#so i'm glad that i wrote this

[a-rabbit-obsessed-queer]

Aspec men deserve much more respect and recognition in the aspec community than they receive. They often face a different form of aphobia specific to them ("men are naturally sexual they can't be ace" "all men are unromantic that's not unique") this rhetoric is spouted by many, even members of our own community and I hope for a day where that is no longer the case. As an ace and demiro woman (demigirl but that's beside the point) I want to encourage folks to take the time to give the aspec men in their lives support and to the aspec men reading, you are who you say you are no matter what people say and you deserve the world. I'm sorry for the ways in which toxic masculinity has harmed you. You are a valued member of the aspec community and the queer community as a whole. No ace or aro person is broken and neither are you. I'm sorry if anyone has ever told you otherwise.

[flickering-nightfall]

[deoidesign]

"what do hands mean about a character?"

Their hands mean they love eachother

(webcomic)

[clovariia]

we can FINALLY post our pieces for the @tohgrimoire zine!!! i wrote a fic about luz and her family visiting her father's grave. it's a tragic but healing time for all of them.

thank you so much to @astrolavas for drawing the devastating spot art and the zine's writing mod @taruchinator for helping with beta reading!!! all the zine contributors and mods were so sweet and encouraging. i'm so grateful that i got to be a part of this project! thank you to everyone for all the support!!!!!! 🦉💕

🔗 https://archiveofourown.org/works/58919038

[mrsoharaa]

𝑩𝒊𝒓𝒕𝒉𝒅𝒂𝒚 𝑮𝒊𝒓𝒍 🎀🍰

characters; SatoSugu (Gojo Satoru + Geto Suguru) x Reader

cw; none! pure FLUFF! the two dummies being completely lovesick and mopey over their pretty spoiled angel! birthday trope, completely SELF INDULGENT (since it's my bday todayyy <3)

Your lumbering eyes blink heavily to the flaunting streaks of the peeking sun seeping through your bedroom shades. A heavy distinctive weight of multiple objects weighs all over and around your sleeping form, a low grumble tittering off from your supple lips.

Gradually stirring awake from your deep slumber, you glance down at your chest to a note with a beautifully fully blossomed peony taped to the feeble paper. Blinking, you sit upright and take the note into your hands, carefully holding the gorgeous, flourishing flower and reading over the neatly familiar font written in perfect alignment.

Good morning and happy birthday beautiful :)

Sorry that me and Satoru are not there to hold you in our arms and spoil you with endless kisses and affections, but we had to do some...shopping for your surprise for tonight. (I really didn't want to spoil anything about it but I guess I kind of did...)

As you can tell, Satoru had bombarded you with boundless hoards of gifts on you. He was dead set on drowning you in a heap of stuffed animals, jewelry and your favorite type of throw blankets. He's utterly ridiculous, but he loves you incessantly so I suppose that makes up for it haha.

A tender smile seeps onto your cheeks, glancing up and around the bundled stock of adorable stuffed animals, fluffy throw blankets and fancy expensive boxes that you'd presumed to be the priceless jewelry Satoru had hauled for you. Your heart flutters warmly, frantically at the adoring thought.

A bit much don't you think, Toru?

"Oh 'Toru..." you giggle softly under your breath, your softened eyes scrolling back onto the heart felt letter in your free hand.

We should be back home in a few hours or so, so please enjoy your comfortable day lounging about my love. We'll bring home some snacks on our way back.

Oh, and my gift for you (minus the flower of course, because I think I remembered you saying that Peonies were your favorite some time ago) is in in the living room. I hope you like it angel :)

Again, happy birthday princess.

Much love from your goofballs - Suguru + Satoru.

Your heart continues to patter wildly against your chest, smiling ever so giddily to yourself as you glimpse over the mount of gifts hoarding over you. Gently placing the adoring letter on your nightstand, you gently caress the soften petals of the elegant flower, gingerly bringing it to your lips and tending a ghost like kiss to the sweet scented flora. Inhaling the candid natural scent of it's aroma.

"Oh my silly thoughtful boys" you murmur lightly, feeling your eyes swell with happy tears, your heart fluttering happily to the thought of the two idiots you grew to know and love over the years, spoiling you.

Feeling the enthralling excitement swarm in the depths of your stomach, you carefully rise from your gift-cluttered bed and stand onto your toes. Stretching out your limbs, you felt the soft silk of your blush pink night gown grace over the upper plain of your exposed thighs. A tingling, lulling sensation peppering all over your awakening skin.

Still holding onto the flower in your hand, you gleefully make your way into the living room. Stopping immediately at the frame of your bedroom door as your pupils dilate with vast enchantment and wonder.

With your ceiling littered with heart shaped balloons of soft pink, rose gold and white, the dining room table neatly decorated with two tall standing candles, silverware and dishes adroitly placed and pink rose petals lightly scattered along the sleek table cloth and your dishes - you couldn't help the overwhelming warmth resonating deep within your heavy chest.

Those thick, kindred tears welling back at the corners of your blurry irises.

"Suguru..." you hardly whispered out with a soft gasp, blown out watery irises carefully skimming along the beautifully decorated room from their courteous hard work.

Light footing of your delicate steps drew you close to the breath taking scenery displayed out before you. Daintily, you brush the pad of your fingers along the silken table cloth and rose petals that swarmed over your dining room table. Thoroughly, admiring every detail and care they took to prep this, just for you.

Your eyes spot another note in the middle of the table, folded in half and nestled against one of the standing candles.

You carefully take it and open the smaller note.

I hope everything is to your liking angel, I wanted to make everything as perfect as I could for you :) I hope it's not too much.

(Satoru says he helped pitched in, doesn't want to seem like he didn't put in any effort or whatever haha)

Happy birthday sweet girl, dress up nice tonight, we're cooking and tending to you thoroughly tonight. Tonight will be all about you sweetheart.

- Suguru G.

Oh, so he wants you to collapse from a cardiac arrest from all the cuteness and what not?

Grasping onto the small, gracious note and hugging it close to your chest (where your heart rests), you couldn't help the familiar overwhelming feeling of sheer bliss and joyous enlightenment embellish all over your body. Filling your heart and soul with boundless love and adoration.

Tears swiftly cascading down the soften plush of your blossoming cheeks. Breaths catching tightly at the perch of your lungs, heart still restlessly plummeting to the endearing thought of your boyfriends going out of their way to woo you with such enchanting gifts and basking wonderment.

You couldn't help the over joyous feeling coursing through you, titillating excitement pouring through your veins as you rush to your bathroom to get ready for the enticing night!

[milk-sharks]

smitten ☁️

[paranormaljones]

Love and Attraction in My Adventures with Superman

As someone who has never been particularly drawn by superhero media, I wasn't really sure what to expect when I first started watching My Adventures with Superman about a week ago. I had seen a few posts here on Tumblr that had piqued my interest, but all I really knew about it was that it was well-loved and had an art style that I knew I liked.

I absolutely did not expect to fall head over heels for the show entirely, or to be moved to tears multiple times by the wildly sweet, revolutionary relationship between this adaptation's Clark Kent and Lois Lane.

I say "revolutionary" because this romance touches on a lot of things that I feel are lacking in most modern portrayals of romance, and it handles them masterfully.

Most of what I reference/talk about in this post will focus on the first four episodes of season one (with a particular focus on the fourth episode, Let's Go to Ivo Tower, You Say) , because they are my favorite episodes and I think I can communicate what I want to by pulling mainly from those episodes. But I will be pulling bits and pieces from the whole series so consider yourself spoiler-warned.

The main point is this: I absolutely adore the way that physical attraction and emotional attraction are balanced between Clark and Lois.

The fact that this is possible comes from how well-crafted the dynamic is between the two of them; Lois' raw passion and energy inspires confidence and a mutual passion in Clark, and Clark's gentleness and kind heart inspire a tenderness in Lois that she was never given an outlet to show or receive. From this dynamic, a wealth of physical and emotional intimacy is naturally born. But never in the series do the two aspects of attraction feel out of balance; rather, they play off each other effortlessly. When one is brought into focus, the other quickly follows.

From the first episode and onward, it's obvious that Clark and Lois are awed by each other's physical appearance. Lois outright describes Clark as "beautiful" (which, if you saw one of my earlier posts from not too long ago, is something that makes me so incredibly happy to see in mainstream media).

To be fair, she doesn't say that to his face and says it in a moment of extreme frustration. But I still count it.

Anyways.

Upon seeing Lois for the first time, Clark is practically frozen in wonder for a good few seconds.

Lois, too, experiences this initial moment of attraction and almost immediately makes contact, with a playful punch to Clark's chest as he holds the door open for her.

This is a detail I really love, because first of all wow, I aspire to have her level of confidence. But also, it becomes clear early on in the series that Lois expresses herself very physically. She has no qualms regarding physical affection. Clark, on the other hand, is much more reserved and, at first, generally only initiates contact after an invitation from Lois, or after enough time has passed in their friendship for him to know that Lois is very physical and wouldn't have a problem with it.

There is also an immediate emphasis on Clark's concern for Lois' physical well-being. Take a sip of water every time Clark asks Lois if she's okay just in the first episode alone and you will be well hydrated.

Later on in this first episode, while trying to infiltrate a warehouse, Lois confidently asks Clark to boost her up to a window so she can get inside the building. Clark is immediately flustered, showing how much he feels out of his depth even with physical contact that, on the surface, would have no romantic connotations. (But to be fair, Lois is asking him to put his hands around her waist and lift her up when they literally just met like maybe six hours ago. I would be flustered too.)

And when Lois loses her balance and Clark effortlessly catches her, his first response (after blushing, of course) is to ask her:

Even in moments where the romantic tension is thick enough to cut with a knife and Clark clearly knows it, his first priority is to make sure she's okay.

And thus begins one of the strongest underlying themes throughout the whole building-up of their relationship, which is trust.

I'm gonna jump ahead now to the scene that inspired this whole post: the stairwell scene in episode four.

A basic rundown: Clark, Lois, and Jimmy are given an assignment to attend a tech unveiling for the city's top investors at Amazotech headquarters. Lois, naturally, ignores the parameters of the assignment and tries to use it as an opportunity to expose corruption in the city and get her stop-the-presses story. Clark very reluctantly follows her lead, believing that she will get herself into trouble . . . until Dr. Ivo, head of Amazotech, makes a few rude comments about Lois' appearance (Lois doesn't hear these, only Clark). This deeply irritates Clark and prompts him into revealing how much he knows about Dr. Ivo's corrupt business dealings, in an attempt to intimidate the truth out of Dr. Ivo, who responds by having Clark thrown out of the building and into a pile of garbage in an adjacent alleyway. Lois comes to find Clark (who is unhurt) and teases him about whether or not she should let him back in the building, since he didn't follow the assignment. Clark jokes that he doesn't even meet the dress code anymore, revealing that his suit jacket was torn as he was tossed out of the building.

Lois then reveals that she came prepared for this, and tells Clark to "take it off."

Clark immediately becomes flustered again and begins stammering as Lois pulls him back into the building by his jacket, continuing to tease him.

It's in these moments, as you can see, that the lighting of the scene changes. As soon as Lois says "take it off", everything is bathed in a rosy light. This happens frequently between these two; often, when we the audience are seeing one of these characters through the perspective of the other, the lighting takes on a very dreamy quality. This will come up again momentarily.

As Lois and Clark ascend the stairs, Lois removes her jacket and pulls a sewing kit from her pocket, admitting that she carries one on her because she herself has torn a lot of her clothing on her escapades.

The two then sit down on the stairs, and Clark removes his jacket. The lighting changes again, and we see Clark from Lois' eyes. It's clear by the dreamy lighting and the way that Lois blushes and involuntarily chokes out a "Wow . . ." that she is once again awed by him and deeply attracted to him on a physical level.

And this scene represents so much about their growing dynamic. It honestly has me floored.

But before I explain fully, I have to go on a tangent about my beloved Clark.

Throughout the beginning of the series, I believe Clark shows several signs that indicate that he is insecure about his physical appearance. Which you wouldn't expect, right? I mean, look at him. He's objectively a dreamboat. He was designed to be that way.

But at this stage of knowing so little about where he really came from or who he is, I think Clark struggles with not having a way to explain his physique. He admits that he wasn't an athlete in school; he was in the chess club. He doesn't work out as an adult. And yet he has the muscles of a bodybuilder. But, like so many other aspects of himself, he doesn't have a way to explain it. This causes a disconnect in how he sees himself physically; he likely feels as though he doesn't deserve his naturally impressive physique. And you could argue that he even does his best to hide it. As a civilian, he generally wears bulky, layered clothing like sweatshirts and sweaters. He slouches and carries himself in a very inward direction; his shoulders are often forward and his arms close to his sides, as if he is habitually attempting to make himself smaller.

This is one thing that brought me to tears when I saw it. The idea that a person can feel insecure about having physical attributes that would normally be seen as positive (and that they can't explain and/or feel that they don't deserve) is not very well-explored in media, but it is experienced by quite a few people, myself being one of them. But often in the real world when someone attempts to express this kind of insecurity, they are shut down and mocked and told to "be grateful" for what they have because others would envy them. Which I can say from personal experience is unbelievably damaging to a person's self image. So seeing this possibly be represented in Clark Kent himself was incredibly moving to me.

But back to the scene itself.

In the most recent gif above, this is the most vulnerable Lois has seen Clark thus far. What I think is so beautiful is the way that she invites him into this vulnerability by making herself vulnerable first.

Rewind a bit. Outside the building, Lois tells Clark to take his jacket off. Not a big deal, right? It's not like he's not wearing an undershirt. But Clark becomes flustered, not outright expressing that he's uncomfortable with this, but certainly indicating that he's not exactly at ease with it either.

Next we see them climbing up the stairs, and as they do so, Lois removes her own jacket and reveals her bare back to Clark in the process.

I believe this was incredibly intentional. This scene would have carried a very different tone if Lois' outfit was revealing in any other way. But the fact that her back is exposed symbolizes that she trusts him, in a physical and emotional sense. It's like when my cat Penny rolls on her back and exposes her fluffy tummy. Lois revealing this part of herself was her saying "I trust you, I feel safe with you, and I'll be vulnerable with you if you'll be vulnerable with me."

And only after that does Clark remove his jacket.

Because there is the factor of attraction at play, there is a lot of blushing and stammering going on in the beginning of this scene. These are two incredibly attractive people who are incredibly attracted to each other, after all. But immediately after the initial romantic tension, there is emotional vulnerability as well. Lois confides in Clark about her relationship with her dad, and the crippling self-doubt that she has kept very close to her chest. Clark jumps to reassure her in earnest, telling her that she has "changed his life for the better, in every possible way."

And that is what I meant at the beginning of the post when I mentioned balance.

Every moment of physical attraction in this series is followed by or harmonized with a moment of emotional vulnerability. Clark and Lois both invite each other deeper into each aspect of connection, and thus their relationship builds in an incredibly natural and beautiful way.

At this point, I think this post is about five miles long as the crow scrolls and I should probably stop now before all my thoughts run away with me. I could go on forever about the impact that this series and these characters have had on me, though. I will forever be grateful to the creators for giving us such an incredible series, and such a beautiful romance.

[loupy-mongoose]

Aneira's comin' early! :D

No, joking, joking! No Aneira yet. XD

I hope this isn't too much mushy-gushy for one day. I had the other thing set for weeks, and then got the idea for this last night because of this post and was like... "Pearls, yes, for anniversary would be perfect but aaaaaaa is it too much?? ;w;" And also the ring thing I've wanted to do for a while now, so I scrunched it in there. XD

Anyways, I've really come to love these dorks, so it makes my heart fuzzy to be giving them all this love. <3

...Hope you all enjoy your diabetes. X3

[befuddled-calico-whump]

Augusnippets Day 15: Starvation

cw: drugging, substance dependency, starvation, emeto, sorta dehumanization, dissociation, nonsexual nudity, vague deathwish

previous // next

for the @augusnippets challenge // word count: 537

=~=~=

He can no longer sit up on his own.

Too weak. In the sparse moments where he's coherent enough to think, the spy knows they're tapering off his rations. Hunger crawls up from his stomach like a swarm of ants, leeching what little strength remains.

He It is always trapped in a haze, but the haze is no longer big enough. It aches all day, unable to even sleep until someone brings another water bottle. Pain consumes its leg, hunger shivers in its bones. When guards pass by, it begs them for water, not food, wanting only to numb it all.

Sometimes they comply, but it's rarely enough. Are they taking away its relief too? Or has it built a tolerance to the drug?

(the thought terrifies the spy when he can comprehend it; the thought of never returning to himself)

It can hardly move. It doesn't want to move. When the stubborn thing inside tries to lift its head, there is only dizziness, more pain, a fleeting fear that this may be the end.

The creature wants none of that. No thoughts, no senses, only the drug that allows it to sleep.

They bring it water and it drinks and nothing happens. No fog, no sudden emptiness. It whimpers into the concrete for hours or days.

The bring it water and it drinks.

(no food)

It can't stop shivering, nausea twisting its empty stomach.

(why can't you do something why can't you move why couldn't you have held fast)

They don't bring it water.

Two guards, it can see them through hazy vision. Its eyes hurt, its head aches.

(this is different)

They grab its arms, dragging it out of the cell, bad leg howling, utter agony, creature howling with it, voice weak

(pathetic, could've ran, could've done something)

the movement and pain and nausea and dizziness are all too much after it's been allowed to feel nothing for so long and it heaves up nothing, bile on its tongue, tears in its eyes. They drag it somewhere and it hurts it hurts it hurts.

(could've turned it down)

would've died

(would've been better)

They have to hold it up, hands around and under its arms. Someone else is talking at it, but it doesn't matter. It hurts and it's cold, colder than the cell was.

(when did they take his clothes?)

It tries to vomit again, left with a sour string of spit clinging to its chin. Over, it just wants it to be over, just wants it to—

Its head jerks up so quickly it sees spots when it hears the snap of a bottle opening. The new person is holding it out

(smirking)

It tries to reach for the bottle, can't shake itself free of the hands, trapped. It can't make sense of the stream of words pouring from its mouth, but it can't stop them either.

pleasepleasepleaesithurtspleaseithurts

(you were supposed to be better than this you were supposed to endure–)

The man laughs.

“Damn. Guess you really can do a number on a guy without lifting a finger.” He screws the cap back on, ignoring the creature's despairing whine.

“Put him back for now. I think he's almost ready for some questions.”

[bruwudershaft]

...Poor children...

[that-was-anticlimactic]

see a world so beautiful and strange (spinning off somewhere)

“Why? Why are you suppressing?”

“Because I can't tic,” Alya whispered, fingernails digging into the skin on her arm. “I know Tourette’s isn’t exactly uncommon, but it’s part of my identity as Alya Césaire. It can’t be a part of Rena Rouge, too. Someone could figure out who I am and then…”

And then she’d have to give up the coolest thing that’s ever happened to her, give up living her dreams.

[or, alya is suppresses as rena rogue in order to protect her identity, but neither ladybug nor trixx will let her hurt herself like that]

🦊2,345 words | alya-centric, alya & ladybug friendship🦊

happy tourette's awareness month!!!

[tleeaves]

Folks going "WHAT they made a show about the Fallout franchise?? I've been hearing people say Bethesda messed it up, but I haven't watched it myself, so I'm going to trust the word of other people -- some of which also haven't finished watching it" is driving me insane.

Being a hard core fan of something obviously brings with it a lot of passionate feelings when adaptations come into play. Of course, there's going to be people going "but in 8 episodes of the first ever season they made, they didn't explore Theme C or D, didn't introduce factions E and F and G, and because the source company is notorious for its scams, we and everyone else who's a TRUE fan should hate it".

The Amazon Original series Fallout follows the videogame franchise of the same name. It is a labour of love and you can tell by the attention to detail, the writing, the sets, and YES THE THEMES ARGUE WITH THE WALL. It's clearly fan service. I mean, the very characterisation of Lucy is a deadringer for someone playing a Fallout game for the first time. She embodies the innocent player whose expectations drastically change in a game that breaks your heart over and over again. Of course, she's also the vessel through which we explore a lot of themes, but I'll get to that.

There're some folks arguing that the show retcons the games, and I gotta say... for a website practically built on fandom culture, why are we so violently against the idea of someone basing an adaptation on a franchise that so easily lends itself to new and interesting interpretations? But to be frank, a lot of what AO's Fallout is not that new. We have: naive Vault dweller, sexy traumatised ghoul that people who aren't cowards will thirst over, and pathetic guy from a militaristic faction. We also have: total atomic annihilation, and literally in-world references to the games' lore and worldbuilding constantly (the way I was shaking my sister over seeing Grognark the Barbarian, Sugar Bombs, Cram, Stimpaks, and bags of RadAway was ridiculous). Oh, and the Red Rocket?? Best pal Dogmeat? I'm definitely outing myself as specifically a Fallout 4 player, but that's not the point you should be taking away from this.

The details, the references, and the new characters -- this show is practically SCREAMING "hey look, we did this for the fans, we hope you love it as much as we do". Who cares that the characters are new, they still hold the essence of ones we used to know! And they're still interesting, so goddamn bloody interesting. Their arcs mean so much to the story, and they're told in a genuinely intriguing way. This isn't just any videogame adaptation, this was gold. This sits near Netflix's Arcane: League of Legends level in videogame adaptation. Both series create new plots out of familiar worlds.

Of course, those who've done the work have already figured out AO's Fallout is not a retcon anyway. But even if it was, that shouldn't take away from the fact that this show is actually good. Not even just good, it's great.

Were some references a little shoe-horned in to the themes by the end of the show, such as with "War never changes"? Yes, I thought so. But I love how even with a new plot and characters, they're actually still exploring the same themes and staying true to the games. I've seen folks argue otherwise, but I truly disagree. The way capitalism poisons our world, represented primarily through The American Dream and the atomic age of the 45-50s that promoted the nuclear family dynamic -- it's there. If you think it's glorifying it by leaning so heavily into in the adaptation, I feel like you're not seeing it from the right angle. It's like saying Of Mice And Men by John Steinbeck glorifies the American Dream, when both this book and the Fallout franchise are criticisms of it. If you think about it, the post-apocalyptic world of Fallout is a graveyard to the American Dream. This criticism comes from the plots that are built into every Fallout story that I know of. The Vaults are literally constructed to be their own horror story just by their mere existence, what they stand for, what happens in each of them. The whole entire show is about the preservation of the wrong things leading to fucked up worlds and people. The missions of the Vaults are time and again proven to be fruitless, unethical, plain wrong. Lucy is our brainwashed character who believed in the veritable cult she lived in before she found out the truth.

So then consider the Brotherhood of Steel. I really don't think it exists in the story to glorify the military. We see just how much the Brotherhood has brainwashed people like Max (also, anything ominously named something like "the Brotherhood" should raise eyebrows). Personally, I don't like Max, but I am intrigued by his characterisation. I thought the end of his arc was rushed the way he "came good" basically, but [SPOILERS] having him embraced as a knight in the Brotherhood at the end against his will -- finally getting something he always wanted -- and him grimly accepting it from all that we can tell? Him having that destiny forced upon him now that he's swaying? After he defected? If his storyline is meant to be a tragedy, it wouldn't surprise me, because Fallout is rife with tragedies anyway. And a tragedy would also be a criticism of the military. That's what Max's entire arc is. It goes from the microcosm focusing on the cycle of bullying between soldiers to the macro-environment where Max is being forced to continue a cycle of violence against humanity he doesn't want to anymore because a world driven to extremes forces him to choose it to survive (not to mention what a cult and no family would do to his psyche). Let's not forget what the Brotherhood's rules are: humankind is supreme. Mutants, ghouls, synths, and robots are abominations to be hated and destroyed. If you can't draw the parallels to the real world, you need to retake history and literature classes. The Brotherhood is also about preserving the wrong things, like the Vaults (like the Enclave, really). They just came about through different method. The Enclave is capitalism and twisted greed in a world where money barely exists anymore. The Brotherhood is, well, fascism plain and simple.

Are these the only factions in the Fallout franchise? Hell no. But if you're mad about that -- that they're the main ones explored, apart from the NCR -- I think you're missing the point. These themes, these reminders, are highly relevant in the current climate. In fact, I almost think they always will be relevant unless we undergo drastic change. On the surface-level, Fallout seems like the American ideal complete with guns blazing that guys in their basements jerk off to. Under that surface, is a mind-fuck story about almost the entire opposite: it's a deconstruction of American ideals that are held so closely by some, and the way that key notion of freedom gets twisted, and you're shooting a guy in-game because it's more merciful than what the world had in store for him.

I mean, the ghoul's a fucking cowboy from the wild west character he used to play in Hollywood glam and his wife was one of the people who helped blow up America in the name of capitalism and "peace". There are so many layers of this to explore, I'd need several days to try and keep track and go through it all.

The Amazon Prime show is a testament to the Fallout franchise. The message, the themes? They were not messed up or muddled or anything of the sort, in my opinion.

As for Todd Howard, that Bethesda guy, I'm sure there's perfectly valid reasons to hate him. I mean, I've hated people for a lot less valid reasons, and that's valid. We all got our feelings. But the show is about more than just him. My advice is to keep that in mind when you're judging it.

[magicalrocketships]

hiii i was wondering if you had something new about baby max ☺️

HOW ABOUT THIS LITTLE BIT???? Follows on from Enchanted Light Trail basically but it's just tired travelling.

All earlier parts can be found in this masterpost and on AO3 here (although i've got a couple of bits now to update on AO3).

It's You And Me (I Know It's My Destiny): Max and Daniel Go Home

Max doesn't fall asleep on the plane until they're fifteen minutes away from landing in Nice, which means that Daniel has to try and fumble Max's seatbelt around him without waking him up under the steward's watchful eye, and deal with a crotchety and tired Max as they get off the plane and wait for their luggage and try and gather it all together onto one trolley.

It's exhausting. Max is exhausted, and Daniel hasn't been sleeping well in weeks, and Daniel has all of his stuff and grown up Max's stuff and Max's seven year old stuff and Max's toddler stuff for the 36 hours he spent as Daniel's chunky three year old shadow. He's got their hand luggage and Max's backpack and emergency clothes for if Max got big or got smaller. Max's replacement stuffed Pikachu found himself on the floor in the departure lounge, none of the outlets had food Max wanted to eat, their flight was unnecessarily complicated, time-wise, and Christian couldn't hide his displeasure that Daniel was taking Max home and Max hadn't miraculously woken up big again. 

His head hurts. It really hurts, and he's got no fucking idea where the paracetamol is. It's in one of these bags. Somewhere. 

"Can we go yet?" Max asks, clinging on to Daniel's coat. "Why can't we go yet?"

"I think we're still waiting for one more bag, baby," Daniel says, but part of him just wants to leave it here in the airport, go home and collapse face first into the sheets. 

"No," Max says. 

"Yeah," Daniel says, even though he can see Max is gearing up to lose it. It hasn't been bad, staying with Christian and Geri over new year, but it's been different. Max hasn't liked having to share Daniel with anyone, and he hasn't liked that he had none of his own things. Max likes his own things. He likes his little drawer where he keeps all of his special things (and sometimes Pikachu, when Daniel really likes to sob on the inside). The new Pikachu has been grudgingly accepted but it isn't Max's Pikachu. It doesn't smell right. Max says it feels wrong when he rubs it against his cheek. Daniel could well agree but he's too tired. 

One more bag. 

Their bag rolls around. He dumps it on the top of the trolley. God, he can't remember where he parked his car. Max is looking like he's going to cry. 

"Piggy back?" Daniel asks hopefully once they're finally through customs and Max is tearful and noticeably hanging on by a thread. Max nods so sadly that Daniel's fairly certain no one has ever looked sadder about anything. He hefts him up onto his back, and Max half chokes him as Daniel pushes their stupid overflowing trolley in the general direction of where he thinks his car is. 

He finds the car on the third try, and then has to shove everything into the boot and away. Max doesn't want to be in the car and he doesn't want this Pikachu and he wants to be at home and in his own clothes and hugging his own Pikachu and with his own toys. 

Daniel gets it. He really gets it. He's just not made of magic. 

He ends up telling Max a very stupid story about all the adventures that Pikachu has got up to in the flat without them. Max isn't really one for story telling, but his expression of dubious disbelief is slightly better than him crying, so Daniel will take it. 

And when they finally get home, and Daniel has tiredly failed to even attempt to get all of their bags into the lift in one go. He's got the three bags that look like they're the most useful. Everything else stays in the car. 

Max tucks his hand into Daniel's. 

"Pikachu hasn't really been having adventures," he says doubtfully as the lift doors close. 

"No, baby," Daniel says. "He's at home, waiting for you."

Max nods his little serious nod. He keeps his hand in Daniel's. "My home and your home," he says. 

"Yeah," Daniel says, swallowing down what feels suspiciously like a sob. "Our home."

"Good," Max says. 

The lift doors open again, and Daniel takes him home. 

[astriiformes]

@scribefindegil and I have been practicing our Legolas & Gimli duet again, which means it's time to post a new recording to show off the progress

[shannonsketches]

he's so important to me

[shinidamachu]

I think you or someone else discussed how Inuyasha is most likely demisexual because of his lack of interest in nudity until he formed an emotional bond. I was just thinking how the anti’s claimed Inuyasha settled for Kagome, but all evidence points to him loving her *despite* her resemblance to Kikyo. Not hating on Kikyo, just pointing out how Inuyasha kept saying it’s his fault she died because he didn’t trust her, even though trust has to go both ways but whatever, so if he was settling then Kagome would be a daily reminder that he failed Kikyo. Which would sound like hell considering his repeated claims of his fault.

But clearly in the past discussion of Inuyasha being demisexual, we all know he isn’t shallow or ”settling”.

I might have mentioned Inuyasha being demisexual once or twice, but I don't remember posting something that specific. Maybe someone else did and I reblogged it?

I'm glad you brought up the "Inuyasha settled for Kagome" terrible take, though, because you make great points and boy do I have something to say about it.

First, I love that you mentioned trust has to go both ways despite Inuyasha blaming Kikyo's death solely on his lack of trust on her. It always bothered me how quickily and sincerely he owned up to the role he played on her fate when there was zero reciprocity from Kikyo.

He went as far as taking responsability for things that have never really happened and that would be completely out of his control if they had, such as Kikyo "dying to follow after him" even though he didn't ask for it and never would.

The irony is that, between the two of them, Kikyo was actually the one more equipped to realize they were being played and yet, not only she falls for the same trap, but never really acknowledges that her lack of trust on Inuyasha was just as detrimental to their downfall.

Naraku's entire plan was based on both of them doubting each other. If either one had been more trusting, it'd have failed. Inuyasha recognizes this and regrets not trusting Kikyo, immediately treating her like the victim that she is and never once blaming her.

But he is a victim himself and she never extends the same courtesy to him, still thinking her actions were justified because he should have trusted her — not the other way around — and so she never bothers easing his guilt. On the contrary, she purposely adds to it.

The thing about the love triangle — for lack of a better term — is that Inuyasha and Kagome are constantly pushing their feelings aside to empathize with each other's and Kikyo's pain, while Kikyo acts like she's the only one who's hurting.

Which is to be expected at first because she is the one who died and was brought back against her will, but as the story progressed, I kept waiting for Kikyo to see a little bit of herself on the ordinary girl who was entrusted the weight of the world upon her shoulders, had her shoes to fill and the mess she left behind to clean up.

I kept waiting for her to show some sympathy for the boy who lost fifty years of his life because she misjudged him and was willing to die for a debt she manipulated and guilt-tripped him into thinking he had, a boy she supposedly loves.

None of it came, at least not in a way that felt organic or satisfying. That's my main issue with how Kikyo was written. You can't paint her as a complex character and then gloss over her flaws. You can't sell her as gray character and then pretend the bad things she did never happened.

Takahashi wanted her to reap all of the rewards that come with a redemption arc without really bothering to make her go through one, because that would mean having Kikyo face her mistakes for what they were — including her distrust on Inuyasha — and then apologizing or making up for it, a feat that rarely happened in canon, if at all.

Instead, she abruptly stops acting as vicious, so everything can be conveniently forgiven and forgotten because "she isn't like that anymore." The lack of explanation about what motivated this change makes harder for the audience to connect with her and results in many plot inconsistencies.

And the lack of accountability regarding Kikyo's actions keeps her from growing and reaching her full potential as a character, indirectly regressing or preventing the development of the characters around her as well, which I believe is a huge part of why the story feels repetitive and stagnant at times.

Now, you're definitely onto something when you argue that all evidence actually points to Inuyasha falling in love with Kagome despite her resemblance to Kikyo. I've actually talked about it here and here.

While it's true that Inuyasha mistook Kagome for Kikyo when they first met, it would've been unreasonable to expect anything different. Their looks and scents are similar, he had just woken up from a fifty years long spell and up until then he had no reason to believe otherwise, but Inuyasha actually caught up in a decent amount of time.

After that, as much as he still refused to call Kagome by name, he was also very aware she wasn't Kikyo, to the point that it took seeing her with complete priestess attire on for him to even make that correlation again.

And yet, Inuyasha still doesn't go back into thinking they're the same person, but rather that Kagome's a girl who resembles Kikyo. Only eventually, even this starts to change the more time they spend together and suddenly, when Inuyasha has a nightmare about Kikyo, is Kagome he sees first.

Mind you, he has only seen Kagome in priestess clothes once. Kikyo wore those her entire life. It'd be understandable for him to confuse Kagome for Kikyo and yet Kagome was his first thought here when, by logic, she shouldn't have been. From them on, he doesn't even see any resemblance between the two girls at all anymore.

Which makes sense, because even if Inuyasha had tried to use Kagome as a replacement — something he never did — he couldn't possibly have succeded, since both girls are polar opposites — a creative choice that was done completely on purpose — and Kagome wasn't slightly interested on being anyone but herself, making her into the worst Kikyo replacement ever.

That's why it got easier for Inuyasha to distinguish one girl from the other with time. Their distinct personalities make up for completely different dynamics and bring completely different feelings out of Inuyasha, because they represent completely different things to him and, again: this is done absolutely on purpose.

In the manga, this is better illustrated by two very specific panels. In the first one, Kikyo is smiling sadly but genuinely at Inuyasha — which we don't see her do often — and he admitted later on that the exchange made him feel guilty, like he had done something wrong, since he had just been rude to her.

In the second one, Kagome is smiling brightly at Inuyasha, which she does constantly, then we immediately see him blush and think to himself how relieved he is to see that smile

Of course those are very different contexts, but they pretty much set the tone for both relationships and if the arrangement of those panels wasn't a conscious choice — which I doubt — then Takahashi is insanely lucky. It's also worth noting that Inuyasha felt relieved to see Kagome smiling because it was further confirmation that even after Kikyo's resurrection, she was still Kagome.

So I think it's safe to say the physical resemblance actually slowed the romantic process down, considering that the staged betrayal made Inuyasha build his walls even taller than they were when he met Kikyo. This becomes even more clear when you compare their respective first "amicable" conversations.

With Kikyo, even though he was reluctant about her approach and suspicious of her intentions, there was still a part of him that obviously wanted it to be true, so he was at least open to what she had to say.

With Kagome, he was visibly more aggressive and closed off because he has been burned before and she was the reincarnation of the woman who did the burning, which makes her managing to get his trust so quickly that much more remarkable, since she apparently did in less time and in worse circumstances, what Kikyo couldn't.

And Kagome did it precisely because she never acted like Kikyo. She actually took the time to know Inuyasha, to give him her trust and to earn his, to build a solid relationship, based on honesty and real acceptance.

I like to think that, while Kikyo found a crack on Inuyasha's defense she could slip in, Kagome slowly smashed his walls to the ground, therefore leaving an ever lasting impact on him that she couldn't have made by being anyone but herself.

When Inuyasha starts to pursue Kagome romantically, he does so after concluding that there's absolutely no resemblance between the two girls at all and after going through an entire arc where Kagome cried for his sake and trusted him blindly, none of which has anything to do with Kikyo.

People argue that Inuyasha was actually trying to kiss Kikyo here, but why would he do that when he still thinks she betrayed him? And if this was really the case, then why has he never willingly kissed or tried to kiss Kikyo until their final goodbye, Sunrise additions excluded?

At this point, it makes more sense to me that he was avoiding to look at Kagome not because she looks like Kikyo — he has been looking at her just fine before —, but because he has started to catch feelings for her despite his efforts not to and doesn't know how to act. In fact, when he had the chance to kiss Kikyo soon after, this is what we got instead:

And then he hugs her — something the anime cut out — but the important thing is that Inuyasha had this and many other opportunities to rekindle his relationship with Kikyo and simply didn't.

In this particular occasion, he even go as far as to ask Kikyo to return the piece of soul that keeps her "alive" to Kagome knowing full well what the consequences were.

Why would Inuyasha settle for a "replacement" when he could have the real thing instead? Even if you believe resurrected Kikyo to be nothing more than a malicious replica of the original, she's still more Kikyo than Kagome could or would ever be.

I dislike this notion because if it's true and there's not an ounce of Kikyo there, why should the audience or the characters care if she "lives" or "dies"? If she gets a redemption arc or not? It feels like a cop out to only consider her the real Kikyo when she does good things.

That being said, save for maybe one scene at the beginning where Inuyasha shoved a bow and some arrows at Kagome because Kikyo was a master archer, he never expected her to behave like Kikyo, never tried to change her so she would and never acted frustrated or disappointed at the fact that she was her own person.

Inuyasha has his flaws — as any good main character should — but he always respected the inviduality of both girls, which is more than I can say about the people who insist on this baseless take.

To wrongly paint Inuyasha as someone who settled for Kagome because she looks like Kikyo gets especially icky when even Naraku, the villain who was obsessed with her, never redirected said obsession to Kagome.

It's such a common trope that I was actually expecting it, but I'm glad it didn't happen because it's a subtle and yet effective way of sedimenting both girls as separate individuals instead of going for the cheapest option.

And ironically, the only character who treated Kagome as if she was Kikyo was Kikyo herself, but even that was very early on and she only seemed to do it as a way of belittling Kagome, because while mentioning her to other people — or by the end of the story — Kikyo had no trouble referring to Kagome as a different being.

Sunrise's adaptation made very questionable choices but something they were pretty consistent on was making clear Kagome and Kikyo aren't the same.

Besides, something fundamentally wrong with this argument is that Inuyasha comes off as shallow and Kikyo as disposeable. Shallow because it suggests physical appearance is all that matters — which goes against everything his character stands for in canon — and the soul is just a seal of approval.

Disposeable because it hints Kikyo's personality is so forgettable and unimportant that it played absolutely no part on sparkling Inuyasha's interest. She's so easily replaceable that even someone who had opposite world views, thoughts, feelings, temperament and mannerisms could do the trick. The memories they made are so generic that it wouldn't have make a difference if any other character was in her place.

Why do people even like those characters, why do they even ship them together if they truly believe that? That's why I don't buy that they actually do.

You see, considering how huge Kagome's soul is, Kikyo technically has got to be someone else's reincarnation too, but I've never seen anyone making the case that she is anyone but herself or that her predecessor is also the love of Inuyasha's life.

The reason they try to do this with Kagome is so that they can pretend Inuyasha and Kikyo somehow ended up together to cope with the fact that they didn't. And that's the exact same reason they pretend he setled for Kagome as well.

Which is funny because what exactly was Inuyasha settling for? Like, in the great scheem of things, what was Kikyo able to give him that he couldn't get a thousand times better from Kagome with no strings attached and just had to make his peace with it?

It seems to me like it was the other way around: Kagome managed to accomplish everything Kikyo failed to do, so if anything Inuyasha was settling, it was for Kikyo, resigned to spend the rest of his life as human — something he hated to be — just to get "accepted" or to die for something he didn't do just to appease her.

Finally, to say inuyasha settled implies he had no other choice but to marry Kagome. He had: staying single, because now that he has friends and wasn't alone anymore, he doesn't need a lover to fill that empty space in his life if he doesn't want one.

Plus, Kagome wasn't entitled to his love. She jumped trought that well knowing that three years is a long time, that people and feelings change and that what waited for her on the other side was a mystery, but she did it anyway because all she ever wanted from him was to stay by his side and for him to be honest with her.

Kagome would've been fine with a platonic relationship because even though she obviously wanted more, she was ready to accept whatever Inuyasha was willing to give her, but he wanted her to return so he could give her everything, which he couldn't before because he felt in debt with Kikyo. That's the whole point.

Inuyasha was the one who iniciated every romantic moment they had early on: the first hug, both almost kisses, etc. And it was clear that the things Kagome made him feel, such as that sense of peace, of belonging, of unadultered happiness, were very new to him, so the idea that Inuyasha was settling for her is laughable when this is the character in question:

I know a lot of those scenes were deleted or changed by Sunrise but I watched the anime without reading the manga beforehand and reached the exact same conclusions, so I'm still of the opinion that the people who convinced themselves Kagome was a consolation prize either didn't pay attention or have an agenda of their own to push, that won't change by reading the original material.

TLDR; one does not simply "settle" for their soulmate. They come home to them.