy to listen. i'm truly sorry for the stress this might've still caused you.

thank you again for everyone's understanding and support !!

[mediocre-shark-tales]

Mexican GP

Masterlist

Trigger Warning- slow burn of increasing themes including sexism, SA, depression, and implied grooming.

The roar of engines echoed through the paddock, the familiar hum of pre-race chaos buzzing in the air. Practice sessions were in full swing, and I was doing everything I could to keep my head in the game.

The car felt decent—better than I expected on the bumpy, high-altitude track. But my focus was fraying at the edges, stretched thin by the relentless schedule and the undercurrent of tension that followed me everywhere.

Every time I stepped out of the car, Henry was there. Whether it was snide remarks about my driving, veiled insinuations about my competence, or thinly veiled flirtations that made my skin crawl, he always found a way to remind me of his presence.

“Not bad,” he said after the second practice session, his tone dripping with condescension. “But if you could push just a little harder in Turn 4, maybe you wouldn’t be so far off Fernando’s pace.”

I clenched my jaw, biting back the urge to snap at him. “Noted,” I replied curtly, forcing a smile for the sake of professionalism.

Mark and Tom tried to help where they could, offering constructive feedback and redirecting conversations when Henry’s comments veered into inappropriate territory. But their attempts were often shut down with a sharp glare or dismissive remark from Henry.

By the time media duties rolled around, my energy was already depleted. The questions from reporters were the usual mix of predictable and pointed:

“How are you feeling after your first win?”

“Do you think you can replicate that success here in Mexico?”

“What’s it like competing alongside Fernando Alonso?”

I gave them my best answers, masking my exhaustion and frustration behind a practiced smile. The last thing I needed was for anyone to catch on to how I was really feeling.

After the press conference, I bumped into Oscar and Lando in the paddock.

“You okay?” Oscar asked, his brows knitting together in concern. “You seem... off.”

“Just a rough weekend,” I said quickly, waving him off with a small smile. “I’ll bounce back.”

Lando tilted his head, studying me with a frown. “You sure? You’ve been a bit... quiet. Not your usual snarky self.”

“I’m fine,” I insisted, trying to sound more convincing than I felt. “Just tired, that’s all.”

They didn’t look entirely convinced, but they didn’t push either. I appreciated that, even as guilt churned in my stomach. I couldn’t tell them the truth. If word got out that I was struggling with Henry, it wouldn’t take long for the narrative to shift.

“She’s too sensitive.” “She can’t handle the pressure.” “She’s just a weak little girl trying to play with the big boys.”

I couldn’t risk it. Not after everything I’d worked for.

As the day dragged on, I kept my head down, burying myself in the technical briefings and debriefs, trying to drown out Henry’s presence. But no matter how hard I tried, his words clung to me like a shadow, creeping into the corners of my mind and making it harder to focus.

By the time I returned to my hotel room that evening, I felt like I was hanging on by a thread. I sank onto the bed, staring at the ceiling as exhaustion and frustration washed over me.

Tomorrow was another day, another chance to prove myself. But as much as I wanted to believe that, a small, nagging voice in the back of my mind whispered otherwise.

The paddock was already bustling when I arrived on Qualifying day. Engineers zipped back and forth, journalists hovered for quick soundbites, and the hum of engines warming up vibrated in the air. I clutched my bag a little tighter as I walked toward my garage, trying to shake off the growing pit in my stomach.

It didn’t take long for Henry to find me.

“There you are,” he said, stepping into my path with a smirk that instantly put me on edge. “Thought you’d try to sneak past me today.”

“I’m just here to do my job,” I replied, keeping my tone even as I tried to step around him.

But he didn’t move. Instead, he leaned in slightly, lowering his voice. “Oh, I know. But maybe you’d do it better if you weren’t so uptight all the time. Loosen up, Y/N. You’re not here to impress anyone, are you?”

I clenched my jaw, forcing a polite smile. “Excuse me, I need to get to the car.”

Henry finally stepped aside, but not before brushing a little too close for comfort. I made a beeline for my personal driver’s room, my sanctuary in this chaos. Once inside, I closed the door and leaned against it, letting out a shaky breath. The room wasn’t much—just a small space with a couch, a locker, and a desk—but it was mine, and more importantly, it was somewhere Henry couldn’t follow.

Every chance I got, I hid in there. Between briefings, media obligations, and prepping for Qualifying, I retreated to the room to recharge and escape his incessant remarks. But out in the paddock, there was no avoiding him.

At one point, as I was heading back from a strategy meeting, Henry was once again trailing behind me, making one of his usual inappropriate comments.

“Do you always walk this fast?” he teased, falling into step beside me. “You know, you don’t have to be so cold. A smile wouldn’t kill you.”

I bit my tongue, willing myself not to snap at him.

“Y/N!” A familiar voice cut through the tension, and I turned to see Max and Lando approaching from the opposite direction. Relief washed over me like a wave.

Max’s sharp eyes flicked between me and Henry, his expression hardening slightly. “Everything okay here?”

“Yeah, fine,” I said quickly, forcing a smile. “Just heading to the garage.”

Lando’s gaze lingered on Henry, his usual playful demeanor replaced by something more serious. “You sure? You look... tense.”

“I’m good,” I insisted, brushing it off as casually as I could. “Just a busy day, you know how it is.”

Max didn’t look convinced. He crossed his arms, his towering presence suddenly feeling like a wall between me and Henry. “If you say so.”

Henry, for his part, looked completely unfazed. “She’s just focused,” he said smoothly, flashing a grin that made my stomach churn. “That’s what we like about her.”

I shot him a warning glance before turning back to Max and Lando. “Thanks for checking in, but really, I’m fine.”

They didn’t press further, though I could feel their eyes on me as I walked away, Henry still trailing a few paces behind.

As soon as I was out of earshot, Max turned to Lando, his expression dark. “She’s not fine.”

“Yeah, no kidding,” Lando muttered, glancing after me. “Henry’s always been a bit... much, but that was something else.”

Max nodded, his jaw tightening. “We need to keep an eye on her. Something’s off.”

“Agreed,” Lando said, his usual light tone replaced with quiet determination. “Let’s make sure she knows she’s not alone anymore.”

Meanwhile, back in the garage, I settled into my driver’s room once more, trying to shake off the encounter. But the pit in my stomach only grew, a gnawing reminder that no matter how much I tried to brush it off, something had to give—and soon.

-timeskip- 

The time finally arrived for qualifying, and I felt a strange mix of relief and focus wash over me. For the first time all day, Henry had no reason to be in my orbit—he was stationed on the pit wall, his attention glued to the screens monitoring the car’s performance.

The moment I stepped into the garage and put on my helmet, it was like a switch flipped. The world outside the car didn’t matter anymore. My heart rate steadied, and my grip on the steering wheel felt like an extension of myself. The tension that had weighed on me all weekend melted away as I slid into the cockpit.

The team ran through the final checks as I got comfortable in the car. Mark’s voice came through the radio, calm and steady. “All systems are good. Just focus on the track, Y/N. You’ve got this.”

“Copy that,” I replied, my voice steady. This was my domain, the one place where no one could touch me.

The first two sessions were rough. The car felt a little twitchy, especially in Sector 2, and I struggled to find a rhythm. I pushed through, adjusting my lines and braking points with each lap, determined not to let the day’s earlier frustrations seep into my performance.

As Q3 rolled around, I could feel the adrenaline pumping through my veins. The track was alive with energy, the roar of the crowd blending with the scream of engines. This was it—the moment to make it count.

I pushed the car harder than I had all weekend, finding time in the tricky middle sector and nailing the final corner with just enough finesse to keep the lap together. When I crossed the line, my engineer’s voice crackled in my ear.

“P4, Y/N. Great job! Carlos is on pole, Max P2, Lando P3. Solid result.”

I let out a breath I didn’t realize I’d been holding, a small smile tugging at my lips. P4 wasn't a pole, but it was more than I had expected given the challenges of the day.

“Thanks, team,” I said, feeling a flicker of pride. “The car felt better that lap. Appreciate the hard work.”

As I brought the car back to the pits, the weight of the day began to lift. For the first time all weekend, I felt like myself again—not the woman constantly dodging Henry’s advances or the driver carrying the pressure of proving she belonged here, but just me.

I climbed out of the car, pulling off my helmet and shaking out my hair. The team greeted me with nods and claps, and I let myself enjoy the moment, however fleeting it might be.

The hotel room was quiet, save for the soft hum of the air conditioner. I let the door shut behind me with a heavy thud, kicking off my shoes and tossing my bag onto the chair in the corner. The adrenaline from qualifying had faded, leaving behind an unsettling cocktail of exhaustion and vulnerability.

The bathroom’s warm light was a stark contrast to the cool, sterile tones of the rest of the room. I turned on the shower, letting the steam fill the small space, and leaned against the counter while I waited for the water to heat up. My reflection stared back at me from the mirror, hair disheveled and dark circles starting to form under my eyes.

I pulled off my post session sweats and stepped into the shower, letting the hot water cascade over my sore muscles. It should’ve been relaxing, but my mind had other plans.

Henry’s words from earlier echoed in my head, relentless and insidious. “Maybe you’d do better if you weren’t so uptight all the time.” “You’re not here to impress anyone, are you?” “That’s what we like about her.”

The mocking tone, the smug grin—it all played on a loop, growing louder and harder to ignore. I scrubbed at my skin as if I could wash away the feeling of his gaze, the weight of his presence lingering like a stain.

I leaned against the cool tile wall, closing my eyes and taking a shaky breath. Was he right? Was I too uptight? Too focused on proving myself? My confidence, so solid on the track, seemed to crumble the moment I stepped out of the car.

After finishing the shower, I wrapped myself in a towel and padded back into the room. The steam followed me, curling into the corners of the space as I sat on the edge of the bed. My routine continued mechanically: brushing out my hair, applying lotion, slipping into comfortable clothes. Each movement was automatic, a distraction from the growing weight pressing down on my chest.

But the thoughts didn’t stop.

Henry’s words weren’t new; they echoed sentiments I’d heard my whole life. “She’s too ambitious.” “She’s too emotional.” “She’s just here for attention.”

I ran a hand through my damp hair, staring at the floor as the doubts wormed their way deeper. My reflection in the full-length mirror caught my eye again. I stood there, taking in every perceived flaw, every reason I didn’t belong.

Was I really good enough? Or was everyone just waiting for me to fail?

I sat back on the bed, pulling my knees to my chest as the self-consciousness gnawed at me. The pride I’d felt earlier, qualifying P4 in a tough session, felt like a distant memory. All I could think about was how much more I had to prove, how many people were waiting to say, “I told you so.”

The loneliness of the room wrapped around me like a shroud. I wanted to cry, to scream, to break something—but instead, I sat there in silence, letting the doubts and insecurities seep into every corner of my mind.

Tomorrow was another day, another fight. But tonight, the weight of it all felt unbearable.

A soft knock at the door broke through the silence of the room. I froze, startled out of my spiraling thoughts. Who would be coming to my room now? Cautiously, I approached the door, glancing through the peephole. Relief washed over me as I saw familiar faces. Hannah and Liam.

I opened the door, and they greeted me with matching grins, Liam holding up a bag that smelled suspiciously like burgers. “Surprise!” he said, stepping past me into the room.

Hannah followed, balancing a tote bag that clinked faintly with the sound of bottled drinks. “We figured you could use some company,” she said, her voice warm and understanding.

“I—uh, yeah,” I said, stepping back to let them in. “Come on in.”

They didn’t wait for a second invitation, making themselves at home. Liam pulled a blanket off the bed and spread it across the floor, creating an impromptu picnic spot, while Hannah unpacked the food.

“We brought burgers, fries, and milkshakes,” Hannah said, glancing over her shoulder with a teasing smile. “Your favorites, right?”

I nodded, touched by the gesture. “Yeah, they are. Thanks, guys.”

We settled onto the floor, the hotel room’s TV playing a cheesy rom-com in the background. For a while, we just ate and talked about everything but racing—joking about Liam’s terrible taste in movies and Hannah’s overly dramatic reactions to every plot twist.

But I could feel their eyes on me, watching closely, their usual banter tinged with a hint of concern.

“So,” Liam said after a pause, leaning back on his hands, “how’s everything going? You’ve been quieter than usual this weekend.”

I hesitated, swirling my straw in my milkshake. “It’s... been a lot,” I admitted carefully. “The pressure from the team is just... a lot to deal with, you know?”

Hannah tilted her head, her expression soft. “You’ve been under pressure since day one, Y/N. This feels different.”

I bit my lip, avoiding their gazes. “It’s just... the expectations. They’ve grown. It’s like... like I have to be perfect all the time. I can’t mess up. Can’t let anyone down.”

The words slipped out before I could stop them, and I froze when I realized I’d echoed something Henry had said earlier in the week.

“Can’t let anyone down,” Hannah repeated, her brow furrowing slightly. “Who’s been saying that to you?”

“N-no one,” I said quickly, shaking my head. “It’s just how I feel. It’s nothing, really.”

Liam exchanged a glance with Hannah but didn’t push. Instead, he leaned forward, resting his elbows on his knees. “Y/N, you’ve always been good at handling the pressure. But if someone’s making you feel like you’re not good enough, screw them.”

“Yeah,” Hannah chimed in, her voice firm. “You’ve earned your place here. Don’t let anyone make you think otherwise.”

I smiled faintly, grateful for their support, but their words only made the guilt churn in my stomach. I couldn’t tell them the truth. Not yet.

By the end of the night, as we laughed over the absurd ending of the movie and polished off the last of the fries, the tension in my chest had eased slightly. But I could tell Hannah and Liam were still worried. They hadn’t figured out who was getting into my head, but they knew someone was.

As they stood to leave, Hannah gave me a quick hug. “We’re here, okay? For anything.”

“Thanks,” I murmured, meaning it.

Liam lingered in the doorway, his usual teasing grin replaced by something softer. “Don’t forget, Y/N. You’ve got a whole grid of people who’ve got your back, whether you like it or not.”

I nodded, watching as they walked down the hallway.

Liam and Hannah walked down the hallway in silence, each lost in their own thoughts. It wasn’t until they turned the corner, safely out of earshot from Y/N’s room, that Liam finally spoke.

“She’s not telling us everything,” he said, running a hand through his hair in frustration. “I know her. She always tries to deal with things alone when it gets bad.”

Hannah nodded, her expression serious. “Yeah. She slipped up a couple of times, repeating things someone else must’ve said. ‘Can’t let anyone down’? That didn’t sound like her.”

As they reached the lobby, they spotted Max Verstappen leaning against a wall, scrolling through his phone. He looked up as they approached, immediately straightening when he caught their expressions.

“What’s going on?” Max asked, tucking his phone away.

Hannah glanced around to make sure no one else was listening before answering. “We went to check on Y/N. She’s not okay, Max. She’s brushing it off as team pressure, but it’s more than that. Someone’s in her head.”

Max’s jaw tightened, his gaze darkening. “I thought so. I saw something earlier—her engineer. He was following her around the paddock like a shadow, making her visibly uncomfortable. She tried to act like everything was fine, but I could tell it wasn’t. The guy’s overly demanding, crossing the line from professional to... something else.”

Liam crossed his arms, his frustration bubbling over. “Why didn’t you say something sooner?”

Max shot him a pointed look. “What was I supposed to do? Accuse someone without knowing the full story? She’d hate that. But now I’m starting to think it’s worse than I realized.”

Hannah hesitated, her eyes narrowing slightly. “Do you think... it’s more than just workplace harassment?”

“What do you mean?” Liam asked, frowning.

Hannah shifted uncomfortably, lowering her voice. “What if he’s grooming her? I mean, the way she described his comments—they weren’t just about her performance. They sounded... personal. Like he’s trying to break her down, make her feel dependent on him.”

Max’s fists clenched at his sides, his anger barely contained. “If that’s what’s happening—if he’s trying to manipulate her into something worse—he’s going to regret it.”

Liam nodded, his jaw set. “We need to keep an eye on her. If she won’t talk to us, we have to make sure she’s not alone with him as much as possible.”

Hannah sighed, worry etched across her face. “And if we’re wrong? What if it’s just the pressure getting to her?”

Max’s voice was cold, determined. “Then we’ll still have her back. But if we’re right, he’s done. No one messes with one of us like that. Especially not her.”

The trio stood in silence for a moment, a shared understanding passing between them. Y/N might not have asked for their help, but that didn’t mean they wouldn’t give it.

“She’s not going to like this,” Liam said finally, shaking his head.

Max smirked, though his eyes remained hard. “She’ll thank us later. Or she won’t. Either way, we’re not letting this slide.”

With that, they split off, each silently vowing to protect her, no matter what it took.

As they parted ways, Max pulled out his phone, his fingers flying across the screen as he composed a message. He wasn’t one to stir the pot unnecessarily, but this was different. Y/N was part of their grid family now, and family looked out for each other.

Max Verstappen (Group Chat: "Grid Gossip")Guys, we need to talk about something serious.

The chat, typically filled with memes, jokes, and random banter, immediately grew quiet. The typing bubbles from multiple drivers popped up almost instantly.

Lando Norris:What’s going on?

Charles Leclerc:Serious? Coming from you, Max?

Lewis Hamilton:What’s happening?

Max sighed, leaning against the wall, and continued typing.

Max Verstappen:It’s about Y/N. I’ve noticed her engineer, acting really off with her. Following her around, being overly demanding, and making comments that clearly make her uncomfortable. Liam, Hannah, and I think it might be more than just workplace stuff.

George Russell:More than workplace stuff? Like harassment?

Max Verstappen:Maybe. Hannah thinks it might even be grooming. The way he’s breaking her down, it’s not normal. She won’t tell us what’s really going on, but it’s affecting her. Badly.

Lando Norris:I’ve seen him hovering too. She tries to brush it off, but you can tell she’s not okay.

Carlos Sainz:This is serious. What’s the plan?

Lewis Hamilton:We can’t just sit back and do nothing. We need to be careful, though. If we push too hard, it might make things worse for her.

Max Verstappen:Agreed. For now, we keep an eye on her. Make sure she’s not alone with him. And if he crosses the line again, we step in. Hard.

Charles Leclerc:I’ll talk to her if I get the chance. Maybe she’ll open up to me.

George Russell:Or me. She’s close with a few of us. If we all subtly check in, she might feel comfortable enough to tell one of us.

Lando Norris:And if she doesn’t? What if she keeps trying to handle it alone?

Max Verstappen:Then we protect her anyway. She is not going to fight this by herself, this engineer holds to much over her. 

The group chat lit up with agreements, each driver vowing to do their part.

As Max slipped his phone back into his pocket, a small weight lifted from his chest. Y/N wasn’t alone in this, whether she realized it yet or not. The grid had her back, and together, they’d make sure no one—least of all Henry—could tear her down.

[shurup-overt]

don't ever let go of what's beloved

these bastards made me cry! THRICE!!

@mari-lair I wanna thank you from the bottom of my heart, also this will be LONG. I'm sorry skdjkls

SPOILERS UP TO CH27 BELOW

(not super detailed but still can ruin the experience)

I'VE FINALLY read ycit after half a year of putting it off it just because I "didn't like the idea of akane being dead&doomed" skslsks I was wayy too superstitious. anyway I'm glad I stopped being stubborn

IT WAS HELL OF A RIDE (positive) and I finished it (27 chapters at that moment) looking like nene in ch107

I'm not even joking

where do I even begin.

the amount of research and thought and love poured into the fic is INSANE. it's always so nice to feel the author's passion through the work and this one overflows with it.

am I being too sappy? I dunno, I speak what's on my mind lol!!

as I said, it's noticeable that it's written with so so much love to the characters and this love is INFECTIOUS!! I didn't know I'd get attached to aka, so fast too. it's like my thought process was almost the same as teru's all the way through chapters 0-20 lmaoo

a small digression from the main topic - the thing is, what I wait for the most in tbhk is a flashback about terukane's first meeting & how the glasses were made. ofc there's always a possibility they were made by teru just for fun and as a way to make akane owe him (although this might be ooc) but the possibility of it is thankfully really really small because teru looks at them and handles the topic very gently. too gently for it to be just a forced prank. also akane has been keeping them with him on his bead near his head while sleeping (not even the bedside table or smth! who the hell keeps their glasses with them on the bed at night?? <- comes from a glasses person)

so, especially because of teru's wording ("he said he wanted to live his life like he used to"), I've been STRESSING over the possibility of akane BEGGING teru for help there, like what if he was struggling with switching forms at first and hence wasn't seen by students? what if the clock keepers didn't explain him almost anything about the supernatural world and so he was scared and confused? what if teru cornered him there and he had to prove he's human? (by the warmth of a touch?) what if he cried? what if teru comforted him? (or tried to lol) what if there were more struggles??

and so I was soo glad to see this topic being expanded!! I know it's an au and all (and the contract's gone worse here) but what I mean is, I'm glad I'm not the only one who thinks about it!! reading akane's backstory was Painful As Heck but really Good.

my godd I wish the boy had some comfort. I can't look at ycit akane because I start tearing up immediately.

"I hope akane managed to use the bill" "I hope the seals helped at least a bit" I HOPE SO TOO. JESUS. THE POOR BOY WAS LEFT ALL ALONE WITH A TERRIFYING KNOWLEDGE AND THE TWO DIDN'T EVEN SAY GOODBYE TO EACH OTHER PROPERLY

and his backstory hasn't even been fully revealed yet. I feel like I'll die when that time comes. shaking

alright I don't wanna whine here too much now moving on-

this idiot. /affectionate

the attention to the smallest details!!!!

the amount of canon things implemented?? HELLO? I mean it's natural to expect a canon character act according to canon but it's the first time (I think??) I've noticed SO MUCH small facts THOUGHT THROUGH and carefully weaven into the fic to fit the narrative perfectly. sometimes they're really small and almost insignificant but it's like finding easter eggs!!! it fills me with so much joy to feel the love to the kids through the writing (I repeat it again ahahaha). teru's complicated (VERY MUCH SO) feelings towards his father, akane liking raspberry sweets, akane (and aka) liking when pride of a certain someone ( ^^ ) shatters in front of them and their facade falls, teru itching to jump headfirst into research as soon as there's a reason to mess with exorcist tools and invent something (oh I so adore this in canon I can probably ramble about this a lot), teru being eager to play in the snow, teru covering his face when he cries!!!! and that's just the things I remember right now THERE WAS A LOT MORE

it all makes me point at the screen with an "AH!!" expression and think "YES THAT'S MY BOY/GIRL!!"

YAKO AND TSUCHIGOMORI TOO!! I was so glad to see yako being involved so much and her character handled perfectly with all her traits and quirks and sillyness /affectionate hehe I love her so much and although tsuchigomori hasn't showed up as much, reading the scenes with him was a delight as well

also when I said about the passion, I meant not only the love to the fic's main cast, but also the passion to analyze the og medium itself as a whole. (am I making sense? I don't want to sound too creepy) explaining myself: take aka: his character, his quirks, his abilities, his drama, worries and experiences - for it all to be as deep and believable ( = excellent) as it is, it was necessary to take all the smallest bits about ghosts' and supernaturals' mindset we have in canon, be it hanako or sousuke or mitsuba etc, analyze it, and make aka one of their kind but still very much unique and closer to akane than to them, even though he doesn't remember being him. even if you didn't do what I said entirely on purpose, I'm just amazed by how aka is written. it's awesome

squeezes him.

thank you for being the extremely stubborn "leech" you are. mwah

aidairo sadly have given us very little info about exorcism and supernaturals in general (I'm biting the table as we speak) and the way you still took the crumbs, thought them through, added bits here and there, and made it all work perfectly is just amazing. I was overjoyed to read about mimics, other kinds of supernaturals, how spiritual energy feels, how touching a ghost feels in detail, weakening seals, blood pacts, boundaries, etc etc. it's like it's all canon, it doesn't make the reader question it whatsoever, so well-made. I'm clapping.

the description says you've never written a teru pov before and I'd say you nailed it from the very beginning!! you understand his mindset so deeply, reading your works is the best experience. the picky bitch in my ear never goes "he would not say that" and instead is just as amazed as I am

the first chapters before the bonding are HEAVY as heck. they're extremely hard to binge read but I mean this as a good thing. they're extremely painful by just how realistically they are written, so good you can't help but sync with teru and feel the same emotions as he does. And his life is SHIT at that moment so I was SUFFERING with him both the first and the second going through the chapters :'D again though, it's not bad, it's the opposite - it makes the happy moments thrice as good and the overall bonding brings A LOT of warmth. I feel like it healed me in a way after punching me in the stomach 10 chapters in a row

also I love it so much just how much the fic focuses on teru's everyday life before the manga's main plot. I mean, well yeah, it's a 14-15yo teru pov, but still. so detailed, filled me with warmth.

*slaps roof of ycit* this bad boy can fit SO MANY fun ideas and good concepts in it

seriously, the range is insane. a questionnaire, a quarrel (multiple), siblings talk, beach episode, dancing, hugging, both crying, possession?? hello?? BUT WAIT, THERE'S MORE! summer festival, sleeping on the other, fighting for the other, fighting together, even working in food service together (aka the thing I'd expect out of a trkn fic the least lol). the list goes on. and despite how bizarre and random it sounds out of context, nothing from it feels like a filler, everything fits into the plot perfectly. I have no words mari how are you doing that

ever since I've read the bloodpact chapter, I was worried about how encounters with mimics will go from now on because now aka can go anywhere and, how it was stated before, aka's and a mimic's energy feel the same… the boys will need to come up with a strategy of some sort (which is tricky if mimics learn from the memories) ourghh makes my head hurt! but in a good way. or will mimics struggle picking a target between aka and teru now? what if they're weaker when faced by multiple opponents because of that? that would be fortunate. anyway! mimics leap at the target eventually, so that eases the task. and whether the boys encounter them or not, they will have each other's backs, and it warms my heart.

I've wanderend off the main topic again, oops. as you see, the fic made me think of all sorts of things lol and it's an incredibly good sign.

what if teru did take a picture of the swing set in ch13…..... ourghh I don't even know if it'd be better or worse...... it's over now though, so I'm glad either way

and ch27 has destroyed and rebuilt me several times I think .

I drew this before ch28 but then it came out and oh boy. I don't even know what to say. Good for them. so proud of them

I HAD SEVERAL SONGS FOR THIS but I don't want to make this too overwhelming so I've tried to pick the faves among faves (still kind of failed so . no pressure)

Bullet by Saint Motel (lyrics) for teruaka

The Song with Five Names a.k.a. Soapbox Tao a.k.a. Checkmate Atheists! a.k.a. Neospace Government (A.K.A. You Can Never Know) by Will Wood and the Tapeworms (lyrics) for aka - this one may be too extreme. it kinda clicked for me but I might be delusional

quiet room by ewe (has eng subtitles) for teruaka - makes me feel things similar to the ones 'therefore you and me' does

Yakusoku no Overture by Toki Shunichi (akane's VA hehe) - I haven't found a full version of this arrangement on youtube but it should be on spotify? or other streaming platforms I'm pretty sure? sadly, I've only found a russian translation (as unusual as it is lol) so I've tried to adapt it in english here, hope it looks right!

I might be delusional here sdslkds but what's certain is that I enjoyed the fic all the way from the start. thank you for creating this, truly

p.s.: please let me know if I made you in any way uncomfortable. I myself didn't expect to write so much; I only wanted to express my gratitude but this might be overwhelming. (I'm a very anxious person so I felt like I needed to say this sdskldj) you aren't obliged to respond in any way and this isn't me asking you to continue working on the fic. just saying thank you for the things you've made

that's it! wishing you a great day :)

[icyg4l]

Pick-An-Icon: How can you show up for your ancestors during Black History Month?

(Left-to-Right: Pile 1, Pile 2, Pile 3)

In honor of Black History Month, I wanted to start a Pick-A-Card series dedicated to Black Americans. I want to highlight icons in our community while simultaneously offering advice for any Black Americans who seek guidance about how to honor their heritage. If you're a Black American and you're reading this, this is for YOU! With the usage of the special Hoodoo Tarot deck, I will present you with ways to honor your ancestors. If you read this and enjoy and/or resonate with the reading, I encourage you to book with me! Thank you in advance!

Pile 1: Cards Used - Eight of Knives, Railroad Bill, Three of Baskets, Nine of Baskets, Two of Baskets, Nine of Knives, Gullah Jack and John Horse.

Affirmation: It is easy for me to take control of my narrative.

If you chose the image of Chaka Khan, then you resonate with her feisty, raw energy. This pile is for the creatives who are unsure of their talents. Your ancestors want you to know that there is more than one way to skin a cat. Introduce original ideas to the forefront. One way you can honor them is by not allowing time to limit your abilities. You put in so much work only to feel limited by a man-made construct. It doesn’t matter how old or young you are, you will always have time! Don't let anyone tell you otherwise. I channeled this old interview of Prince saying how he doesn't celebrate birthdays because it keeps him younger. Take on that carefree mindset of not applying the norm to your life. Your time is now! Another way that you can honor your ancestors is by setting up an altar. I get the sense that this pile is very secretive with their spiritual practices. Adorn your altar with foods, drinks, jewelry and other belongings of this loved one. They will appreciate it dearly. If you've lost someone recently, my condolences. But definitely keep in touch with them. I get the feeling that this is a young man, like an older cousin or brother. Keep the memories of you two alive so that he can peacefully cross over into the afterlife. Lastly, being a class act is a great way to honor your ancestors. Refusing to sit back and allow injustices to happen will make your ancestors proud. You have a voice! Use it! Organizing protests, sit-ins, even crowdfunding will make your ancestors proud. Combatting the capitalistic nature of society by collaborating with those in your community will hep you get in touch with your ancestral roots. You're naturally a giver, I can tell.

Pile 2: Cards Used - Nine of Knives, Two of Coins, Five of Sticks, Strength, Daughter of Knives, Aunt Caroline, Ten of Sticks, Six of Knives, The Garden and Seven of Coins.

Affirmation: I deserve to move through life with ease.

Hello, Pile 2. Off rip, I get the feeling that this is my pile of overachievers. I also believe that this is the pile that people who identify as LGBTQIA+. You resonate with the energy of Lauryn Hill's mysterious, intellectual nature. Why do you feel the need to carry so many burdens, Pile 2? One way to honor your ancestors is to lighten your load. They see that you struggle so much because of the amount of responsibilities that you carry. They had to go through similar things and they do want to witness their struggles in your lifetime. Ask for help, please. If you do not ask for help, then you will implode and we want to avoid that as much as possible, yes? You do not have to be the strongest in the room. Who are you trying to prove yourself to? It would be best that this pile talks to a mental health professional to receive guidance and proper medical treatment. Another way that you can honor your ancestors is by blowing off steam. Let your emotions flow. Slam the doors. Scream in pillows. Remove the mask and don't allow your emotions to consume you. You are allowed to be angry, my love. You have a lot to be angry about. Finally, the last way that you can honor your ancestors is to explore. You put in so much work, it's only right you get rewarded for it. Book that spa day. Go get a mani-pedi. Take the weekend off and go into hiding, you deserve it. Go somewhere you haven't been before. Your ancestors want you to relax and wind down.

Pile 3: Cards Used - Ten of Coins, Father Simms, Mother of Knives, Four of Coins, Dr. Grant, Six of Sticks, Six of Baskets, Six of Knives, Nine of Knives, Miss Robinson and Five of Coins.

Affirmation: I am doing perfectly fine in the present moment.

Alright Pile 3. You choose the image of Donna Summer, which means you resonate with her sultry, bold personality. This pile already has a close relationship with their family/ancestors, specifically the maternal side. To honor your ancestors, you must keep it this way. Learn about the traditions of your maternal side. Preserve recipes, photos and jewelry of your maternal side. And most importantly, gatekeep these things! You don’t have to share everything with everyone! Some people who choose this pile will have ties to Houston, Texas or currently live there. If you’re thinking about moving there, you should! It will help you mature. Another way that you can honor your ancestors is to receive compliments of comparison to a family member of yours well. You may not like it, but it shows your ancestors that you have respect for their features and/or personality. If you look like Aunt Linda or Uncle Jermaine, then that’s absolutely fine! Don’t deny it! Embrace it! Lastly, don’t let money consume you! I channeled the scene at the end of Players Club where Diamond visits Ebony at her new job in the shoe store. Diamond tells Ebony to “make that money, girl but don’t let it make you.” You don’t have to keep up with the latest fashion trends. You don’t have to have a job in tech or have a “lazy” desk job. It is perfectly fine to work at McDonald’s or work in retail. You’re making an honest living and that’s all that matters. Accept things as they are. Your ancestors made something out of nothing, and so can you. They are proud of you! Keep going.

[haunted-carousel-productions]

Lessons for first-time Audiodrama creators I learned making Lavender Evening Fog

Today marks the four year anniversary of the first full episode of @lavender-evening-fog-podcast. If you want to make audiodrama, here are some lessons that I learned along the way, that will make it easier for you. We went into it loving the audiodrama artform but not knowing a lot about it, so please learn from the experience we gained making the show over four seasons.

Cut the volume you plan to put out in half. And then maybe cut that in half. There are a few ways you can do this-- for example if you are planning on every other week, put out monthly episodes instead. Or maybe rather than doing a 12-episode season, you do a 6-episode season. Or maybe rather than doing 12 half hour episodes, do 12 fifteen minute episodes. One of these ways of reducing may make more sense for your story than the others, but the takeaway is the same--producing an audio drama is a lot of work, and if you have never done it before, it is likely more work than you expect. You can still tell your story, it might just take more time. "But Victoria," you say, "I am already being very pragmatic about this!" I believe you dear reader. When we started LEF we intentionally made the episodes monthly because we knew more frequently would be difficult. Yet the plan was to have two 12-episode seasons that would involve dropping an episode every month for two years without break. About six episodes in we realized that we would burn out if we did it that way. Fortunately, because of how we mapped the story, it was very easy to convert that to four six-episode seasons. This allowed us to take breaks while still having consistency in our release cadence, because that consistency is incredibly important, and it is easiest to sustain over time if you have a handle on the work.

Have as much as possible done before you develop a release schedule. This may be the exception to #1--if you have everything done, by all means, go forward with whatever schedule you like. But it is easier to have a season done and drop episodes than to be working on it up to your release day.

If you can't have everything done before you start thinking about a release schedule, at least have the writing done and polished. Sometimes, you will need to revise pretty heavily. Especially at the beginning when you are getting the voice right. Because writing and getting feedback can take awhile, you want to give time to think about it, try to have your scripts done if nothing else.

If you find yourself relying on some part of your story too heavily, try writing a scenario without it. At the end of Season 1, we introduced the idea of Nick voicing Billy, and by the Season 2 premiere, we felt comfortable recording more interactions (remember, this project started during peak Covid). I was so excited to write for more than just myself, so I wrote a bunch of Billy scenes that didn't move anything forward. Once it was pointed out that this was a problem, I decided to send Billy to a conference. That gave me an opportunity to reframe rather than relying on a narrative crutch. This resulted in the Anna-Georgina is sick episode, which I still think is one of my favorites.

Create frameworks that make writing easier. For example, we wrote the show in little fragments of Anna-Georgina's audiodairies. That made it so much easier to plan (we know we need 8-12ish segments per ep), to write (again, if I wasn't feeling like tacking a particular big of the plot, I could work on another), and to record (The Lucy letters and the long pieces of exposition were always recorded last)

Figure out your tech before you record your first episode. We didn't fully and I'm still kind of embarrassed. Like I'm proud of what we produced starting out, but I wish we (mostly me, Nick always knew what he was doing) had figured it out earlier.

[misskattylashes]

Okay inspired by @thetruthisfictional post about Milex patterns. I thought I would share some observations I have made in my autistic pattern seeking brain.

I am only looking at the post EYCTE period to the present day, and not everything is in chronological order.

Louise

Louise started to appear around the same time Miles decided to move back to the UK permanently. Rather than Alex split with Taylor, there are rumours of him cheating on her with Louise, creating a reason for him to want to leave LA. It is also a convenient narrative because Miles and Taylor were friends, so the reason that Miles and Alex can’t be seen together is because Miles doesn’t like Louise because of what she did to his friend Taylor.

Which means Alex can come home to London, without it looking obvious that he is following Miles.

Plothole – the reason for his return is so  Louise can split her time between London and Paris to pursue her ‘successful music career’. The truth has since emerged that Louise lives in Paris and Alex lives in London and Louise has no career to speak of.

Louise’s use of social media

A genuine social media account will post day to day happenings, even not every day. Shared songs, interesting meals, something work related. Louise’s posting only ever coincided with events happening around AM. Go and check her account sometime, see how much she posted around the summer of 2022 leading up to the release of The Car. Note also how she has posted every September 21 since 2021 which also coincides with the day she was officially announced in September 2018.

Songwriting

Since EYCTE Alex has not used one female pronoun in a romantic sense. Miles barely has either, nothing to the degree of the previous two albums.

Alex’s image

This is so carefully protected. Most recent photographs were taken several days or even weeks before. Alex is usually in his ‘costume’. One of the most questionable being the recent Eurostar ones. He was sitting there so obviously being ‘Alex Turner’ but the only people who recognise him are a couple of fans who happen to have professional equipment. I suspect there are all sorts of clever wizardry and facial recognition software going on in Meta that stops unfamiliar photos of Alex being published. Before you say ‘How can they do that?’ think about times you may have uploaded a song only for the sound to immediately disappear or you get a message with the list of territories it can’t be played in. This happens in seconds so the technology is there.

The train photos fitted a convenient narrative. Just after Alex was seen coming home from Paris, Louise is seen in the Caribbean with her family. We then get a recent of Alex in NY. Louise comes home from the Caribbean to Paris, but then makes sure to tell us she is going to NY, we then get the pap walk etc.

Why are we never allowed to see Alex walking along Bethnal Green High Street or in the pub with Miles? I think this is less to do with record company pressure and more to do with Alex wanting to keep his private life private.

Miles’ use of social media

Last year when AM were in the UK, I would notice that days Alex was on a break, we would hear nothing from Miles. You might get one official post about OMB that was clearly posted from his social media team. But stories would be empty.

Once Alex went to the US in late August, many a night we were treated to tipsy Miles chatting to the TV, or filming little Maxie getting up to mischief in the house. Soon as Alex came home it stopped.

Earlier this year Miles started the late night posting again and filming Maxie. Lo and behold a few days later we get pics of Alex in NY. Soon as he comes home, it stops again.

Another thing I have noticed. When Miles posts videos he always puts the photographer's name. But he occasionally only puts an 👀. These will always appear when Alex isn’t seen elsewhere.

There are probably many more but I will probably do a part 2.

[ringsreforged]

Natalie's *deep* Haladriel thoughts - BEWARE

Pau - When you read this later, let me know if you want me to move it to my personal account, yeah? If it even still exists...

I’m not really sure what this post is going to end up being. A defence of the show and the separation? In part! A critique of the show based off leak spoilers and my own gut feeling? For sure! A desperate ramble in an attempt to get my head in order? Absolutely!

I will say before we dive in that I’m absolutely a Haladriel shipper, but the way I ship isn’t always in line with fandom. I ship what I see as part of the narrative because it’s the narrative, and everything else is a bonus. I make this distinction because I think this is why I’m so okay with a lack of scenes when some others are not, and I don’t want to come across preachy. I don't think I'm in any way superior for this by the way. In fact, I wish I could be more *normal*!!!!

If you came to this show for Haladriel alone, and simply want to see them share scenes week to week – that’s your prerogative. I’m not trying to say you shouldn’t feel that way. What I might try to say is that I don’t think that makes the shows bad or suggests that the writers have baited with this relationship. I think that’s ultimately what I find frustrating…

But anyway, let’s get into whatever this is. A reflection on expectations, a five-season arc, and those STUPID spoiler leaks…

AND THERE WILL BE SPOILERS. STAY AWAY. HISS.

Alright, so this post is mostly brought to you by a sinking feeling I have that the leak spoilers are real. Because everything in that episode 7 promo matches up.

STOP READING if you don’t want to know the spoilers. And honestly? STOP READING IF YOU THINK YOU WANT TO KNOW because living with this knowledge has truly made this season less enjoyable for me (credit to it, then, because I still think it’s incredible). IF I’M MAKING YOU PANIC, STILL STOP READING because there very much is a world where these spoilers aren’t that bad in context…but I prefer to keep my expectations low…

Have you gone???

HAVE YOU GONE?????

SPOILER TALK

Okay.

So, the leak spoilers say that there is no kiss between Sauron and Galadriel (which, honestly, I have no great issue with – more to come on that later). Instead, the kiss is ELROND AND GALADRIEL, and I absolutely do take issue with this.

I can only hope and PRAY that it works in context, but I can’t get my head around it. And yet, the promo…it’s all falling into place. Elrond will be sent to discuss terms with the orcs before the battle. He’ll see Galadriel in chains, and he’ll ask for a moment to say goodbye. Adar will allow it because he’s a gent like that. This is where we get the chin touch with the thumb everyone speculated over and then…HE LEANS IN AND KISSES HER TO PUT A NEEDLE IN HER MOUTH? SO SHE CAN RELEASE HERSELF LATER??

To clarify, most of this is my spec, but THE KISS TO PASS HER A NEEDLE IS A REAL LEAKED SPOILER THAT NO LONGER SEEMS FAKE.

It's just…so convoluted and weird??? Does he store needles in his mouth like a squirrel? Why couldn’t he have slipped the needle into her hand??? WHY ARE YOU PUTTING ELROND’S LIPS ON GALADRIEL’S?

And look, maybe this spoiler IS still fake! But the details were so specific, and everything about the context seems to be accurate, so that feels like it would be a bonkers coincidence to me. Maybe when we actually see it play out, it will be fine.

But that does bring me back to the Haladriel of it all, just briefly. With my whole heart, I do not need them to kiss. After season 1, I didn’t think it would be possible, and I’m okay with that. But if you’re willing to let ELROND’S lips touch her, then MY GOD, you could have let Haladriel have ONE kiss where she’s trying to distract him or some shit. OOF.

My only relief is that it happens next week, so we can hopefully get it out of our systems and enjoy the finale.

That said, if these leaks are true then that also means the finale leaks are true. Now, I actually never wanted to see any of these spoilers (hence me making it VERY CLEAR what this post is about, because I wouldn’t inflict this stress on anyone unwillingly), so once I got the Elrond kiss details, I tried to get away without seeing much else. But there was some information on the big Haladriel scene.

I’m actually not going to detail it here, because – overall – I think we’ll still super enjoy it (just…lower those kiss expectations) AND because I don’t think all of it was spoiled. At the end of the day, there will be plenty to unpack, they’ll be back on our screens, it will be meaty, it will be layered. I’m really looking forward to it, in general.

My one fear is that it’s a season 1 finale repeat. And again, that won’t necessarily be bad per se, but it will feel a little bit underwhelming. Now, I’m not somebody that wants a true corruption arc for Galadriel. Normally, I love that shit, but not in this IP and not with this character. I want to see her explore her darkness, I want to see her face it and accept it, and I certainly want to see her be tempted…but I don’t expect or believe we'll ever actually get the whole ‘dark queen of Mordor’ vibe. Prisoner? Maybe. But not an actual dark queen.

That said…surely this scene doesn’t play out the EXACT same way as season 1? Sauron shows her a vision, she’s tempted, but ultimately resists and tells him she’ll never be at his side. I just don’t get why we’d repeat that, when there are so many other options that still keep Gal on the side of light.

I keep coming back to Galadriel’s line to Elrond in episode 4 – when it comes down to it, he has to choose to defeat Sauron and sacrifice her. I feel like if I hadn’t seen the leaks, then I would be 1000% expecting this to be the outcome. Especially with how Elrond’s theme comes in at the end of The Last Temptation track. He comes upon the confrontation but chooses to do the thing that will harm Sauron in the long run, rather than the thing that will save Galadriel.

I hope so badly for this, but I do worry that it will go the other way. What if it parallels Gandalfanger’s destiny/friend choice, and Elrond chooses her because THAT is how light wins or some shit? Not that this will be a bad scene by any stretch – I love their relationship and want to see their FRIENDSHIP (grrrr) reforged…but, again, the S1 finale! Sauron left her in the water, and Elrond was there to save her.

There’s also Galadriel’s conversation with Adar in the most recent episode – you succumbed, I resisted – but I guess this could go either way? He succumbed, so she resists. She insists she’s able to resist, so she succumbs. URGH. MY HEAD.

There MUST be a difference. SURELY??? Like, this season has been so well written…I just can’t comprehend the copy and paste.

Again, this isn’t anything close to a deal breaker for me. I firmly believe the showrunners when they say this relationship will remain the core of the show, but…hmmm. Okay, on that note…

DAMAGE CONTROL – MOVING ONTO THE DEFENCE OF THE SHOW

So, this is where I want to get into some stuff that I just…don’t agree with that I’ve seen being thrown at the show by shippers. And I’ll reiterate here that I’m truly not telling anybody what to feel. You can hate the show for its choices and feel how you feel. You can express yourself in your social media spaces, and if anybody doesn’t like it they can mute/block/unfollow. This chunk isn’t really aimed at you guys.

This is more for other people like me, because I’m cursed to be somebody that generally wants to just…enjoy things for what they are, while also being susceptible to the mood of others. I want to scroll tags and have a good time, rather than see negativity because it lowers my mood (this isn’t just ship related by the way, I really love this show overall…it’s just this tag that has been impacting my mood most this season). Regardless of the nonsense that might be in episode 7, and even if the finale scene is a repeat of S1, I’m still going to want to focus on enjoying what we get, enjoying the narrative being told etc. So, for those of you that have a little sinking feeling in your gut after the first half of this post, hopefully this second half will help.

This isn’t a ‘typical’ ship. This is a true ENEMIES ARE ENEMIES dynamic where the bad boy is ultimately going to be (is already) pure evil, and where our heroine is the embodiment of light. There are certain things that we just have to accept when it comes to loving this dynamic as part of the show – there will never be another season like season 1. Nor should there be?

Do I wish for s3 to have them in close proximity for at least a few episodes? Of course! Do I think it’s possible with or without finale spoilers? Absolutely (given how quickly characters travel from place to place on this show, they could end the season at opposite ends of Middle Earth and this would still be on the cards…). I’m also anticipating Season 4 as a good time for them to be in full MIND PALACE mode – where the rings are all ringing, but Galadriel hasn’t yet worked out how to shut him out yet. By season 5, there might just be one final scene before the final battle. But, again, I really do think there needs to be a little bit of acceptance of that. Or, at least, expectation of it.

Something I really want to push back against is this idea that Haladriel was baited or teased, but the writers don’t actually care for it. Honestly, that’s nonsense to me on a couple of levels.

First of all, almost EVERY dynamic this season has been reduced to a handful of scenes here and there. The most consistent relationships have probably been Annatar and Celebrimbor, and Durin+Durin+Disa (off the top of my head). Elrond and Durin (probably the other most popular dynamic of S1) have been apart all season, Elrond and Galadriel have too. Isildur popped up to say hello and we might not see him again.

When you actually stop and look at this season…Sauron and Galadriel had to be separated. She could not be anywhere near him while he’s working Celebrimbor, and there’s no world in which they were ever going to change that narrative. And yet, the Sauron and Galadriel dynamic has been consistent across the season. With Galadriel predominantly (and depending on how the finale goes, I may have thoughts on this), but it has also been easier with her because people have talked with her openly about Sauron. It’s been harder on his side, but the fact that Mirdania seems to have been cast to look like Galadriel honestly – right now – feels like it was done with the express purpose of giving Sauron a Galadriel reference.

Again, I’m not saying you have to like the lack of scenes, but it’s not bad writing to respect the overarching narrative of an ensemble show. Galadriel’s season has been all about him, and we’ve had countless insights to make that clear – building up to their final confrontation. If Sauron was running around mentioning Galadriel every five seconds with Celebrimbor or with the dwarves, it would be horrendously out of character.

This next comment is…somewhat dependent on the finale…but as somebody that loves Elendil and Miriel, everything in Numenor has been somewhat crammed in. I would firmly argue that the Galadriel/Sauron dynamic across this season has been treated with care and reverence, all building to a climax designed as the high point of the season. Will we be 100% satisfied? Who can say! But it IS what the season is building to.

I think this brings me around to a particular gripe I have, and maybe the people that believe this came to the show after S1 had fully aired or something…but there’s this idea floating around that the showrunners don’t like this dynamic and are just giving it crumbs to bait people into watching. This makes me want to scream.

These showrunners literally took a few lines about Galadriel being tempted by Sauron and PITCHED THE ENTIRE SHOW OFF OF THAT. The Tolkien estate wasn’t only pitched by Amazon BUT CHOSE THIS PITCH OVER ANYTHING ELSE. Season 1 was written pretty much like a prologue centred around GALADRIEL AND SAURON HAVING A PERSONAL CONNECTION WITH ROMANTIC UNDERTONES…and guess what?

They wrote all that…they filmed ALL THAT…before knowing anything about the audience reaction! That was ALL the showrunners, the writers, the directors, the actors. They ARE the narrative. They are not bait.

Does that mean the fundamentals of their dynamic will always please you, individually? No, of course not. Some people want outright romance, some people want soft Sauron, some people want Dark Galadriel. Will they kiss? I doubt it. Do I wish they would? Sure! Will they be separated again next season? Probably! Will I also wish that they could at least be stuck together for a run of episodes again? Absolutely!

But the idea that any of this is bait, or unimportant to the show drives me a little bit bonkers.

I guess my personal feeling of frustration comes from the fact that I feel so lucky they are exploring this show from the perspective of this dynamic, regardless of specific details/scenes. I’d bet my house (I don’t own a house) that every other pitch hinged on Elendil or Isildur as the protagonists of the show. Now, I love those dudes, but just IMAGINE? The fact that we’re on this path at all is still WILD to me.

ANYWAY, this is what happens when Paulina goes on holiday and I have nobody to ramble too. Sorry for the explosion, but I’ve been dreading the stupid kiss spoiler since I stumbled on it after EPISODE BLOODY 3 and so I needed to vent somewhere.

TL;DR: You are welcome to feel the way you feel, and if you hate everything you go right ahead, but maybe this makes sense to somebody. IDK. IDK.

[heybiji]

In reference to the last ask you posted! Do you mind going over your tips on role-playing as that active-type character and/or digging up the thread of conversation it seems the original asker was referring to? I'm so interested in your experience role-playing for both prep in possibly joining a game someday and also bc it sounds like such good character creation and general writing advice!!!! I tried checking you blog but didnt turn up anything that touched pn it more (No worries if not though!)

Sorry for this late response!

My advice is make characters that create opportunities for story.

Reacting to a story is fun! Reacting to a character is fun! But if you're always reacting then you're creating opportunity for other characters to react, so sometimes you gotta Act to let the other characters and the story React.

To do this, characters should all want something. And not something vague (like "to be happy"), it should be something more tangible, more specific, and everything else can stem from there. It'll guide your character naturally. It's their Motivation.

More under the cut (or skip to the end for more standard advice)

For example, my dnd character Dandelion wanted more than anything to go home. "Going home" meant a lot of things, yeah it means being happy, it means he wants to be with his family, it means he wants to be loved, it means he wants to feel safe, it means he wants to belong somewhere, but the tangible idea is "go home."

Because I knew this is what he wanted most of all it guided all his actions, and his actions for better or for worse all made sense because of it (and I made it clear that was what he wanted "on-screen" on multiple occasions). So anything that involved the idea of getting home would activate him, and he'd also deeply empathize with anyone and anything else away from home/away from family. Giving him one strong, clear motivation instantly made him an active participant in the story. This made him active with other characters too, any mention of home, any mention of family, any idea of not belonging, it drew him toward them.

(as a DM now this is also what I need more than anything, what's your hook? how can I tempt you? how can I make your character move forward? how can I make your character react? also characters that create opportunity for story take a LOT of work off the DM's shoulders in my experience, it shows you're engaged and it feels less like dragging a cat around on a leash haha like "are you enjoying this? do you want this? i don't know! please give me something!")

my more standard advice?

Be a good listener

Be present (in the moment)

Be curious

Be the biggest fan of all the characters

Put your story on-screen frequently, give people the opportunity to react to it and join in on it (this can be as simple as "my character's body language changes at the mention of 'home')

Create opportunities for the other characters to have their story on-screen (ask them questions! if you know what the character's buttons are and it makes sense in the moment, press them! listen to what they're saying, pay attention to what they're doing, and react to it)

Interact with the world! Interact with each other! And make these things mean something to your character!

Your character should make mistakes. Mistakes create opportunity for everyone.

If there's a genre, or theme, play toward them earnestly.

The more you RP, the better you'll get at it! It's a process and that's okay!

my little tip for knowing whether your character is Active vs Reactive: if the story were a musical, do they have an I Want song? do they have multiple moments for songs within the narrative? have they shared a duet with another character? do their songs change, evolve? songs happen for important moments in a musical so if you're not contributing to important moments, it may mean you're reacting more than you're acting. which is fine if you're playing a game solo and are granted access to the narrative by virtue of being the designated main character, but because RPing is collaborative storytelling, everyone should be doing their part!