#these are from the same post in case that wasn't clear

[beej-machinations]

[altruistic-meme]

pov: you're Abram when he's about to start writing something

[savefrog]

how to explain to people that while we DO need to desperately dismantle AI’s capitalism-driven rise to prominence in many professional areas especially art because of how it will be used to replace artists in exchange for cheap content and on the back of uncredited artists that came before, and how things can be said about supporting the ai platforms that enable this

that simultaneously using Dall-E mini or Bing or whatever once to make a cat at some nebulous point is not like. It is not like. He did not just shoot an artist point blank out in an alleyway 😭

[c0rpsedemon]

every once in a while i find myself daydreaming about what it'll be like when i'm a successful and widely celebrated illustrator/author/game dev/whatever the fuck it is this week. which is a completely normal thing to do btw. the thing is though, at the point in time the daydream is at, i've always already produced every miscellaneous project which is bouncing around in my head, so now i need something new for daydream me to be working on/promoting. slightly less normal thing to do but alright. the thing about daydream me is that the fame has gotten to his head, everything he touches is looked upon as gold, so the new games/whatever he's putting out are basically what i would put out if i was too conceited to know what kill your darlings means, and are a parody of what i would come up with. that's the part where this thought exercise (read: indulgent fantasy) takes a turn into insane person territory. the problem with this is that a decent percent of the time i get so attached to daydream me's conceited little projects that i miss the point where they're meant to be a literal parody of how my mind works and they become actual serious things i want to make some day.

[theultracharmingladynoire]

.

[smartzelda]

Sorry guys I gotta speak my truth on this one

I'm not kidding when I say that I think that blaming shit media literacy from fans on shipping/shippers avoids the actual root of the problem to throw people you can easily throw under the bus (simply because it's not unpopular to consider people who post about ships or ship characters in media as having lesser or derivative tastes by default)

And here's why.

I think when you blame people who are "shippers" or "consume media through shipping lenses", the true root of it all is a mindset problem.

In actually, putting on shipping lenses can be helpful when trying to analyze a piece of media. When analyzing media you're supposed to approach it through a number of mindsets and put on different lenses (both to deepen your personal understanding of the media, and to pick it apart and see what you can find there (whether intentional or not on the author's part)), and different ships can be some of those lenses

When it comes to ships between main characters (for those who are genuinely willing to see what the narrative is showing with their relationship and what it's doing), there are times when analyzing it from a shipping lens may be helpful. As someone from KH fandom, I have seen people come to deeper understandings and pick canon apart in the process of analyzing a relationship that is genuinely integral to the story (platonic or not). I've also seen people get into rarepairs of characters who barely interact or who just suffer little screen time, and I've seen them come to better understandings of those side characters and how they potentially fit into the world of the media simply because people are now focusing on these characters and how they fit into the narrative.

Frankly, I resent the idea that the only way to truly objectively analyze a piece of media is by turning off the part of your brain that gets excited over relationships and individual characters. Don't get me wrong, that is a way to approach a piece of media and a valid one at that, but the truth is that we cannot be free of bias.

For instance, I was watching House MD with my parents circa last year. At some point I started heavily tuning into what was going on with House and Wilson's relationship. My parents, on the other hand, were largely watching casually. They're not thinking of character relationships or getting heavily invested in most characters, they're watching because they like watching. One of them in particular did try to analyze things that were happening in the show as they happened. However, when it came to the scene late in the series where House threw out Dominika's letter approving her American citizenship, my parents could understand that he was doing that because he didn't want her to leave, but not much beyond that. I ended up explaining to them that House's fake marriage for Dominika was an explicit parallel to when Wilson was living with House in the early seasons. Both situations started with House being none too happy about it but ultimately letting them stay, spending a considerable amount of effort getting them to leave/getting this situation to be finally over so he didn't have to deal with it anymore, and then by the time a piece of news comes through that would mean the person in question actually leaves, House hides this news as long as he can. Because he doesn't actually want them to leave and has grown attached. And by doing this he became a self fulfilling prophecy. By reacting to the truth of Wilson and Dominika leaving him the way he does, he seals his fate and they ultimately leave anyways. Maybe I ship Hilson, but becoming open to how their relationship was handled allowed me to transition to doing character studies and recognizing patterns/parallels that I wouldn't have noticed if I didn't particularly care about the characters or their relationship.

Likewise, I've seen mutuals complain about how people who don't like or don't care about certain characters often overlook these characters (what they're actually like and their place in the narrative), while the mutuals in question (by default) are able to come to deeper understanding of what the writers/story is trying to do because they care about this funky guy

You can't eradicate bias when you're engaging in media analysis, but you can consciously put on a range of lenses and observe the media through different povs with the goal of understanding the media better or bolstering your reading of it. And those lenses/povs can include focusing on specific relationships or the perpective of certain characters

And this is why I say it's actually a mindset problem. Shippers and people who have this one blorbo they like a lot aren't inherently terrible "fandom brained individuals" who are the root of media analysis problems. The problem only arises when people's readings/analysis of a piece of media are inherently restrictive/narrow and self centered. Your problem is with people who view a piece of media through a ship they like but don't keep an open mind about it, and whose "media analysis"/views on canon cannot be split from fanon and their comfortability levels. These are the people whose "media analysis" starts and ends with justifying their fanon as canon, whose views on media revolve around sorting characters and relationships into categories they personally enjoy rather than trying to understand what's going on.

Here's another example.

Here we have a fictional ship we'll call uhhhh...Blanebin. this fictional ship I made up on the spot for characters that don't exist named Blane and Corbin

Person A is super into Blanebin. They're part of the main cast of characters and canonically childhood best friends, so person A (as much as they enjoy fanart and fic) is also enjoying analyzing how narratively important to each other they are. Recently, Corbin started dating another character in canon, but Person A is enjoying watching how Blane is reacting to this. "Is this potentially a tell that Blane is jealous or is having complicated feelings about this? What if he was, how would that contextualize his behavior this season? Here's what I think based on how Blane dealt with explicit jealousy last season in a different situation". It's not impossible that person A is still missing further understanding due to their obsession with Blanebin, but at the end of the day this obsession has allowed them to start picking through the characters both in and outside this relationship. It has allowed them to see potential subtext and theorize on what might happen next with these characters' relationship. Not to mention that with addition of Corbin dating someone else, instead of trying to erase this fact or state that Corbin canonically isn't into that person, Person A is trying to factor in how Corbin's current dating life affects his relationship with Blane (irregardless on personal views on the nature of Corbin's relationship with the person he's dating).

Person B is also super into Blanebin. They really enjoy fanart and fic of the characters, love obsessing over their moments together, and just feel like there's really something between the characters. To person B, every moment between them is just further proof that the writers are ship teasing them. But Corbin getting together with someone else this season? Oh that pissed person B off. They cannot believe that even though Corbin and Blane are CLEARLY gay for each other the writers had Corbin get with someone else this season. Perhaps, they think, it was even a decision specifically made to spite fans. How evil of the writers to tease a perfectly good ship and then have them not get together first? They must have been just doing those teases to get views from Blanebin shippers those scoundrels. To Person B, since Corbin started dating someone when he obviously has some chemistry with Blane (even though the series is far from over) means that Blanebin can never get together now and Corbin x person he's dating is ruining Blanebin by existing. In fact, they think, this is terrible writing for Corbin to be dating someone else because they don't like that relationship and don't see the point. Obviously if the writers were good then Corbin would have started dating Blane instead because this was supposed to be the Blanebin show.

Person C despises Blanebin. Don't get them wrong, they've always enjoyed the character's childhood friendship, but they actually have always thought Blane would have been better off with Victoria. They have a lot of moments too! But they're tired of seeing people ship Blanebin. Corbin just got together with someone else, so obviously that's not gonna work out. Plus Corbin and Blane totally has always given person C bro vibes. In fact, person C thinks, sure Corbin and Blane have a close friendship, but people shouldn't be shipping them. Person C likes Blanetoria and Blanetoria can't be canon if Corbin is in the way of it. So Person C likes to read Blanebin as siblings anyways. Sure they're canonically friends, but obviously their friendship turned into brotherhood. This means that nothing can be in the way of Blanetoria and Corbin can keep dating the person he's already canonically dating. Actually, now Blanebin just straight up makes Person C uncomfortable. Don't the pesky shippers understand that Blanebin are sibling coded because they're childhood best friends and that they're important to each other because they're brothers? It's obvious to anyone with eyes.

Sure, ships are involved here, but is the root of this problem shipping? Character A isn't as knowledgeable of other characters in the plot due to this lens they're using, but at the end of the day they're dedicated to analysis. Their love of the characters is pushing them beyond what they like or dislike to try to understand what might be happening through their lens. Not perfect, but they are slowly broadening their horizons. But Person B and C's problems here are their restrictiveness. What is or should be canon to them is tantamount to what they personally like or find comfortable. Is person C actually analyzing the this fake show when they decide to "read" Blanebin as basically canonically siblings (and this all of their moments are totally a bro thing) just because they don't like Blanebin and the idea of them getting together over Blanetoria makes them uncomfortable? Is person B actually analyzing this fake show when their "analysis" of Blanebin goes only as far as asserting it's being ship teased and deciding anything short of canonizing Blanebin is a targeted attack or "bad writing" because it's not what they wanted personally to happen?

This is what I'm talking about. This is the mindset. Shipping isn't the problem. The problem is when people marry fanon and canon to the point where they have a vested interest in superimposing their fanon over canon as "a reading" and trying to make "collective decisions" on what is canon (or what canon is trying to say) based on what does or doesn't make them uncomfortable. The problem is people being restrictive and centering their own likes and dislikes in the conversation, so they can only interact with canon "analysis" wise by deciding what is canon or should be canon "as obviously agreed on by everyone". You can't simply claim you like media analysis. To be able to analyze media and bolster your views on any given canon, you must be open to looking at it through multiple povs, to studying characters without trying to pretend things you don't like don't exist or do like do exist. There is a balance that must be kept between trying to keep objectivity and putting on specific focus/bias based upon the lenses you're putting on. You have to be willing to try to figure out what a media is doing or saying, not saying you're trying to figure out what it's saying while in actuality trying to define the narrative around what people believe it's saying in ways that suit you.

Thank you for coming to my ted talk.

[rmbunnie]

I see so much of "is post-crisis Robin Jason an innocent little sweetie-pie or a mean aggro delinquent" and after reading through all of his batman and detective comic issues post-crisis I think i can safely say he's... an introverted and distrustful, but altogether friendly teen boy who has convinced himself to the deepest level that he is an Adult Man, and also does not hold a particularly good view of adults.

The sweet little babypie characterization falls a little short (assuming we aren't being too silly with it, there's plenty of that in the comedy issues of tec) because it disregards the part where he's a jaded teenager who is constantly going off and trying to take care of his own problems like "his own man" and reacts negatively to any breach of trust or move to take care of him. But negative doesn't mean "violent and rageful." The delinquent angle is incorrect because not only is his disposition peppy, silly, and agreeable most of the time, but assuming the problem upsetting him isn't a predator or the guy who killed his dad (and three out of four canon instances it is a predator to be clear) he reacts to emotional turmoil with Bruce by bedrotting, sulking, communicating through notes, and overall being avoidant. The only times he lashes out are when Bruce is calling him out or after Bruce told him to his face that he chose to look for the Joker over looking for him, and that case of "lashing out" is just getting a little snarky.

More than anything his main personality trait (besides being silly, a robin staple) is kinda coming into this parentified as fuck. Not that it's Catherine's fault, but it really shaped his character, like one of the first things he says to Bruce (after he promised not to turn Jason in to the foster system) is that he kept her fed and warm as long as he could like he wasn't her ten year old child when he started. It's why he views himself on the same level as adults and why he gets all closed off at any insinuation that he needs to be taken care of, both of which heavily inform his dynamic with Bruce. He's constantly checking in on Bruce's wellbeing, like half of Batman: the Cult is just him taking care of Bruce while he recuperates from being brainwashed. (Side note, he's also constantly asking Bruce stuff like "what's your relationship like with this woman or this rogue or the concept of religion, how did that play out, how do you feel about it?" he is Very chatty like that.) The first thing he does when Sheila tells him her (revised to exclude medical malpractice) life story is hold HER and try to affirm her struggle. After a while he starts to act more childish with Bruce (although he doesn't really stop trying to brush off attempts to care for him) but as soon as Bruce admits he prioritized crimefighting over Jason and didn't show up to look after Jason like Jason assumed he came there for, Jason snaps back to acting very independent and rejecting any attempts to be looked after on any terms other than some kind of "equals" thing, which he isn't, as he's a 15 year old boy. Like. He's very sweet to his former neighbor, but also he refers to being a homeless child and the sole provider in his condemned building living situation as "getting by" to her.

He's definitely not. some bloodthirsty delinquent, at least to anyone who's not an uber-misogynistic predator, and he like demonstrably is a pretty sweet kid. It's just that when people say he's a sweet kid they kinda just jump to "untraumatized eight-year-old who grew up in a loving family and just got a new puppy from Santa" instead of "good hearted and curious teenager who has trust issues and is deeply uncomfortable with being taken care of, so kinda just compromises by pretending his dad is a Friend Doing him a Solid and acts like his kid only when he has plausible deniability so he can't get the rug pulled out from under him." Of course. He does kinda get the rug pulled out from under him despite all that. So there's that.

[alexanderwales]

The high-level prophecy interpreters all worked for the government or major corporations. They were the ones with the money, and the ones most likely to be the subject of a prophecy. Sometimes you'd have a multi-billionaire hire on a prophecy interpreter, but usually they just had one on retainer. The same went for celebrities who were famous enough to attract significant prophecies.

But at the lower level, there were prophecy interpreters who opened up their own firms, usually just one or two if they weren't in a major city. That was me: I had gotten in prophecy interpretation in college and ended up majoring in it after the Kepler Incident. I had my name on bus stops and billboards, and a single secretary in my employ who thankfully handled most of the phone calls.

In the field we sometimes divide the business up into three sectors based on timing. There's "prophecy impact", which is when we do a consultation right after the prophecy has been made, or at least sometime before it rears its head. Some prophecies are decades in the making, but people want to be told what to do about them. I hate that part of the job, personally, because there's not a whole lot to do, depending on the language. Plus the conversations are pretty repetitive: a guy hears a pretty clear-cut prophecy that he's going to die falling out of a plane, and he's begging for some way out, as though there's something I can do about it, as though I can tell him that prophecies are lairs sometimes. Prophecies are liars, but they're clever liars, hiding meanings inside words, only clear after they've passed. You can't escape prophecy, and at least half of "prophecy impact" clients explaining that fact to them.

The second sector is "prophetic immanence", when the client has a prophecy that they think is coming true. Sometimes this can be because there's a trigger phrase in the prophecy, a conditional that appears to have been met. One of the dirty secrets of the industry is that nine times out of the ten, people are mistaken: the nature of prophecy is such that you can't often pinpoint when the prophecy is nigh. In my opinion, you can judge a prophecy interpreter by how upfront they are about this. The weasels will milk their clients dry by pretending that every moment is a crisis moment.

It's the last sector that I find the most satisfaction from, which is why it's a disappointment that it's the least in demand. This is post facto prophecy interpretation. You're not trying to prevent anything, you're not formulating a reaction, you're just trying to figure out what happened and how it all fit together. These are clients that are in the aftermath of prophecy, or what they're pretty sure is the aftermath, and a lot of the time, they just want someone to talk to more than they want my specific expertise.

My client that day was an artist, a rising star who had a few very successful gallery showings. It had been prophesied that her older brother would accidentally kill her father, but it had been her instead. This wasn't a recent trauma, but the wound was clearly still there, so I tried to navigate it as carefully as I could.

"One of the things that makes prophecy tricky is ambiguity," I said gently. "There are some, outliers, that depend on pretty tortured readings. But in this case, I think it's just an alternate meaning. From what you gave me, the prophecy was specifically 'the child who first draws breath', and that's in reference to your career as an artist."

"That's stupid," she said. "He's two years older than me, would he really never have doodled a person drawing? Just a few lines indicating that something is coming out of their mouth?" Her hands were folded in her lap. They were curiously still, for someone who used her hands for a living, but maybe artists were like that, preserving the tools of their trade.

"It's stupid," I agreed. "But I do think it's entirely possible that his drawings didn't include anyone breathing, and that yours did."

"How can we know for sure?" she asked.

"We can't," I replied. "Though if we take for granted that the prophecy was fulfilled, and that you were the one to fulfill it, then we have to search for answers within the realm of what we know. And if you're not satisfied with that answer, then I need to spend some time searching for alternate meanings, to find some interpretation that lands better."

"I could understand it if I had some obsession with drawing breath," she said. "If I had done a series of paintings of visible breath escaping from a person's body, then that would make sense. But it's not that, it's the first to draw breath, and that's just ... I mean, doodles we did when we were children. It means nothing. We have no way to mark that. It wasn't pivotal."

I shrugged. "It is what it is." I use that phrase a lot. "There's a selection effect with prophecies. The ones we hear about are hugely ironic, they show the hand of fate, they warp and twist people. But many of them are just," I shrugged again. "Things that happened."

"My brother moved away," she said. "My father had kind of accepted it, probably from the moment we were born, or before that. He'd made peace with it, hadn't tried to fight it. But it was a hard thing to learn for my brother, and he'd just left to go to school a thousand miles away, and coming home was always stressful for him, because maybe this was when it was going to happen."

I nodded. "I can see where that would be difficult. How did he handle it?"

"Poorly," she sighed. "Dad was a good guy. My brother lost all that time, and it had always been a source of tension between them, not the death, but their perspective, you know? Dad preached acceptance, my brother wanted to avoid it, and so when my brother went out west, dad was disappointed. He said it was like losing his son, and that he'd have rather died than have that happen. So not only did my brother not have a close relationship with my dad because of the prophecy, it turns out that dad was right all along. It would have been better for everyone not to fight it."

"Maybe," I said. "In the business we don't counsel people not to fight prophecies. Sometimes it's the right thing to do."

"Well, sorry for wasting your time," she said. "Though I guess I'm paying by the hour, and I'm not going to apologize for something I paid for. So I'd like my apology back, please."

I smiled at her. "Certainly."

She stood up to go, and I marked the time so I could bill her later, but she paused for a moment. I put in the time all the same; so far as I was concerned, we were off the clock.

"Do you have any unresolved prophecies that you know of?" she asked.

"That's sort of a personal question," I said. "But I get it a lot, and if it might help you, I can share: I'm going to be eaten by an alligator."

"You're ... what?" she asked.

"An alligator?" I asked. "They live in swamps."

"And how are you going to be eaten by one?" she asked.

"Well, I don't know," I replied. "There's a chance I've dodged it already, or ... dodged it in the way that you can sometimes dodge an obvious reading." I held up my hand and showed her my pinky, or rather, my lack of pinky. "I went down to Florida, had my finger amputated, then fed it to three baby alligators under the supervision of a zoo keeper."

She stared at me. "And that works?" she finally asked.

"We'll see," I replied. "In general, yes, it's an approach with relatively good outcomes. A self-fulfilling prophecy. It's a peace of mind thing."

"But ... your finger?" she asked. She was looking at it. I sometimes thought that going with a toe would be better, or a chunk of flesh from somewhere else, but I had heard that losing a toe could interfere with balance. I had never regretted that it was a pinky finger.

"If I didn't avert the prophecy, I want to be the kind of guy who says 'oh, well that's funny'," I replied. "I think ... whatever helps you, you know? And now I don't need to stay up at night wondering how the hell it's going to happen. See, your father had it right, I think. You have to find a way to make peace with it. And this was what it took for me to make peace with mine. Though I have to admit that I'm not a fan of zoos, and I don't take vacations south of the Mason Dixon, so maybe I'm not as much at peace as I would like myself to believe."

"Huh," she said. She looked away from the missing finger and to my eyes. "Thank you for sharing that."

"It's okay if you think it's kooky," I replied.

"No," she said. "I was just ... thinking that if my brother had something like that, he might have had more time with dad before he passed."

I nodded. "You can share that story, if you think it will help. Sometimes it does."

When she left I went back to my computer, cruising the local news sites to see whether there had been any updates. I hadn't given her the best advice. My mind had been elsewhere.

A local guy had been busted for breeding reptiles without a license. I was sure it was nothing, but they hadn't said what specific reptiles it had been. It was probably nothing. I mean, a full-grown alligator escaping from custody, finding me, and managing to eat me was a little too much for me to believe.

But fate is a funny thing sometimes, and I was going to keep my eyes open.

[ninii-winchester]

What’s a girl gotta do

Pairing: S1! Sam Winchester X Reader

Word count : 1.7k

Warnings : heavily based on s1 ep3 (Dead in the water), mentions of drowning, fluff, no Jess au.

I DO NOT GIVE PERMISSION TO COPY MY WORK, TRANSLATE IT OR POST IT TO ANY OTHER PLATFORM. REBLOGS ARE APPRECIATED.

Y/n was driving to Lake Manitoc, Wisconsin. An eighteen year old girl went swimming into the lake but never came back, no body found. She figured it might be her thing. She was driving to her destination but she saw a very familiar car parked outside a diner. It was the infamous black Chevy Impala. She should've know he'd be here. She parked her car right beside it and got out of the. She watched Dean walk out of the diner with the car keys in his hands.

"As soon as I saw this beauty I knew an ugly Winchester would be around as well." She commented leaning against baby.

"Y/n/n." Dean exclaimed opening his arms for her to jump in. Y/n hugged her best friend. "What are you doing here?" He asked pulling apart.

"Same as you. You're going to Lake Monitoc too?" She replied. "Sophie Carlton I'm guessing?" he nodded.

The diner door opened again and Sam walked out. The tall boy watched Dean talking a woman, her face was hidden by Dean's broad shoulders. Sam rolled his eyes as he approached his brother but froze when he saw who he actually was talking to.

"Sammy?" Y/n questioned as he appeared behind Dean. She pulled him in for a hug and he blushed slightly. "I thought you were at Stanford?" She exclaimed.

"Yeah i was but we're looking for dad, now." He replied with a tight smile. "And it's Sam." He added remembering she called him, 'Sammy.'

"Is it now, Sammy?" She teased making Dean laugh out loud and he blushed furiously.

Y/n had been Dean's best friend since they were thirteen. They met each other when Dean was hunting with John and Y/n was with her father but she got separated from him. The Winchesters found her, helped her reunite with her father. Dean and Y/n clicked immediately, finding friends your age as a hunter was a difficult task, so the two of them jumped at the opportunity to become friends.

They visited each other frequently, Y/n played with nine year old Sam and was always friendly with him. As they grew up, Sam quickly developed a crush on the older girl. He was blush immensely when she would ruffle his hair or tell him he looked cute. It wasn't often a pretty nineteen year old girl noticed fifteen year old boy, even if she didn't mean it romantically, Sam basked in her attention.

Every time he watched his older brother drag her away for a hunt or even to show her something cool, he felt disappointed, he thought that someday his older brother will sweep her off her feet and she'd be much more interested in him rather than a little boy like Sam.

For years Sam thought he never stood a chance with his older brother in the picture, he thought his brother might feel something for her and he didn't want to break his brother's heart. But his doubts were cleared when Dean once kissed Y/n to get rid of his latest hook up, but he pulled away yelling,

"Never let me do that again. Ew you're like my sister."

Sam thought Y/n might feel something for Dean, thinking he's older and probably a better choice. But after watching her beat his brother into a pulp for the stunt he pulled, Sam felt relieved that it was all platonic. Even then he didn't think he'd ever get the chance to be with her. He thought he'd always be four years behind.

Then, Sam left for Stanford, cutting off ties with his father and brother. He never thought he'd get to see her again. Seeing her again made him feel giddy, the butterflies in his stomach were doing summersaults.

"Alright folks, you can catch up later we have a case to work." Dean said walking towards the drivers side.

"Let me drive." Y/n said to her best friend before he could deny she shot her best puppy dog eyes.

"Good try but no." Dean said getting in the car.

"Fine. SHOTGUN!!!" She stuck her tongue out at Sam before opening the passenger's side door and getting. Sam shook his head with a smile gracing his lips. He wouldn't have fought with her to sit in the front seat, hell he would've fought Dean to let her drive if she'd asked him to. She's got him wrapped around her finger and doesn't even know it.

Sam got into the confined backseat, struggling a bit to fit his long legs in the small space. Y/n placed her get over the dashboard as Dean drove to their destination.

"Hey feet off the dash." Dean remarked tapped her calf, shooting her a glare, one she was immune to. "Y/n/n I will cut your hair in your sleep." He threatened knowing how much loved and cared for her hair. Sam thought she had really pretty hair. And it smelled so good all the time.

Y/n rolled her eyes before pulling her feet off the dashboard, letting out a huge sigh.

"Oh man, what's a girl gotta do to be loved around here." She spoke dramatically. She grinned at Sam in view mirror, "what do you think, Sammy?" She asked him and his face turned red.

She enjoyed watching him get all flustered and squirmy when she teased him. She thought Sam was cute, not in a chubby little boy kind way, but cute in a charming way. She like his smile, and that messy mop of hair on his head. She wondered how it would feel to run her hands through them.

"How about shutting up, sweetheart?" Dean quipped watching the interaction between his best friend and his little brother.

Dean knows his brother is whipped for Y/n and she has talked his ear off, gushing over his brother. He's all for them being together, in fact he's rooting for them. But if he has to sit through their miserable attempts at flirting or giving each other sickeningly irritating heart eyes when the other isn't looking. He will throw up.

The trio soon arrived at the victim's house. They talked to the vics brother finding out that his sister was a varsity swimmer and it was impossible for her to drown. They asked Will a few more questions before heading to the police station.

After talking to the Sherrif they found out that they didn't find anything in the water, which could've done that, dam is falling apart so the lake won't be here any longer, since they're not getting any money to fix it.

After Will Carlton was found dead, the trio did alot more digging around for a while and found out, that Sherrif and Bill Carlton had a friend named Peter Sweeney who disappeared years back. It become clear that Jake and Bill had a hand in his disappearance. They found Peter's bike buried in Jake's backyard.

It took a while before Jake confessed, that he and Bill accidentally pushed Peter in the lake and they let him drown, so there's no body to salt and burn to put the vengeful spirit to rest.

It all happened too fast when Lucas was being pulled into to the lake, it was Peter. He wanted  Jake to suffer, watch all his loved ones die, just like he did to Bill. Just like, how Peter's mother felt when he disappeared.

They heard Andrea call out for her son, it only took Y/n and Dean a second to jump in the water to save him. The two kept looking for Lucas but he was nowhere to be found. Sam held Andrea back from jumping into the water.

Jake walked into the lake willingly, hoping Peter would take him instead of his grandson and in hopes that after getting his revenge he'd leave his family alone. Y/n felt something pulling her under the water and she felt herself drowning. She could make out a shadow, which looked like a pale little boy. But then suddenly, it let her go.

Dean came above surface with Lucas in his arms. Sam helped the two up and Andrea hugged her son close to her chest. The brothers looked at lake, Y/n should've come up by now. Peter took Jake, it should've been over. But Y/n fell unconscious under the water, intaking too much water in her body and unable to swim back up. Sam immediately jumped in the water to search for her.

"SAM." Dean yelled as he watched his brother jump into the water.

A few minutes later Sam surfaced ashore with Y/n in his arms. He laid her on the wooden dock and knelt beside her, his heart pounding. She was unconscious and not breathing. He quickly tilted her head back, pinched her nose, and covered her mouth with his, giving two rescue breaths. Then, he placed his hands on the center of her chest and began chest compressions. A few seconds later Y/n shot up with a loud gasp, coughing out water as she sat up.

"Oh god." She wheezed holding her head. "Is Lucas okay?" She asked looking at the little boy. His mother nodded in acknowledgement.

"You okay, Y/n/n?" Dean asked kneeling beside her.

Before she could reply Sam grabbed her by her neck and pulled her in for a harsh kiss. He kissed her like his life depended on it. His lips moved against her with fervour, his heart was hammering against his ribcage. She kissed him with equal force, her hands grasping at his damp hair. He rested his forehead on hers as he pulled away.

"Don't you dare scare me like that, ever again." He breathed heavily, his chest puffing with each breath.

"Drown!!" She chirped with a grin on her face. Sam looked at her, confusing lacing his handsome face. "A girl's gotta drown to be loved around here." She added with a giggle. Dean barked out a laugh at her stupid comment.

"I hate you so much." Sam rolled his eyes but had a huge smile on his face. Sam gently brushed a strand of hair from Y/n's face, and she smiled up at him, eyes sparkling with happiness. They leaned in for another soft, lingering kiss, sealing their new beginning.

[sandraharissa]

the problem for me with the Powder vs Jinx conflict or the idea of giving Jinx an arc where she realizes she's both or embraces both identities is that I never saw Jinx in s1 as someone who bought into the dichotomy, and I thought we the audience weren't supposed to either.

she was just playing into what her two caretakers who have drastically different ideas of who she is and what’s best for her wanted from her so that she would appeal to them/won’t lose them.

Jinx was just a grown up Powder, with certain traits that Powder already possessed becoming more prominent. and the crucial part here are her mental struggles.

post s1 it seemed universally accepted that Jinx's jinxiness comes from her trauma and mental illnesses not being taken care of and instead made worse bcos of many factors, but in the end Piltover was always the originator of all the problems.

Jinx could have had a line to Vi about how Jinx and Powder are the same person cos, for the sake of the sisters' arc, Vi needs to have that realization. but I never though Jinx needed that realization or that she needed to 'incorporate Powder into herself again' cos Jinx was always just a grown up Powder.

and so the way s2 handles Jinx ‘incorporating Powder’ or ‘going back to being Powder’ by waving away her mental struggles (and therefore also her jinxiness) was the only way they could have done it.

cos s1 was pretty clear that Powder vs Jinx was actually a Vi vs Silco conflict, and not a Powder=healthy vs Jinx=mentally ill conflict. and s1 finale was pretty clearly the point of no return, it was the final nail in the coffin, that she IS a jinx like she always was, which we saw in s1a1, cos she was always mentally ill. Her being jinx is inescapable (no matter how much she wishes this wasn't the case) just like severe mental illnesses are inescapable (and as s1 finale showcased not curable by the power of love or friendship).

this was already her do-over after the first tragic demise of her family, only for history to repeat itself. Hence the realization that she'd never be able to live a happy life in this hellhole. She might think there's smth inherently wrong or evil about her but the audience knows she just deserved basic human decency that Piltover failed to show to her and other zaunites, and so they created 'Jinx, the loose canon'.

what a brillinatly constructed tragedy and a tragic heroine. wish we saw her in s2.

[howtofightwrite]

Was bounty hunting in the Old West as popular as the movies make it out to be? The actual history I've read suggests that that niche was mostly taken up either by private detectives from agencies like Pinkerton or by straight outlaws. Were movie-style bounty hunters mostly a myth?

Movie style bounty hunters were almost exclusively a myth. There were the odd exception here or there, but the concept of an old west bounty hunter didn't really exist until the 1950s.

The term, “bounty hunter,” is a little anachronistic as well. While there were people called bounty hunters in the 19th century, the term primarily referred to mercenaries. Specifically this was in the context of any signing or campaign completion bonuses that they would receive. That was the, “bounty.”

Using the modern term, most bounty hunters in the old west were actually local law enforcement officers, who relied on the cash payout bonuses from arrests. (And, in the case of these bounties, thinking of it as a pay bonus for law enforcement really is instructive.) In other cases, law enforcement officers would use a portion of those payouts to entice civilians to assist them in making potentially dangerous arrests.

Private detectives, including the Pinkertons, also sometimes tracked down outlaws, and as with law enforcement, the bonus pay was an enticement. Amusingly, Wells Fargo used to also operate bounty hunters specifically tracking outlaws who'd targeted their property. Though, other contemporary companies did the same. In this case, it's less of a “bounty hunter,” and more of a corporate enforcer, hunting down someone who'd crossed the company.

Another interesting thing to be aware of is that those wanted posters were not publicly distributed. There also wasn't a universal format, or source. Some were distributed by the Pinkertons (though, I'm not entirely clear on whether those were given to law enforcement or primarily kept for internal use, though at least some of their circulars did end up in the public record and have been preserved.) In a lot of cases, these were just a written description of the criminal, and a posted bonus (usually $100 or less.) I'm not completely sure how rare the posters were at the time, but very few have survived into the modern day. So, this was more of a resource for law enforcement, rather than something offered for public consumption. The image of a board of wanted posters presented for anyone wandering psychopath to peruse is a fantasy.

Freelancers, such as they were, seem to have been mostly working for private interests. These were often military veterans who would happily hunt down suspected criminals (such as cattle rustlers) and dispatch them. In general, that ends up looking a bit more like murder-for-hire, rather than what you'd think of as a modern bounty hunter, though it may inform some of the modern perspectives on the job. These are the ones you're probably seeing that get categorized as outlaws, and there is quite a bit of truth to that.

A sort of neat bit of trivia, the modern bounty hunter, (also, more commonly known as a bail bondsman, or bail bond agent), is a very old profession. However their history in the United States originated in San Francisco in 1898. The Old West came to an end in 1912 (generally), so there was a period of 14 years where modern bounty hunters existed in America, before the wild west was officially over. So, in that sense, there is some actual overlap, but it's not what most people think of when talking about a “wild west bounty hunter.” (And, on the subject of, “officially over,” it's worth remembering that the last range war in Wyoming took place in 1909.)

The image of the bounty hunter as a sort of freelance cop, who wanders around arresting outlaws, is a product of highly sanitized 1950s westerns.

-Starke

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[spaghettioverdose]

Sure maybe you wanna say that the "suck my dick and stop being a baeddel" copypasta anons were originally sent by a couple of trolls or whatever but the amount of people I see defending them is very clear fucking proof that the sentiment exists. There is a lot of preaching about trans unity right now, but as is often the case, if someone demands unity while refusing to do even the bare minimum for you (in this case disavowing the horrifyingly misogynistic posts and calling out some of the people who maintain such positions instead of defending them) and only call for unity when you speak out against their abuse, then they're not looking for unity. They want you to shut the fuck up. You never see these same people calling for unity when there's a harassment campaign against trans women. You don't see them defending trans women when our words are misinterpreted in as bad of a way as possible.

And before someone accuses me of being a baeddel terf or whatever: I am not saying we need some kind of transfem separatist movement or that trans unity is impossible or undesirable. I am not saying that transmascs are doomed to be violent misogynists. I do have some very nice transmasc mutuals (all of which uncoincidentally are communists lol) who I do appreciate and feel actual solidarity with because they aren't transmisogynists and because I can expect them to have the backs of the transfem community whe the newest transmisogynistic harassment campaign starts on this dogshit website.

A growing problem on here is the continuous dilution and rejection of feminism and even some of the most basic feminist positions in favour of positions that would be perfectly at home in a 2016 antifeminist mra youtuber's videos if it wasn't for the pseudo-progressive tone of the message. It is what has lead to "you should shut up about transmisogyny and suck my dick", a position championed by "genderpunks" and transandrophobia truthers. The drift from understanding the basic premise that we live in a patriarchal and misogynist society to "well, men have it bad too, so who's to say what the real gender dynamics are like" and even "men have it bad too, specifically because they are men" has erased a lot of progress on this website and allowed this kind of thing to happen.

The way to close the gap and achieve trans unity is not to ask for silence from trans women speaking against the abuse done to us or to pretend that gender dynamics do not exist politically, but to take steps towards solidarity with us and speak out against transmisogynists and to push back against antifeminist rhetoric.

This post, obviously is aimed at people who are genuinely interested in trans unity, not people who scold others about trans unity whenever trans women have a problem with the way we are treated.

[stellarwing]

This post contains spoilers for Disco Elysium!

Ever since I learned what the good cop/bad cop score actually represents I have become obsessed with checking it constantly as I play through the game to figure out what makes Lieutenant Kim Kitsuragi tick. There have been many things here and there that surprised me but I would like to share my absolute favorite thing I have learned about this man.

First, lest I give you all the wrong idea, I want to make it clear that Kim does very much enjoy watching Harry do good detective work and cracking open a case. But everyone knows that already. It's much less fun and interesting than this:

Kim loves it when Harry fails in a way that gives Kim a chance to swoop in and comfort him.

I have two examples of this coming into play:

1. Billie's Husband

When you talk to Billie to break the news about her husband's death there's an Empathy check to see how well you do it. If you pass the check and do everything absolutely perfectly, Kim will tell you that you did a good job and talk about what happens next. You neither gain nor lose points at any point in this interaction.

If you fail the Empathy check Harry completely botches the death notification. You neither gain nor lose points for this. Once you step outside Kim wants to talk to you about how it went. If you say there's nothing to talk about, you lose 1 point. If you admit you fucked up and apologize Kim reassures you that it wasn't that bad and you gain 1 point.

Once again, there's no way to gain points if you do everything correctly. What this means is that the version of the scene that makes Kim happiest is the one where Harry screws up the death notification but is apologetic enough about it that Kim can feel good about cheering him up.

2. The Moralist Quest

During the climax of the Moralist quest when you contact Coalition Warship Archer you have the opportunity to earn a total of 3 points. If you tell Archer about the 2mm hole in the world but then refuse to go with them, regardless of the reason you choose to stay you gain 1 point.

Once the conversation is over and you are disconnected from Archer there is a passive Volition check. If you fail the check then you climb down off the statue and that's it, that's the end of the scene. You leave with your total of 1 point. But if you pass the check you are given the option to stay sitting on the statue a little while longer.

If you choose to stay, Kim asks you if you're okay and tries to reassure you that you made the correct decision. Simply for going through this scene and giving him the opportunity to talk to you about it you gain 2 points.

There are a couple dialogue choices you can make but you get the 2 points regardless of what you pick. There are very few actions in the game that earn you double points. This is the same amount you get for finding the bullet in the hanged man's head. And you get it just for giving Kim the opportunity to comfort you after your failed Moralist mission.

Kim wants Harry to need him so bad.

[saoirseyun]

⸝⸝ x fem reader

. . . Dreaming about noble!dazai whose eyes physically cannot leave yours once catching glimpses inside one of many brothels to see you gracefully await in lounge. You're exceptionally gorgeous, radiant—even. Mannerisms delicate and rather elegant at once, as Dazai further watches you for brief. A rare thing among courtesans who've desired the position merely for fine status and wealth—actually presentable of what is expected of them.

. . . Sure, noble!dazai wasn't exactly sure if that were the case of things but could he be blamed for being attracted immediately for what was naturally beautiful? Speaking of, Dazai notices the light usage of makeup on your face. The white powder and bold red lipstick remains—yet it wasn't as exaggerated, or much more "proudly worn."

. . . You've presented yourself so intricately. Like, a woman of true class. He wasn't able to put a clear pin on it but you alone serve such respect and dignity towards anyone regardless of status or wealth. Behind the scenes? Oh, now we're talking sass. You've got quite the fun personality too! Dazai can't be helped.

. . . You're an one-out-of-a-hundred. At least, noble!dazai was certain enough to believe so anyway. Don't you know how hard it is to find women like you? Dazai's previous having all those same characteristics turns out to be a slut.

. . . Additionally, noble!dazai found you to be much more precious than the usual courtesan bought from brothels. There was another thing about the way you've performed arts for him or provided entertainment.

. . . Professionalism in every sense. You held together acts with such exquisite excellence. noble!dazai found himself in a hefty state of daze closely watching your darling performances—crafted carefully act by act to be done so gorgeous by one beautiful woman. (The fact that you were doing this all for him made his ego grow further.)

. . . Typically, noble!dazai could not simply afford to have some kind of proper love between his purchased women whilst a thousandth or so mistresses long to be called his. For once, however, Dazai might as well give you a chance.

a/n: okokok fr this time I'm sticking to this style of writing hcs bc the astronomer!zai post needed more effort than necessary :/

hey! small question,

please send an ask if so!

thank you all for your support<3

[topherwrites]

- start of a silver fox

summary - back from deployment, you notice a change in your boyfriend's appearance. pairing - jake seresin x (fem!)reader word count - 1.4k rating - no smut, but 18+ anyways, mdni! content warnings & tags - age gap (reader is in her early twenties, jake is in his early thirties) / fwb to lovers / no use of (y/n) / vague allusions to sex / mentions of nudes / mentions of masturbation / no actual smut / mentions of death (sorta) / lmk if i missed anything! a/n: saw these recent photos of glen ➙ became possessed ➙ wrote this. reblogs, comments, and likes super appreciated!

Jake is back after three long months on deployment, a fourth of your relationship — not counting the first couple months when you were ‘just hooking up’. This is your first welcome back. Having texted extensively with Nat’s girlfriend, Sasha, you were given a pretty good lay of the land by her, informed of what to expect.

Homecoming day has arrived, and excitement has consumed your entire body, making your limbs buzz. 

Awaiting his arrival on the pier, your foot tapping out a nervous rhythm, you stand in the back, allowing spouses and children to be the first in line. You’re just the girlfriend, the one almost a decade younger than him, the one you know his friends assumed wouldn't be around long. You assumed you wouldn't be around long. Jake is a charmer, and when he set his sights on you, you assumed it would be a one-night stand, a fling at most. 

But one night turned into two and then three, which turned into nearly three months of falling asleep and waking up next to him. Most days you’d get a text the second he was done with training, the buzz of your phone always kicking up your heartbeat. 

At first, you’d just meet him at The Hard Deck for drinks, then dinner at sit-down restaurants — the preambles to him fucking the shit out of you growing longer and decidedly less casual. Post-coital, he’d sling an arm around your waist in an attempt to keep you from slipping out, waking up with that same soothing weight on you. Eventually, he casually mentioned that you could keep some of your stuff at his place — for convenience, he said. He tried slipping the suggestion under the radar, pre-coffee on a Saturday morning. Bleary-eyed and half-asleep, you barely processed his words, absent-mindedly humming in response. 

Then you saw the half-cleared-out drawer — which you later learned was a measure in order not to spook you. Like a full drawer would make you wise to his intentions, like he was trying to acclimate you to the idea of commitment, to a relationship with him.

You remember the feeling of placing spare clothes in that drawer; a spare bra and sweatshirt. Jake watching you from the doorway, trying to not act too pleased in response.

You liked him, his company and his laugh and his baffling love of Taylor Swift that he blamed on his nieces. The man under the bravado wormed his way into your brain. 

Though, you could appreciate how he looked puffed-chest and cocksure. Near equally competitive as you are. The first game night you spent with his friends meant you both were banned from ever being on the same team again. Pictionary, trivia, One-Night Ultimate Werewolf — you mopped the floor with them. The rule wasn't entirely the case of sore losers, you can acknowledge the fact that you two were immediately, freakishly in sync. Ultimate Werewolf may have ended in tears of betrayal being shed.

And that's how things progressed for a while, falling deeper while avoiding acknowledging the fact that you were in a relationship. Afraid to say the words and make things complicated. Near everyone in both your and his life were trying to push you both to just trust it. Have a little faith in one another.

One minute you were his girlfriend in all but name, and then you were just his girlfriend. A confession on his couch in the midst of rewatching Veep, ‘Relax, cow eyes’ the soundtrack to everything falling into place.

────────────────────────

Once officers start filtering off the ship, your mind blanks in anxiety. Around you, tears are shed, and poster board is ditched in favor of tight hugs. Laughter and children squealing background noise. You scan the crowd, the sun beating down on you, searching for the handsome shape of Jake Seresin. People come and go, giving you a better view of the naval officers, till you finally spot yours moving towards you. He weaves through the throng with ease, standing before you in a matter of seconds. 

A smile stretches your face, eyes squinting from both happiness and the sun. You scan him, categorizing any minute change. Gray. A small streak above his right ear. Your nerve endings light up like a Christmas tree, the sensation doubling at the slight hint of age. Reaching out, your fingers run across his scalp, nails tracing back, playing with the hair that has decided in his relatively brief absence to go gray. 

He doesn't shy from your touch, his lashes fluttering at the sensation, an intimate moment playing out in public. Though no one is probably taking notice, wrapped up in their own reunion. He does seem to be a hint abashed at your attention. 

He breaks the quiet, “Hey, sweetheart.”

The sound of his voice, clear and unobstructed by distance, rushes through you. Fuck. You're trying to suppress the blatant arousal coursing through your system, keep it out of your voice. Words startled, voice pitched, “You've gone gray.”

Despite your age gap, it’s never been your thing, your Tinder age range has only ever been set 3 years older — but seeing Jake in the flesh, and with a few more grays, is making you muster every ounce of self-control so you don't fuck him in the parking lot, ride him in the backseat of his truck. He probably wouldn't enjoy getting dishonorably discharged.

He hefts his duffle over his shoulder, free hand taking your own to lead you to the car — his truck that he handed the keys over to, something in his gaze when he told you to not let the battery die. Maybe a way for him to feel connected to you, maybe a reassurance that you'd be around when he got back. Your board is still in the bed, having taken up surfing in the mornings since your time was no longer being occupied by Jake slowly fucking you into the mattress.

“I already had grays, I'm just… grayer now.” His pace is quick. It's clear that he's itching to get home. Your boots stamp on the pavement as you practically skip behind him, content with his hand in yours. He looks at you out of the side of his eye, eyebrow raised, “And I wonder why that is.”

“That suspiciously sounds like an accusation.”

“Those photos…” He stops at the teal-striped Ford, throwing his duffle next to your surfboard. Crowding you against the side of it.​, his​​ voice dropping, “​I was opening my mail in the mess, ‘bout gave me a heart attack.”

You’d sent them on a whim — a well-researched whim, ​​you didn't need some random desk jockey finding out your taste in lingerie. But you had missed Jake and wanted him to miss you in return. And what better way to make the heart grow fonder than with scantily clad pictures of your body?

“Well? Did you like them?” You know he liked them, it was a whole production to take them, but even if it wasn't — he’s a man, and you were in lingerie. You looked hot, are hot, present tense. An indisputable fact. And he’s not reserved with telling you and showing you that, but you can't pass up a moment to hear it voiced to you, not after how long he’s been gone.

“I think I have carpal tunnel.” 

You snort out a laugh as he exaggeratedly shakes out his hand, clenching and unclenching his fist for your amusement. Eyes skating along your features, he huffs, “Add that to the long list of ailments you've inflicted.”

Letting your fingers lightly trace down his biceps, you press your body even closer to his, perhaps a touch too scandalous for a parking lot in broad daylight. A coy reply rolls off your tongue, “I keep you young.”

“You're going to send me to an early grave.”

Rising to your toes, you brush your lips against his, holding back from full contact. You feel his breath stall in his chest, desperate for it. His hands settle on your waist, squeezing, his face awash in anticipation. He’s beautiful.

Your palm stroking the side of his head, you brush the hair away from his face, pinky skimming the top of his ear. You single out the silver strands between your fingers, silky soft as ever. He’s real and yours — home. 

“Ditto. Might as well invest in matching plots, right?”

Broad shoulders shaking with laughter, he brushes his nose against yours. Palms cupping the side of your face, thumbs sweeping across your cheeks, he stops waiting. A long-awaited kiss pressed to your lips, neither one of you able to keep the smiles off your faces.

e/n: thank you for reading!

[adripakoffee]

I don't post on here often and by that I mean I'm on here once a month to look at writing prompts but right now I'm thinking of Anya from Mouthwashing, and Tumblr is better for long form posts. Apologies if this rant isn't super clear, I'm on pain meds right now.

CW: S/A, SUICIDE, OVERDOSE, MOUTHWASHING SPOILERS

Anyway, Anya very well may be one of the most doomed characters to ever doom. Firstly she's trapped in a relatively small space ship with 4 men, who she has to keep alive and healthy along with giving them periodic mental wellness checks (which she, herself never gets). Two of these men don't take her seriously at all because she probably doesn't actually have a medical degree and is just someone the company hired to cut corners. If that wasn't all ready awful, the co-captain, Jimmy, has been assaulting her since at least the start of this voyage that's been going on for 100+ days. She falls pregnant because of this and while this isn't where her spiral started, this is where it gets worse. She originally plans to kill herself with the Captain's gun, but decides against it since she can't get to the gun without Curly's help anyway.

Speaking of Curly, he knows what's been going on, she told him about Jimmy a while before the crash. Every time, Curly says "I'll do something about it," or "I'll fix this," but the most he does is keep Jimmy away from Anya when they're working. Anya seems fine with that for the most part because I think she assumes Curly will report Jimmy and have him arrested when they land (he won't, at this point in the game he'd defend Jimmy for anything because "he sees the best in people. He loves to say "our worst moments don't define us" and apparently that extends to r@pe). So at this point, she's biding her time until they land.

Back to the gun, when Curly finds her holed up in the cockpit, she tells him she's pregnant. He's a little taken aback but he tries to reassure her that it's fine and he'll fix the "situation" with Jimmy. He says he can't let her kill herself because he does actually care about her. One of his flaws is he cares about everyone so much he can't imagine compromising one of them for any reason. Anya tells him she wasn't going to hurt herself, though she thought about it, she just hid the gun case so Jimmy couldn't kill her instead. She's so convinced Jimmy just wants to kill and torment her when the sad truth is, he couldn’t care less.

In all of Jimmy's "take responsibility" hallucinations, Anya barely shows up. Swansea, Curly, and Daisuke do, but he can't bring himself to even recognize what's happened to Anya is also solely his fault. He doesn't care at all.

Speaking of which, what seems the straw that breaks the camel's back for Jimmy is Anya telling him that she's pregnant because he crashes the ship pretty sure after. And this really seems like a spur of the moment action because if he'd planned this he could've done it much earlier after the news of the company closing reached them.

Curly says Anya should've waited for him to help her tell Jimmy about the pregnancy, but that doesn't matter because he is put out of commission like (I forgot if it's a day later or the same day) later because he's in the cockpit when the ship crashes.

Now Anya has no hope, Jimmy knows she's pregnant, the seemingly one line of defense she has against him can't leave his bed, and they're stuck in space. She's terrified because not only because of that, but because Jimmy is captain now and because of the way the ship is set up, you need the captain for a lot of things. Jimmy being captain also means if he finds the gun case, he now has the code to open it.

Anya, being the ships medic, is tasked with keeping Curly alive and giving him his meds. It's really difficult for her, A. because Curly is hard to look at, B. because unless he's full of pain meds, he's making noise, and C. because that was her friend and one of the only people she felt safe around and he's been reduced to this. And from her perspective, this is his fault, Curly crashed the ship.

This situation is stressful for everyone, Swansea has reverted back to alcoholism and never drops the ax he has, Daisuke is slowly losing hope and also starts drinking, and Jimmy won't stop yelling at her. He's so pissed at her the entire game, more so than everyone else. She was already scared of him but before there was at least a light at the end of the tunnel. Now there's nothing to look forward to because she doesn't think there's any way out.

She, at some point when he's sober enough, confides in Swansea who then tells her that she's gonna be the one to get out of here. He has the one last working cryo pod set aside for her specifically and refuses to let anyone into the room where it is. Unfortunately, at this point, her anxiety concerning Jimmy is so bad, she's convinced he'd do something to the pod too.

So then Anya locks herself in the med bay with Curly and all the rest of the ships medicine (- minus the Isopropyl which she probably left for Daisuke and Swansea) and overdoses by Curly's bed. Curly was awake the whole time she went through a probably painful death. She also, as maybe a final revenge, took the last of the pain meds that were meant for Curly. And she dies right next to him.

That's where her story ends. She felt so trapped and scared by her r@pist that got her pregnant that she killed herself next to the one person who could've done something, but instead, from her perspective, trapped her with said r@pist.

She died probably hoping that Daisuke or Swansea would make it out, not knowing they died soon after.

TLDR;

So from her perspective: A guy she's been friends with for years starts repeatedly assaulting her and she's stuck with him, then he gets her pregnant. Her other friend who she tells says he'll do something about it (he won't) and she has no choice but to trust him. Then the guy she told crashes the ship they're all on and fails in taking himself out. Now she's trapped with her r@pist and she tells someone else who does actually try to do something but she kills herself instead.

Anyways guys, I'm just missing my wife, the end.