#they both know this about each other. they're the only people that understand each other

[gynandromorph]

In the comic with the censor bars shiloh talked about it as if censorbars are something that just like happens sometimes i kinda want to know if that has some lore background or anything?

Additionally since everyone is specifically in a printed comic does this mean people technically read eachothers speech.

And are there any other silly details related around the fact that the comic is a printed comic.

absolutely no background, just thought it would be funny if censor bars were a thing the characters actually saw and interacted with, and if they treated something absurd like that as if it's completely normal and chill. the fact that it doesn't make sense and doesn't have an explanation is part of the joke.

also, yes, characters read each others' speech bubbles. sound is a specific visual stimulus to them processed as a separate sense much in the same way smell and taste are different to you despite the fact that they are both just chemoreception. reading something and hearing something are virtually identical to them... the actual container of the text dictates whether it's received as sound or written word, imo. Jessie's Commandments read like written word when she says them even though she is saying them out loud because they're in a square container. A book cut into a rounder shape would probably actually seem to produce sound to them. My opinion on this is largely informed by the fact that pictographs can also be used to communicate sound -- meaning that the letters themselves are not the only component of sound. Pictures sound like something to them if they're surrounded by a "sound circle." color and size mediate the qualities of the sound. color probably informs characters of both timbre and pitch based on saturation and luminosity.

Facts about their book world... stuff is made of ink drops for them. they know this as a scientific fact. I believe I called them tinctures... yes, i did.

atoms to them are probably called inklings, made up of various tinctures, and yes they're both shortened to inks--

their world is 2d, but top quantum scientists have observed at least that their world may be 3d in a Z-direction, because chasms resembling paper's microscropic texture has been documented.

there are 2 competing theories about how the universe will end called "the big rip" (the paper fabric of the universe will rip apart under the ever-increasing weight of more inks) and "the printer running out of ink" (things stop existing altogether as ink erodes from the fabric of the universe over time, and isn't replaced). unlike our universe, theirs isn't expanding, so they don't have a solid understanding of what's happening to matter in their universe. big rippers believe inks must be continuously added to the universe, because there had to be spontaneously generated inks at the start of the universe; it agrees with the theory of spontaneous generation of the universe, which the majority of scientists accept as a proven theory. the accepted explanation amongst rippers for a lack of observation of growing ink is that it's happening in deep space, which is completely saturated black. the fabric of their own universe can only actually absorb so much ink leading to pure black -- after that, adding more ink is possible, but you can't observe that more ink has been added, because saturation has already been achieved. adding more ink then warps and weakens fabric of the universe, unobservable to them. it's like their version of dark matter. printer theorists believe that ink is slowly, spontaneously disappearing from the universe, because they can observe the process of ink degradation on the real actual paper they're printed on. this does not necessarily disagree with spontaneous generation, because there was a "nothing" which the universe may return to for them, but it offers little explanation for why ink would be disappearing. opposition to the theory generally argues that the ink observed to be "disappearing" could simply be displaced. to note: they don't see the universe as a story book, they simply refer to the fabric of it as paper due to its resemblance to the texture of paper, from their perspective. it's just like how we call the stuff our universe is made of "fabric" even though we don't generally believe we live on a tapestry.

elements in their universe are named after different hex values instead of typical chemical elements. there is, in one single panel, a small portion of old high school notes in Jessie's notebook shown

a periodic table with unrecognizable chemical symbols.

their world is flat because they live on flat paper. you could probably fall off the edge. the stars are Literally shaped like stars and the moon literally changes shape over the course of its cycles. uuuhhhh. i'll write more if i remember anything else--

[markcavendish]

The urge to rewatch torchwood vs if I think about the gwenjack friendship too hard I go insane

[arohuacheng]

imagining the story from pei ming's perspective is rlly funny i think. this god from all that time ago ascends again (you were there for the first two times) and immediately waltzes into a situation that fucks something up for your descendant (putting both of your reputations on the line, messing up how hard your descendant worked to become a god and how hard you worked to ensure that he would have that chance) and then refuses to let you smooth the situation out and on TOP of that your friend's little sister (who hates you and who you are trying to look out for by request of your friend) is on your case about it too. so you've gotta work all that out and then like. you chill for a little bit (still kind of upset about your descendant) until your friend undergoes a heavenly calamity. and then in the space of like A Day the god from earlier shows up again with a fucking ghost king, your friend dies, the little sister you're supposed to be looking out for disappears, and everything just kinda goes to shit. so you're like. grieving. trying to process everything. until your OTHER close friend goes off the fucking rails with the spirit of that guy she murdered, and then you get called out to the spooky ghost mountain where you're confronted with the girl whose death YOU were essentially responsible for and have never really come to terms with, and then like. you just kind of hang out with these gay people until everything resolves itself. fight some ghosts. fight the heavenly emperor. get your friend to stop being evil for a little while so she can fix the filing systems. and then you just have to keep being the god of love i guess

[shorlinesorrows]

qpr jean and neil. that's all i'm gonna say.

do you see my vision?

[some-pers0n]

Every once in a while I think about the ship I've been obsessed over for close to two years now and feel like I'm ascending to another plane of reality. Like sometimes you just encounter a ship that hits every single mark and is perfect in every regard and you're left stunned how something like that can even exist

[torchwood-99]

Eomer and Eowyn only talk to each other once in the films

but they communicate so much.

When Eomer first returns with a wounded Theodred, an entire dialogue is shared between Eomer and Eowyn without a single word passing between them.

This mutual look of concern, they're both on the same page.

Eowyn then goes on to look at Theodred's wound. It's interesting that Eomer now looks curious above all things, he's waiting on Eowyn's judgement.

Eowyn looks at the wound and grimaces. It's bad. Theodred isn't going to survive this.

She looks to Eomer, who looks back at her in grim resignation.

They go to Theoden to inform him of the situation. As Eomer walks by Eowyn, he doesn't speak to her or interrupt her, but he puts his hand on her back as he passes. Even when the focus is on other things, he is giving her that gesture of support and fondness. That it is done without fanfare shows that this sort of affection is commonplace.

They both stand before the throne, both of them united in their attempt to reach through to their uncle. They're a team, a unit.

Eomer throws down proof that Saruman, who Grima is trying to portray as a friend to Rohan, is sending his soldiers to terrorise their people.

Eowyn gives Grima a death glare, challenging him to refute her brother's accusations. She's on Eomer's side, Eomer's team.

Eomer sees Grima looking at Eowyn, and knows what he wants. It fills him with fury.

Eowyn sees her brother choking Grima against the wall. She looks on in cold silence, then walks away.

When Aragorn reveals that the beacons have been lit, Eowyn rushes into the throne room, drawing to a stop at Eomer's shoulder. They wait together for Theoden's judgement.

When it comes, and Theoden sends Eomer to muster the troops, Eomer bows, but even before he has fully straightened up, his eyes go to his sister.

Again, no words exchanged, simply a look of common understanding. They both know what the risks are, they both know what is at stake, for the world, for their country, for their family.

Before Eomer leaves, he touches Eowyn's arm, before walking away.

With Eomer gone, we see a steely determination come into Eowyn's eyes. Now there's something Eomer's missing, now Eomer's back is turn and there's something about his sister that she's keeping from him. She's riding to battle.

The one time they speak to each other, they're in opposition. About Merry, about Eowyn, about war.

The words are harsh. Eomer is stern, Eowyn is defensive.

But Eomer puts his hand on Eowyn's shoulder. He doesn't say "I don't want you to get hurt, I don't want you in battle", but that hand on her shoulder, tells the audience that's exactly what he's saying.

Those small moments of physical affection culminate in one great moment, when stern, stoic Eomer discovers Eowyn on the battle field, and breaks down in tears, cradling her and rocking her like she's a child.

And his devotion to her is ultimately shown in him sitting small and hunched, tucked in on himself, crouching down in armour for what seems to have been a lengthy space of time, as he sits by her side, waiting for her to be healed.

This is such an effective way of showing to an audience that two characters love each other, when there is a limited time window. The movie needed to crack on to cover the ground it needed to cover, and with so many important dynamics to reveal to the audience, the creators needed to be time effective. Eomer and Eowyn don't share much screen time, but the looks exchanged, the passing moments of intimacy, tells us clearly that these are two people greatly fond of each other, and have been fond of each other a long time.

The lack of spoken dialogue almost enhances it. Little is said between them because little needs to be said. They already know. The one time they do speak, it's when they're quarrelling, because that's the only moment when they need to use words. The rest of the time, a gesture, a look, is enough.

[morganmnemonic]

I can't stop thinking about the relationship between Jon and Helen as perhaps one of the most important ones in the entire show. They are narrative parallels for each other, and they both know it. They've both known it from the very start!

Helen walks into the Archives, paranoid, unsure of who to trust, and Jon sees himself in her. And he thinks "If i can help her, maybe there's hope for me too." Then he can't save her. The next time they meet, she's a monster. They're both monsters. There was never any other way their stories could have gone, their fates entwined from the very start.

And Helen answers his original thought with one of her own: "Maybe if we can help each other, there's hope for us both." But Jon looks at her and sees everything that he fears becoming, and so he turns her away, and refuses to accept that their stories are still one and the same.

Helen went to the last person who was ever kind to her, the only person who both knew her as a human and had the context to understand what she'd become, and he hated her. He hated her because he liked Helen, and told her that she couldn't be Helen.

So she stopped trying to be Helen, and embraced being a monster. Reveled in it even. Then Jon wakes up from a six month coma, more monster than person, and tries so hard to cling to the things that mattered to him when he was human. Even with no support, even with the entire archives staff against him, he chooses humanity and compassion over and over again.

And this is a direct threat to Helen's world view. Their stories are entwined. If Jon can continue to be a person even after everything he's been through, then she could have clung to her humanity too, if only she'd tried a little harder. And that terrifies her! She wants to conceptualize herself as someone who was completely overwhelmed by forces beyond her control, who never had a choice but to become a monster. She want's to be an innocent victim. But Jon argues with his actions that they'd both had choices.

And, Jon, in turn, holds out hope that she might make better choices until the very end.

This is the conflict between them for all of season 4 and 5. Jon wants to prove that they can both be decent people, and Helen wants to prove that they were never going to be anything but monsters. This is why she's so devoted to trying to goad Jon into enjoying his newfound godhood. She knows that they are the same, and wants that to mean that he has a spark of evil inside of him, and not that she was always capable of doing good.

When Jon kills her, she loses her life, but wins the argument. Helen is nothing but a dangerous monster who needs to be killed for the good of everyone, and in the moment he decides that, Jon dooms himself to the same fate. Their stories are one and the same. "If i can help her, maybe there's hope for me too." he thought. But he couldn't help her, refused to, even, in the one moment when it actually mattered. And thus, there was never hope for him.

[joycrispy]

One thing I love about Crowley --never stated, but consistently shown-- is that he is, at heart, an engineer.

I have a few different things to say about that. Let's unpack them.

As the Unnamed Angel, we see his designs for the Pillars of Creation are millions of pages long, comprised of cramped text, footnotes, diagrams, schematics, etc. It's very...Renaissance polymath, in the way it implies a particular intersection of artist and inventor.

Also: in the naked romanticism with which he views his stars.

We already knew he made stars, but in s2 we learn that he did NOT sculpt each of them by hand. He designed a nebula ("a star factory," he says) that will form several thousand young stars and proto-planets, and all --aside from getting the 'factory' running-- without him lifting a finger. We also learn that these young stars and proto-planets stand in contrast to those made by other angels, which are going to come 'pre-aged.'

...I'm reminded of Hastur and Ligur's approach to temptations. Damning one human soul at a time, devoting singular attention to it over the course of years or decades, and how that stands in contrast to Crowley's reliance on, quote, 'knock-on effects.'

Ligur: It's not exactly...craftsmanship. Crowley: Head office don't seem to mind. They love me down there.

Hm.

I'm also reminded of the M25.

The M25 may not be as grand as a nebula (sentences you only say in GOmens fandom...), but LIKE his nebula it's an intricate, self-sustaining engine that does Crowley's work for him, many times over. Again.

That's some pretty neat characterization --and so is the indication towards Crowley's disinterest in victimizing anyone tempting individual people. It takes a considerable amount of planning and effort (and creeping about in wellies), but in accordance with his design the M25 generates a constant stream of low-grade evil on a gigantic scale.

Cumulatively gigantic, that is. Individually? Negligible.

But no other demon understands human nature well enough to parse that one million ticked-off motorists are not, in any meaningful way, actually equivalent to one dictator, or one mass-murderer, or even one little influential regressive. That's the trick of it. Crowley gets Hell's approval (which he NEEDS to survive, and to maintain the degree of freedom he's eked out for himself), and at the same time ensures that any actual ~Evil Influence~ is spread nice and thin.

It's some clever machinery. And he knows it, too:

The Unnamed Angel and Crowley are both proud of their ideas.

(musings on professional pride, Leonardo da Vinci, the crank handle, and 'the point to which Crowley loves Aziraphale' under the cut)

In the 1970's Crowley gives a presentation on the M25, projector and all, to a room full of increasingly impatient demons. Maybe the presentation was work-ordered; the 'can I hear a WAHOO?' definitely wasn't.

Before the Beginning, the Unnamed Angel can barely contain his excitement about his nebula. Aziraphale manages a baffled-but-polite, "....That's nice... :)"

11 years ago, Hastur and Ligur want to 'tell the deeds of the day,' and Crowley smiles to himself because (according to the script-book) he knows he has 'the best one.'

(Naturally, his 'deed' has nothing to do with tempting anybody, and everything to do with setting up a human-powered Rube-Goldberg machine of petty annoyance. Oodles of 'Evil' generated; very little harm done.)

Hastur and Ligur don't get it, of course. That's also consistent.

Nobody ever knows what the hell he's talking about.

It didn't make it on-screen, but, in both the novel AND the script-book, Crowley was friends with Leonardo da Vinci. The quintessential Renaissance polymath. That's where he got his drawing of the Mona Lisa --they're getting very drunk together, and Crowley picks up the 'most beautiful' of the preliminary sketches. He wants to buy it. Leonardo agrees almost off-the-cuff, very casual, because they're friends, and because he has bigger fish to fry than haggling over a doodle:

He goes, "Now, explain this helicopter thingie again, will you?" Because he's an engineer, too.

(It is 1519 at the latest, in this scene. Why the FUCK would Crowley know about helicopters, and be able to explain them, comprehensively, to Leonardo da Vinci?

...Well. I choose to believe he got bored one day and worked it out. Look, if you know how to build a nebula, you can probably handle aerodynamics. And anyway, I think it's telling that this is his idea of shooting the shit. 'A drunken mind speaks a sober heart,' and all. He probably babbled about Aziraphale long enough to make poor Leo sick)

Apart from Aziraphale, Leonardo da Vinci is the only person Crowley has any keepsakes or mementos of.

Think about that, though. Aziraphale's bookshop is bursting with letters, paintings, busts, and personalized signatures memorializing all the humans he's known and befriended over 6000 years (indeed: Aziraphale has living human friends up and down Whickber Street. He's part of a community).

Crowley doesn't have any of that. It's just the stone albatross from the Church (for pining), the infamous gay sex statue (for spicy pining), the houseplants (for roleplaying his deepest trauma over and over, as one does), and this one piece of artwork, inscribed, "To my friend Anthony from your friend Leo da V."

To me, at least, that suggests a level of attachment that seems to be rare for Crowley.

...Maybe he liked having someone to talk shop with? Someone who was interested? Someone engaged enough to ask questions when they didn't immediately understand?

...Anyway.

There's also the matter of the crank handle.

This thing:

This is one of the subtler changes from the book. In the book, Crowley knows Satan is coming and, desperate, arms himself with a tire iron. It's the best he can do. He's not Aziraphale; he wasn't made to wield a flaming sword.

The show, IMO, improves on this considerably. Now he, like Aziraphale, gets to face annihilation with what he was made for in his hand. And it's not a weapon, not even an improvised one like the tire iron.

He made stars with it.

[both gifs by @fuckyeahgoodomens]

If you Google 'crank handle,' you'll get variations on this:

Crank handles have been around for centuries. Consisting of a mechanical arm that's connected to a perpendicular rotating shaft, they are designed to convert circular motion into rotary or reciprocating motion.

Which is to say they're one of the 'simple machines,' like a lever or a pulley; the bread and butter of engineering. You'll also get a list of uses for a crank handle, archaic and modern. Among them: cranking up the engine of an old-fashioned car... say, a 1933 Bentley. That's what Crowley has been using his for, lately. But he's had it since he was an angel and he's still, it seems, very capable of it's angelic applications.

Stopping time. For instance.

(This is conjecture on my part, but, I like to imagine that Crowley has the ability to stop time for the same reason I can --and should-- unplug my computer before I perform maintenance on it. Time and Space are a matched set, after all, and in his designs in particular, one feeds into the other.)

I know everyone has already said this, but: I REALLY LIKE that when he needs to channel the heights of his power, he does so not with a weapon but with a tool. Practically with a little handheld metaphor for ingenuity. One from long-lost days when he made beautiful things.

(And he loved it. Still loves it --he incorporated that metaphor into the Bentley, didn't he?)

Let Aziraphale rock up to the apocalypse with a weapon: he has his own compelling thematic reasons to do exactly that. Crowley's story is different, and fighting isn't the only way to express defiance. And if you've been condemned as a demon and assumed to be destructive by your very nature, what better way than this?

He made stars. They didn't manage to take that from him.

Neither Crowley nor Aziraphale are fighters, really --they have no intention of fighting in any war. They'll annoy everyone until there's no war to fight in, for a start. But between the two, if one must be, then that one is Aziraphale. Principality of the Earth, Guardian of the Eastern Gate, Wielder of the Flaming Sword... all that stuff. Even if he'd prefer not to, it's very clear that Aziraphale can rise to the occasion, if he must.

Crowley was never that kind of angel. He wasn't a Principality. He doesn't have a sword.

...And yet.

It's Crowley who protects. He's the one who paces, who stands guard, who circles Aziraphale and glares out at the world, just daring anyone else to come near.

In light of everything else I've said here, I think that's interesting.

Obviously part of it is that Aziraphale enjoys it and, you know, good for him. He's living his best life, no doubt no doubt no doubt. But what about Crowley? What's driving that behavior, really?

Have you heard the phrase, 'loved to the point of invention'? Well, what if 'the point of invention' was where you started? What if where you end up involves glaring out at the world, just daring anyone else to come near? What is that, in relation to the bright-eyed thing you used to be?

What do we name the point to which Crowley loves Aziraphale?

...Thinking about how an excitable angel with three million pages of star design he wants to tell you all about...becomes a guard dog. Is all.

[luvlystarr]

·········♡········· Prompt: The moment the 141 guys realized they're in love with you. Content: Fluff! (This was all rushed so don't expect it to be the best lol) ························

Kyle 'Gaz' Garrick - In all honesty, Kyle has probably been interested since the day you two met. But when he decided to bring you along to his cousin’s birthday party, that's when it fully clicked in his mind. At first he just thought it would be a good idea to get you introduced to his family, you were his close friend after all. It just so happened that his nieces and nephews were there and as soon as they met you they were instantly hooked. Kyle never knew you were so good with kids and just people in general. His nieces and nephews kept playing with you, while his other relatives genuinely enjoyed chatting with you. The exact moment he realized he loves you was when one of his nieces asked you, “Do you like Uncle Kyle?” To which you responded, “Yeah, he’s a very special person to me. I like him a lot.” Of course you had to say those words with that warm, kind smile of yours, it got Kyle melting on the spot. Unbeknownst to you, he heard every single word and has been absolutely lovestruck since then.

John 'Soap' MacTavish - It was quite an odd moment. The moment he knew was when you two were up late at night watching every single Harry Potter movie out there. At some point, about halfway through the third movie, you just started rambling about the characters and story of the whole franchise, even covering little details about the books. Johnny didn’t even know why or how his mind began to think that way, but he just found it so attractive. Even to this day he doesn’t understand why you geeking out about the Harry Potter franchise was so captivating. Maybe it was the way you looked so focused, or how the tv was illuminating your features perfectly, probably your angelic voice too. Either way, he can’t stop thinking about you and he uses every chance he gets to get you talking about any of your interests.   

John Price - He would probably never admit this but the moment he knew he’s in love was when the two of you were fighting. Both of you had a tiny disagreement on something but it ended up growing into a heated argument. For almost half an hour straight, you two just kept going back and forth, gradually raising each other’s voice and becoming more irritated. By the end it got so bad that you slammed your hands on the table and got snappy at John, yelling strings of insults at him. He should be just as angry, but no. In that moment he could’ve sworn his heart skipped a beat. How could he get mad if you looked so cute with your pouty lips, furrowed eyebrows and crossed arms? He mistakenly let out a small chuckle at your attempt to be intimidating but he was met with a slap on his face. At that moment he knew that the only reasonable explanation why he felt that way was because he was head over heels.

Simon 'Ghost' Riley - You were the first person he actually got close with. Sure, he has Johnny and he's an amazing friend, but the bond he had with you was unlike any other. The two of you found solace in one another and always had each other's back. The night he knew it was true love was when you drove all the way to his house after a terrible day. You were sobbing endlessly as you rambled on and on about how crappy your boss is as he intently listened, even rubbing your back while handing you a cup of tea. After comforting you, he insisted that you stay for the night. He let you wear one of his hoodies and even let you sleep in his bed. You were hesitant at first but quickly gave in with how insisting he is. He remembered watching you sleep peacefully, all huddled up beneath the blanket. He had to admit, you looked adorable wearing his hoodie with that calm look on your face. That's when it dawned on him just how much he loves you. ········································································

[poguelandiarafe]

unspoken truths | rafe cameron

pairing - rafe cameron x female reader

warnings - none, just some angst and fluff

summary - during a 'networking event' with your family and rafe's, you discover he's denying your relationship while you've been proudly showing it off. this sparks an argument where rafe admits his true feelings and vulnerabilities.

masterlist

--------

all night, a polite smile has been plastered on your face as you make conversation with people you hardly know. you don't want to be here, but your parents and the camerons, who are co-hosting the party at tanneyhill insist all the kids make an appearance. a united front to keep up appearances as the 'perfect families' of figure eight.

the party, or 'networking' event, as your parents put it, is far more formal than what you're used to. you're used to parties on the beach or some random kook's house, wearing a bikini or mini dress while drinking as much alcohol as you can—not a floor-length dress, sipping on champagne, and only speaking when you're spoken to.

you've been seeing rafe for a few months now, and though there's no official label on it, you know in your heart it's real. the late-night phone calls, the way he always manages to scope you out in a room full of people and never lets his attention stray from you, the stolen kisses in the corner of whatever room you're both in. which is why you see no problem with telling people you're together when your parent's nosy friends ask if you have a boyfriend.

a woman who you recognise as your dad's friend comes over to you, starting a polite conversation before asking, "so, any boyfriend yet?"

a coy smile tugs at your lips as you answer, "yeah actually."

"can i ask who?" she asks, eyes lighting up with curiosity.

"uh-rafe, rafe cameron."

her eyebrows lift and she scans the room, looking for him. you follow her gaze, unable to stop your cheeks from flushing when he smirks at you from across the room. see, he always finds you.

"oh, he's handsome. you're a lucky girl." she laughs before being dragged into another conversation, offering you a small wave which you return.

as the night goes on, you're asked if you're seeing someone by several other people, and each time you respond with rafe's name. what you don't know is that, on the other side of the room, he's in a conversation with people telling them the exact opposite.

"y/n? no, we're not together why?" rafe asks.

"oh, uh- she told us before you guys were. but i must've misheard." the businessman says, coughing awkwardly.

"yeah, you probably misheard her. we're just friends." he replies, his tone indifferent as he sips his beer.

unaware of this, you continue going around as if everything is fine, glowing from the compliments people are giving you. you don't understand how fake the compliments are until later, when you're standing by the bar and overhear a hushed conversation about you and rafe.

"rafe said they're just friends. i kind of feel bad for her, i mean, going around telling everyone you're together when you're not. it's embarrassing." someone whispers.

you freeze, your grip tightening on the glass in your hand. without a second thought, you scan the room looking for him, eventually spotting him laughing with a group of guys as if nothing's wrong. you're fuming, the sight making your blood boil.

marching through the crowd, you stalk over to him until he locks eyes with you, giving you a smile. normally you love his smile, but this time it makes you even angrier. the group of men around him sense the oncoming storm you'll inevitably bring and leave the two of you alone.

"hey, sorry i've barely seen you toni-" he starts but you cut him off, anger flooding through you.

"what is your problem?" you snap, crossing your arms over your chest that he can't help but sneak a look at, "just friends, huh?"

his brows furrow in confusion, "what are you going on about?"

"don't play dumb with me rafe. you've been going around all night telling people we're just friends."

"so?" he shrugs, casually sipping his beer.

"so?" you laugh bitterly, but your voice is laced with hurt, "i've been going around calling you my boyfriend. do you have any idea how humiliating this is?"

suddenly aware of the growing crowd, rafe steps closer to you, "i'm not doing this here y/n, come with me."

but when he tries to grab your hand, you pull it back, "don't touch me."

he knows you'll only argue with him more if he tries to grab you, so instead he walks away, knowing you'll most likely follow him. he's right, the clicking of your heels against the hardwood floor gives you away.

"rafe cameron, you do not walk away from me!" you shout, trailing after him until the door to his bedroom clicks shut behind you both.

you're standing in the middle of his room now, arms crossed and chest heaving in frustration as you glare at him. his beer bottle is still in his hand, bringing it up to his lips to take a swig before setting it down on the dresser. he brushes past you, opting to sit on the edge of his bed instead. the air between you both is tense, full of anger and confusion.

"you finished?" he asks, tone sharp.

"no, i am not finished," you fume, starting to pace up and down, "you humiliated me rafe. i was calling you my boyfriend like i was some delusional girl who's desperately in love with you. people pitied me when you denied us being together. do the past four months mean fucking nothing to you?"

he leans forward, elbows resting on his knees, stare locked on the floor. a ringed hand runs over his buzzed head and he lets out a frustrated sigh. all the things he wants to say are swimming around his head, but the words get stuck, like the wall he's built up over time is refusing to let them out.

"of course they mean something to me." he says, voice softer than you're expecting, "but i've got my reasons y/n."

you stop pacing now, turning to face him, "so tell me. because right now you're just making excuses and i don't deserve that. i've been nothing but kind and caring and loving to you. i deserve to know rafe."

when he finally looks up from the floor, you're surprised to see his eyes full of tears, on the verge of spilling onto his cheeks. stepping forward, you cautiously place a hand on each of his knees, parting them until there's enough space for you to stand between them.

"please." you whisper, his hands coming up to rest on your hips.

"i don't know how to do this. i don't know how to love someone and not screw it up. i... i'm a disappointment to everyone and i don't want to be a disappointment to you. i don't want to screw this up." he admits, voice trembling.

"rafe, look at me," you softly demand, cupping his face to brush away the tears that escaped, "you're not a disappointment, okay? you won't screw this up either, but i need you to try. i'm not going anywhere anytime soon but it's not fair for me to put all my effort into us if you don't want this."

"i do want this," the words spill out in a rush, "i want this more than anything, i'm just scared. wanna protect you from all the shit i come with."

your heart aches at how vulnerable he's being. you've never seen him like this, always used to him being his confident, cocky self. leaning forward, you press a soft kiss to his forehead, then his lips.

"you don't think i knew what i was getting myself into? i can handle it, just like i have been. just want you to talk to me, okay? be honest with me." you murmur.

he nods, resting his head on your stomach and tugging you closer to him. for the first time all night, you feel him relax. his shoulders drop and it's almost like you can feel his wall crumbling, wanting to let you further in.

"come on, let's go to bed. i sure as hell don't wanna go back down there."

"okay." he mumbles, "can you stay here tonight?"

"wasn't going anywhere else." you promise.

you let your nails scratch at his scalp for a few seconds before trailing down to his tie, carefully tugging at it until it becomes loose. undoing it properly, you let it fall to the floor. reaching for the buttons of his shirt next, you begin undoing them one by one.

"you don't have to." he starts, but you simply shake your head, pressing a kiss to his lips.

"i want to," you reply softly, "let me take care of you."

your fingers gently brush his skin as you finish undoing the buttons, pushing the material off his shoulders and letting him shrug it off his body. the tension continues to leave his body the more your hands stroke up and down his arms. his hands, once gripping your hips, now trail up your back until they're tugging down the zipper of your dress.

once you're both undressed, you climb into the bed, pulling the covers back to invite rafe in, who's still standing at the side of the bed. letting out a shaky breath, he climbs in after you, instantly pulling you closer and resting his head on your chest. his warm breath tickles your skin as he nuzzles further into you, arms wrapping around your waist to anchor himself. your fingers run over his bare back, tracing patterns while his breathing evens out.

"you're not alone you know? i'm here for you, always will be." you murmur.

his arms tighten around you like he's scared you'll slip away, "i know. sometimes it's just too much. i don't want it to become too much for you."

you lean down, leaving a kiss on the top of his head, "it won't. and if it ever does we'll get through it together, because i told you i'm not going anywhere."

he doesn't say anything in response, but he doesn't have to. feeling how his hand finds yours and laces your fingers together, squeezing them is enough.

a few minutes of silence pass, and when you look down you see that his eyes are closed and his lips are pouting ever so slightly. he's fallen asleep. sleep that's much needed. you glance toward your phone on the nightstand, debating whether to text your parents or let them worry about your absence until morning. you're not in the mood for a fight though, so you quickly send them a message explaining you'd be spending the night at tanneyhill.

as you set your phone on the nightstand, the bedroom door creaks open, and a figure you recognise as ward obstructs the light from the hallway. his eyes scan the room looking for rafe before noticing he's mostly covered by the bedsheets, his head resting on your chest as you gently scratch at his scalp. ward clears his throat, attempting to catch his son's attention, but rafe's in a deep sleep, not even stirring at the sound. the door opens further and he steps fully into the room.

"hey, can i speak to rafe?" he asks, voice quiet but firm.

you shake your head, "not right now, just... leave him alone tonight ward. he's had a long day. he can't deal with anything else right now."

"it'll only take a minute y/n." he insists, eyes narrowing slightly in annoyance.

you don't waver, "no, just leave it. deal with it tomorrow."

with a reluctant nod, ward quietly leaves, shutting the door behind him. the room is left in complete darkness apart from the moonlight shining through the window, and rafe mumbles a sleepy 'thank you' against your skin.

"of course," you whisper, "i love you, rafe."

you feel him smile against you before mumbling, "i love you."

[thewisecheerio]

Messmer's actually terrible at his job. (affectionate)

Messmer is a fascinating villain, because he is strangely compassionate. I would go so far as to argue that this same compassion that is so at odds with his villainy is the very thing that drove him to become that villain in the first place. Hang with me; this is a long post.

Spoilers for Elden Ring DLC. Obviously.

Messmer tells us himself that his purpose is to purge all those stripped of the grace of gold. "Yet...my purpose standeth unchanged. Those stripped of grace of gold shall all meet death...in the embrace of Messmer's flame." We can piece together who gave him this genocidal purpose from his armor set's description, which tells us directly that he's working on his mother's behalf *and also* taking all the blame for it.

So he's playing war criminal on Marika's behalf. And I do mean playing. I'm not downplaying the fact that he is a war criminal; he has murdered on entire people. But here's the thing: he's *terrible* at playing the sole part of the spiteful, hateful overlord. He's *awful* at reveling in war and its victories.

Why? Empathy.

Messmer is strangely empathic for what could have otherwise been a cut-and-dry villain:

1. His relationship with Gaius, an Albinauric: We learn from Gaius's Remembrance that he was Messmer's bestie. We also know that Gaius was an Albinauric both from his armor as well as the location "Albinauric's Hut" in the direction he comes from at the beginning of his fight. Albinaurics are despised by the Golden Order, but Messmer didn't seem to care. In fact, he cared so little that he gave Gaius command of either a huge chunk or perhaps his entire army, second only to him. And what is given as the basis of this friendship? The fact that they were "both cursed from birth", i.e. a mutual understanding of what it is to be despised. They're trauma bonded because they have empathy for each other's predicament.

2. His relationship with the Jar people: Even though the Jar people were used as weapons of war against his own people, he doesn't seem to resent them. How do we know? There is a hospital where the Jars and their innards are being cared for in the Storehouse, a stone's throw away from where Messmer spends all his time. There are even a few baby Jars running around in it. Strange thing to do to what is essentially an enemy of your people, unless you consider them to also be victims of the same conflict.

3. His relationship with his soldiers: Messmer shares his own flame with his army. Yeah, that absolutely could be interpreted as a utilitarian move for the sake of war. Power up the troops, boost your chance at victory. But it's a strange choice when he could have just armed them in the traditional way of handing them sharp, pointy objects and pointing in the desired direction of stabbing. Instead, arming your soldiers with your own power could also be interpreted as something you do when you care about their survival and are potentially working directly with them to ensure it.

4. The mourning of people who betray him: Speaking of his soldiers, Messmer gets betrayed by at least a few of them. We learn this from the ashes of Andreas and Huw. Huw's ashes further tell us that Messmer *mourned their loss* as brothers-in-arms. Weird thing to do to someone who has betrayed you, unless you care very deeply about them to begin with.

5. The implications of the Storehouse: Even though he is actively genociding Hornsent on Marika's orders, he somehow has preserved an entire library of their history. At first, I thought this was maybe just British Museum vibes: steal all the artifacts and refuse to give them back. (And that could still be a correct interpretation.) But in context of the rest of these points, if you're truly hellbent on erasing a culture, why would you bother to preserve any of it? Would you not burn the libraries along with the people? It's a fairly common thing to do in our world's wars--destroy the art and history to ensure full erasure. And yet, it seems he can't even bring himself to avoid some small amount of sympathy for the people he was explicitly tasked with killing. If you really *think* about the basis for his sympathy for Marika, this does make a lot of sense. Messmer is following Marika's orders because he knows about what the Hornsent did to the Shaman. Wouldn't it then also be the case that once Marika's reign became nothing but genocide, i.e. an exact reversal of what was done to her people, he would have the same kind of sympathy for them? Perhaps this is a form of harm reduction in the only way he could square with what he thinks is his purpose.

6. His own self-hatred: Messmer despises his own flames, which we learn from the Messmer's Orb description. If you were happy to be Doing a Genocide, would you not celebrate your weapons of war? Wouldn't you take pride in them as tools of power? Unless, of course, you're not actually as happy as we think and maybe having regrets and come to be filled with severe self-hatred. Woops.

So then, if Messmer is this guy running around with a lot of Big Feelings (and probably a deep need for a Prozac prescription), why does he even agree to this genocide in the first place? Isn't that an *odd* choice for someone who seems to care pretty deeply about people, even people despised by his family's governing order? Why does he carry out these orders even to the point of developing a deep self-hatred?

This is where Messmer's sympathy, one of his best aspects, also becomes his fatal flaw.

I mentioned above in 5 that Messmer has access to information about both sides of this conflict. As much as he might have sympathy for everyone around him--including weapons used against the Shaman like the Jars--that means he *also* has sympathy for the Shaman. So if you have sympathy for the other side and sympathy for your side, and you are raised by your own side, then what is the natural outcome? Your side wins. If you must choose a side, then you fight on behalf of Child Soldier Fostering Mother Marika. She raised you, after all. It's inevitable.

In the end, that same sympathy he seems to extend to others also is what causes him to do war crimes. Out of an abundance of sympathy for what happened to the Shamans, he agrees to take up arms.

At the end of the day, he's still a villain that needs to be stopped so that he'll stop oppressing an entire people on behalf of his mother's misguided attempts at revenge. But making his reasoning to agree to become that villain in the first place *empathy* of all things? Fascinating.

[hemmingsleclerc]

Scandal! pt2┃CL16-MV1

part 2!!! is all yours, thank u sm for the love and support for this work

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caption: Day at the beach with my favourite people

charles_leclerc has respond to your story!

can we talk? send 1 hour ago

maxverstappen1

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maxverstappen1 fun day

username yn and him being on the beach....on the same day..

username ugh stfu they're not dating

username max with his sister and mom 🥺

username so cute!

f1_gossip

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f1_gossip This afternoon Y/N uploaded a story to her Instagram account in which only she appeared on the beach, but her mother uploaded a video to her stories this afternoon where you could see Y/N, Max and Y/N's little sister, relaxing in the water. But Max uploaded a post where his family was seen right there, letting us understand that both families went out for a little getaway! Could it be that both drivers are in some type of relationship? What do you think?

username let them enjoy in peace!!

username omg they're so cute

username wait what?! omg

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f1 Our favourite paddock couples in today's race!

username well, charles is jumping of joy

username leclerc's a little happy there isn’t he

username all couples happy and together and then there's charles and aurora walking one meter away from each other

redbullracing

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redbullracing Imo 👉LAAAAAAAA 🎶 yn and max have arrived!

username yn and lewis=best dressed of the grid

username someone looks happy after spending a whole day on the beach 👀

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cha_yn the fact that I thought these two were gonna get married kills me

username does anyone know why they broke up?

username They never clarified anything but it was all very sudden tbh, but some say that there were rumors of infidelity on his part.

username wait, I thought it was bc things weren't working out but they never stopped loving each other, but I really don't know why just a month later he was seen with Aurora

username I smell a PR relationship from the ferrari team

username holy shit I never thought about that! It really doesn't seem like Charles is happy to be around his ''girlfriend''....

username I'm a child of a divorce

username I will never forget when Y/N won a race and Charles ran out of his car to go congratulate her and it was the first time we saw them kiss in public.

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f1 Red Flag 🚩

Charles Leclerc crashes into Max Verstappen on lap 15 ending the race for both drivers

username 💀💀

username It was clearly seen how leclerc threw the car at max

username THE BEEF BETWEEN THESE TWO TF

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f1_gossip OH MY GOD! After the accident between the Ferrari and the Red Bull, a completely angry Max went to look for Leclerc and fans captured the moment when Max started pushing and yelling at Charles. Was all this simply because of the race or something else?

The FIA ​​is still investigating the accident but in the meantime, who do you think was at fault?

username charles for sure

username idk man but I think verstappen

username LECLERC IT WAS SO OBVIOUS

username Max always ruins a driver's race, it's nothing new tbh

username Call me crazy but could it be that Charles was angry to see that Max and Yn were together on the beach yesterday? Now I'm gonna shut up

username WAIT

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f1 YN LN WINS THE GRAND PRIX!! THIS IS HER FIFTH CONSECUTIVE VICTORY AND THE FIRST TIME IN HISTORY THAT A FEMALE DRIVER ACHIEVED THIS

username She shut up all those men who said she was going to last two races at most.

username I love women being successful

maxverstappen1 👏👏

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ynupdates Max congratulating yn for her win today!! They're so cute

username the fact she liked the post 🥺🫶🏻

username he's so green flag

username He didn't walk, he ran to congratulate her

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f1_gossip oh, my. It's official, charles and aurora both unfollowed each other, please let's make a toast

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ynln

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ynln yeah my bf's pretty cool but he's not as cool as me

jk he's cool asf, he’s a 3 times wc 🤭

maxverstappen1 hell yes I am

maxverstappen1 I love u my love😍

username I FUCKING KNEW IT

username damn that's a hot ass couple I see

username MAX CAN YOU FIGHT!??!!?

maxverstappen1 yes I can, and I already have for that woman

username: oh yeah right, with leclerc, I forgot, my bad💀

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okey so I did my best, I'm sorry if u don't like it :( but! I'm happy if u did. As you voted Max was the endgame for this so yeah!

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@spookystitchery @marvelfangirl04 @acutely-autistic @under-seasoned-pasta

[alchemistc]

Found this in my drafts and decided to finish it up, written before the Abby reveal so we're just pretending that never happened, have some outsider pov of the alt timeline where Tommy and Buck met before Buck was at the 118.

Tommy is being weird. That's the only way Hen can describe it. He's been quiet on calls, none of the usual banter and posturing she's used to; he's been quiet in the station, prone to staring at the space between his lap and the dinner table even as Chim spouts off some ironic quote that would have had him cheesing it up a few weeks previous; he's been quiet as he packs his shit and heads out for his truck. Each afternoon since he'd quietly announced his transfer to the 217, he's been quiet, and it's weird.

Hen's not entirely surprised. Tommy's nothing if not protective of his own feelings - years and years of Gerrard all hanging over their heads even though he'd admitted a few drinks deep one night that he was pretty positive his professionally scathing complaint about Gerrard was very likely what tipped the scales ("Could have been Sal's, though," he'd said with a shrug as his eyes drifted to the head on his beer.). From what she's gleaned off Chim, there's a good chance he'd been an ass in part to protect himself from feeling too bad about losing someone, too (again) - not that that's any type of excuse for the shit he'd had a hand in putting her through. An excuse for the things he's said, in the heat of the moment, in the quiet caverns of life under a shitty captain.

(Stumbled apologies, serious expressions on a face softened only by the shots he'd been buying all night, words said and unsaid between them and the gaping maw between a Chim happy to accept and move on while Hen downed her tequila and waited for the other shoe to drop.)

It's been years since then. Years and years winding between them all, a dozen captains and more than a few transfers of good firefighters away from the 118, and something good and warm and special brewing in their house with the arrival of the captain who'd made family dinners a daily occurrence.

She'd sort of expected Tommy might finally open up, when those family dinners kept going and Nash kept staying and things started to settle into something closer to friendly instead of the soldiers of war camaraderie they'd grown so used to. And maybe he has, to someone who isn't Hen - who'd taken his little efforts to change at face value and refused to put in more work than that for a colleague who'd made mostly bare minimum efforts post-Gerrard, always accepting the new status quo, refusing to make waves. She respects Tommy. Trusts him on the job, and sometimes off of it when they've had a shitty shift and need to decompress before they go home to the people in their lives who can never really understand losing someone to the heat of a fire, to blood loss and blunt force trauma. Doesn't care for him the way Chim seems to, doesn't really desire a closer relationship than the one they've maintained through the turnover of captains and the 48's they pull on occasion.

But Tommy's being weird, and Hen's pretty sure she's the only one who sees it.

She waits until she's sure Chim has a date to hit up Tommy for an after shift drink, and his eyes crinkle around the corners in suspicion because he knows just as well as she that she's putting them in an awkward position without the buffer zone of an extra coworker to fill in the blank spots of the things they don't say to each other. He'll be gone in a week. There's not a single fucking reason for her to try to get to know him better now.

"Sure thing, Wilson," he says, and when he offers to drive them both Hen makes up some excuse about needing her car in case of some Denny related emergency.

---

She expects it to take a while. Ply him with a few drinks, figure out what it is about Howie that always puts Tommy at ease so quickly when they're out like this and try to replicate it - he keeps things close to the vest but Hen has ways of weaseling things out of people once she's got them where she wants them.

Tommy sighs and picks at the label on his bottle. Thins his lips, and stares at her sideways. "I'm seeing someone," he says, in an undertone, and Hen hasn't even taken her first sip from the bottle he'd ordered for her, too, while she scrounged up one of the smaller booths. His eyes dart, like he's checking to make sure no one else is listening, that no one here recognizes him, and Hen - Hen knows that look. She just can't square that look with Mr. Toxic Heterosexuality himself.

Hen takes a sip. Forces herself not to vibrate out of her own skin because - because - because she's gotta wait this shit out. Could be he's found himself attracted to some weird goth chick, or a woman with meat on her bones, in which case he's in for a big ole smack to the head or one of the looks she reserves for when the boys get a little too caught up in their locker room talk.

He darts his gaze up. Meets hers, steady on, for the first time in...weeks, actually, now that she's thinking about it, and the guilt there in his eyes sure is something to behold.

"He's younger," Tommy says, and Hen rolls her tongue over her teeth so she doesn't do something stupid like hone in on that pronoun with either glee or full-on righteous anger.

Hen narrows her eyes instead, and is surprised that he keeps her gaze. She's expecting - unnecessary contrition, or maybe a ducked head or excuses. He chews on the inside of his lip and chuffs out a self deprecating laugh.

"I don't have a fucking clue what I'm doing and he still lives in a frat house."

Hen's mind goes somewhere inappropriate, and she has to stop herself from making a truly horrible hand gesture because he can't possibly mean -

He rolls his eyes. "I know where to stick it, Wilson, that's not the issue."

She has about half a million questions queueing - things she's not sure they're close enough to ask, things she doesn't actually want the answer to but stick there in the back of her mind anyway, things she'd never ask someone who'd been kind to her from the outset. "How'd you do it?" he asks, and Hen remembers the way he'd stood, arms crossed and face blank and something sad and vulnerable in his face while she lectured from her red and chrome pulpit. Jesus. He's known. He's known a while.

"I've never exactly been passing," she tells him, and winces at the aggression in her voice, in that statement, in the very existence of the idea. He shoots her a bitchy look that's far more familiar, in line with their normal dynamic. It has her rolling her shoulders back, has her sitting up a little more in her seat. "Is that - are you asking me how to come out?"

Tommy shrugs. Tips his head. "You're the one who wanted to get drinks."

"And if I hadn't asked?"

She knows the answer. The dumbass would have transferred out of the 118 with no one the wiser. Probably fallen off all the group chats, squared with himself for however long it took, decided one way or another who to tell from there. But he's here now, talking to Hen. Telling Hen, the person he's probably the least close to.

Hen sighs. Takes a longer drag off her beer this time while Tommy folds up a piece of the label he's ripped off. She's not gonna be his fucking gay guru. They're not anywhere approaching that close.

He could have lied, though, is the thing. Seems like he's maybe been lying for a while, if the uncharacteristic fidgeting is anything to go by. She knows him under stress, knows him when he's walking through literal fire. Figurative fire is an entirely different matter. She doesn't know that Tommy.

The words that fall out of her mouth aren't the ones she's aiming for. "You and Sal." she says, and then bites down the rest of that sentence like it'll burn them both. His eyes dart up. He shifts in his seat.

"The only reason I'm saying a word is because the answer is no," he says, and - yeah that's fair. Everyone has the right to come out of the closet in their own fucking time.

"So this kid," Hen says, moving on, and - oh. There's that look. It's a little dreamy-eyed, the way he's been getting sometimes when he's looking down at his phone and trying his hardest to keep a straight face. "What's the deal there?"

"He's new," Tommy says, and Hen can feel her brow tic up of it's own accord, because he says it with the authority of someone who isn't new. Hen has to wonder exactly how many times the perpetually single Tommy joke had been made while Tommy was less than single. God, that had to have stung, hadn't it? "He's - apparently he didn't realize he was flirting until I kissed him about it."

That's remarkably brave for a man who isn't out to a single person he and Hen are mutually acquainted with. At least as far as she knows - Chim can't keep a secret to save his damn life so at least she knows he doesn't know.

"You know you didn't have to tell me any of this."

His expression is wry. He bites his lip, curls his tongue over his teeth, shakes his head like he's clearing cobwebs. "The transfer isn't the only thing I had on the docket for major life changes."

Karen's gonna be pissed if Hen doesn't get the dirt, she tells herself as she leans forward, so she throws a teasing edge to her voice as she quirks a brow. "This life change have anything to do with your baby gay or is that just a natural progression of the coming out process?"

Tommy's posture eases, just a little. He gives her a look that she's more familiar with seeing when Chim's in the booth next to him, or they're elbow deep in shit-talk at the station.

"Happy accident, actually," he says, and Hen leans in to listen to him dish when his eyes go all soft and gooey.

___

She's known Evan Buckley a total of six hours the first time he mentions his boyfriend. There's a nervous edge to it, like he's still testing the word out, like the syllables are unfamiliar, and he glances down at the phone in his lap right after he says it, like he's double checking something. Hen wouldn't have pegged him for it, for all that she tends not to make assumptions. It's just. He's so.

Hen shoves back against the stereotypical bullshit and throws him a bone, because he looks like he's fucking desperate to share information on the fact that someone cares enough about him to let him call them his boyfriend. She lobs a layup, something relatable about 'my wife, Karen'.

"Yeah, Tommy said you were married."

Hen pauses. Wonders if she can turn her head like an owl so that she doesn't have to shift her weight to look behind her at where Buck is happily washing dishes, elbow-deep in sudsy water. There's no one else up here with them - most of the shift is working off dinner downstairs.

"We never have meals like this at home, I'm lucky if the guys I live with don't steal my last packet of ramen before I can get to it," he'd said, and she remembers Tommy grinning at the memory of this Evan he'd been seeing being inordinately impressed by the fact that Tommy could grill a steak. ("Jesus, Kinard, are you sure you're not robbing the fucking cradle?")

Hen shifts. Eyes him a little more carefully as he turns his head to meet her gaze, and - holy shit, she's actually feeling a little protective of Tommy Kinard right now. "He know you're out here sharing his business?" It's not the tone she's going for - admonishing instead of exploratory, but Buck just grins at her over his shoulder, like he's pleased Tommy has someone watching out for him. Shit. She'd been a little concerned that Tommy was in over his head, stuck up on the idea of being out out and clinging to the first boy that batted his lashes, but it feels like maybe there's more to it than that. She can't square that with what has to be at least a decade of years between them, but -

Love is love, and all that.

"We, uh. We've been talking about it."

Hen raises an eyebrow, because that's not actually a green light to air Tommy's business.

"He - well last night we talked about it again. So. I mean it's not like Facebook official or anything. But he said it was cool to talk to you. A-all of you. He's - everyone at Harbor knows me."

It hurts a bit to know that Tommy's been there less than six months and felt more comfortable being himself with a bunch of strangers, but...

It's good. That he has that. That he's not walking the world just shoving bits and pieces of himself away.

Hen watches him rinse his arms and square his shoulders and shift to face her. "How'd you two meet, anyway?" she asks, because Tommy had been so stuck on the trying to figure out how to have an honest relationship piece that she'd never gotten around to asking.

Buck's expression could be easily mistaken for a solar flare, for the way it lights up the whole loft.

[reginalusus]

Just a sketch that I was too tired to finish... And since it's Father's Day I'm just gonna dump a bunch of my more silly (mostly) headcanons about their dynamic below, teehee.

General - They argue. A lot. About anything. Jason is the instigator. Harvey is almost always correct. - There has been a karaoke battle at some point. - They smoke far too much and smoke breaks are common occurrences during anti-hero outings. They are no longer mere breaks; they are rituals. - One of the only things they are comfortable openly bonding over is their alleged hatred of Bruce - and weapons. - Actually work very well together in combat. Jason's accurate, hard-hitting martial arts expertise and agility compliment Harvey's more elegant and violent approach. Gotham's scumbags are cooked. - They were both slain by Gotham, and reborn. They are now both living their second life - neither want to admit to each other that they find comfort that they're not alone in this. - They will take any opportunity to bring up each other's past interactions; the two-toned car, the two-story building fiasco, the kidnapping, anything. - Jason's biological father is the root cause of their most explosive, brutal fights. Both of them, however, are exhausted and have other shit to worry about, so they avoid this topic as best as they can.

Jason's POV - Teases Harvey about twos, duality and doubles to distract from the horrors. - When angry, will call Harvey 'Apollo' to piss him off. Sometimes it's 'Ex-District Attorney', with emphasis on the 'Ex'. - He doesn't like it very much when Harvey attempts to get close/connect with him; relationships are transactional. At least that's how Jason views them. - Hates being passenger in Harvey's car because he doesn't get any say over the radio. - He does view Harvey as a parental figure, or something like it, but he's conflicted. - Actually appreciates it when Harvey helps him through PTSD episodes. - Sadly, he isn't very good at helping Harvey through dissociation/depressive episodes yet. He sort of stands there like the man emoji. - Will randomly come out with courtroom related lines when Harvey does something bad, like: "Your honour, my client would like to plead Gemini," or "Your honour, in my client's defence, he didn't know the safety lock was off." - Makes jokes about Harvey's thugs all wanting to have 'a night' with Harvey. - Absolutely refuses to call Harvey "dad", even jokingly. He will have sightseen everything in Hell before that happens. - But at the same time he cries out for a father figure, one that is proud of him, that loves him. He secretly loves it when Harvey pats his shoulder or gives an approving nod.

Harvey's POV - Will make jokes about Jason being alive again to distract from the horrors. - When angry, calls Jason 'Robin' or 'Pup' (name of a baby bat) to piss him off. - Tries to bond with Jason - he *wants* to - but he's a big dumbass about it. - Does not understand Jason's music taste and doesn't have any desire to. - Views Jason as the child he never had the chance to have. In a sense, that makes him quite protective of Jason, but he hides this. He tries desperately not to be like his own father. - Is quite good at understanding Jason's emotions; he knows how to deal with his attacks and does, begrudgingly, use tips he learned from his previous therapists. - Doesn't wish to burden Jason with his own episodes. Unfortunately it's not always possible to hide them. - Just as Jason tortures him with puns, Harvey will do it right back. He'll come out with things like, "We only put up with you because you were the SECOND Robin," or "How would you like to die a second time?" - He will stand and stare awkwardly when Jason brings (sneaks) lovers back to the hideout. But he minds his business. - May have accidentally called Jason his son a few times. Or his "kid". But not to Jason directly, only in his talks between himself and Two-Face. - He likes seeing Jason happy. So many kids and young people are let down by Gotham's corruption and he'll be damned if Jason becomes a victim of it (again).

[avelera]

Arcane's Jayce & Viktor: A Tech Industry Perspective

I've been wrestling with whether to make a short and sweet post about these points or to just have another long-winded meta and clearly since I'm incapable of being brief, I guess we'll just dive in.

I work in tech. What I see in this industry colors a lot of how I see Jayce and Viktor in Arcane. I'll try to be brief about a few of the things that stand out to me the most and that I think are intentional.

1 ) Jayce and Viktor are references to Alfred Nobel - This is a historical reference so direct I genuinely don't know how people grasp Jayce and Viktor's characters if you don't know about it.

Alfred Nobel is known for two things: inventing dynamite and bequeathing his subsequent fortune to founding the Nobel Peace Prize. These things are very much related.

Nobel was brilliant but socially naive. When he invented dynamite, he intended it to make life easier and safer for working in mines. Sound familiar? That is literally what the Atlas Gauntlets and Hex Claw Jayce and Viktor invented with Hextech was posed to be. It is a direct reference to Alfred Nobel and dynamite, there is no question about it in my mind whatsoever that they pose the benefit to society as specifically being useful to miners.

Nobel also believed that the awesome destructive power of dynamite would mean the end of warfare. Literally. He thought it was so disgusting and unthinkable that people would use explosives on each other that it would grind violence to a halt. He was very, very wrong about this. So wrong, in fact, that he spent the rest of his life in horror and remorse at how explosives were being used to kill people and created the Nobel Peace Prize to promote innovations aimed at peace, a prize which annually recognizes those who "conferred the greatest benefit to humankind".

Likewise with Jayce and Viktor, they are both horrified to imagine Hextech used for warfare and we think they're incredibly socially naive for thinking this, because they are. Maybe in another universe, there'd be the Talis Peace Prize to try to make up for what they unleashed on the world. Which brings me to my next point:

2 ) Jayce and Viktor have typical engineer blindspots to society's ills - As I've discussed in-depth in another meta, Jayce and Viktor both desperately needed some non-STEM or scientific classes in their life because their worldview is so naive and stunted as a result that it's the source of a dizzying number of their problems. Neither of them could even consider that Hextech, like dynamite, would be weaponized immediately. But they have other huge gaps too as a result of their narrow focus on science, and I do believe this is intentional by the writers as a commentary on engineers and tech people in general.

Short version, Jayce desperately needs some understanding of history and of rhetoric. When Ambessa asks him if his school teaches military history, he doesn't even know if they offer it. She was testing him with that question and as a canny manipulator and general, she clearly takes that to mean she can run circles around him, and she is right. Because with incredibly simplistic plays to his male ego, like calling his leadership "impotent", Ambessa immediately gets Jayce riled up and not thinking clearly. She blindfolds him, spins him around, and shoves him headlong into taking violent military action in exactly the direction she wanted him to go in to kick the nest and set off a war.

Jayce is also easily manipulated by Mel for more benevolent but still self-serving reasons with appeals to his life's work with flattery, his male ego with sex, and his dreams for a better world to make him fall quickly into step with the city's corruption with only a little nudging because he has no strong civic understanding of his own to fall back on. As Cait notes, he's never taken an interest in the Council or politics before until he becomes a Councilor himself.

Short version for Viktor, he wants to make the world a better place but he's never actually had to think through human nature before. He's literally never bothered. We know this because of his blindspot towards Hextech weaponry where he truly believed they could avoid it being used for warfare, and the fact that later in his cult, he's somehow shocked to learn that people will do bad things for the ones they love and won't just slice pieces of their own nature and personality off to fit into his little Utopian commune.

Literally cracking any kind of history or sociology book or heck, a Pratchett Discworld book, would have told him that there's a straight fucking line between deciding people are the problem when it comes to fixing society's ills and eugenics. He falls headlong into that trap and it requires his older, wiser self to beat him over the head with the truth of the horrors of his own simplistic worldview would lead to before he literally annihilates all life in his home city in his attempt to save it.

Which brings me to my next point:

3 ) Jayce and Viktor as oblivious tech nerds who have never cracked a book open but suddenly thinking that because they're great engineers, they have the solution to all of life's problems.

This is a somewhat shorter point, but I think in modern society we all know about the proverbial tech bro who keeps reinventing things like public transportation and taxes because they've never read a book in their life that doesn't have equations in it.

To be clear, they aren't bad people! I'd even hazard to say that young tech bros trying to make public good-based startups with a laughable lack of social awareness aren't bad people either! If anything, the education system has failed them, and they're pouring their intellect and earnest, human desire to help others into endeavors with the narrowest possible world perspective, which happens to be their field of expertise and thus it makes sense they'd see that as the greatest value that can offer, it's just too limited a view so they end up reinventing things that already exist or making worse, more dangerous versions of things that already exist. Tragically, their naive but well-meaning worldview often leads to:

4 ) Viktor and Jayce, but mostly Jayce, as tech bros being beholden to billionaire interests to make their dream come true:

Like Jayce, we see how these tech bros have their vision co-opted by people with a broader vision and understanding of the world, by billionaire investors who turn their inventions into making a quick buck for themselves, to warmongers and dictators who turn the creations of their mind into surveillance state horror stories. Some of that is a lack of wisdom on their parts when it comes to building in safeguards, sure, but part of that is there is a class divide too between the powerful and bright-eyed young inventors who just want to improve the world. As Singed notes, no one in power is ever innocent. And those in power have the capital to make a young inventor's dream come true and thus, tie them to their demands and interests. As Jayce said, they built the Hexgates, "Like [the Councilors] asked." Specifically this indicates that their vision has already been co-opted to serve financial interests. It also, again, makes it almost laughable how naive they are that they didn't realize warfare was next after trade.

Like many tech bros with billionaire investors, Jayce relied on the Kirammans, who were one of the wealthiest people in the city and literally on the Council that represents the State, and on Mel who is also part of the State, who is the wealthiest woman in Piltover, and who comes from a family of world-conquering warmongers, to make his dream come true from the very start.

From the beginning, Jayce was at a losing disadvantage when it came to keeping his dream ideologically pure and free of the influence of the wealthy and powerful.

And finally, just to point out that I'm not making this up, that these parallels are in fact intentional and built into the story:

4 ) Jayce and Viktor as parallels to Steve Jobs and Steve Wozniak, founders of Apple. Christian Linke, co-creator of Arcane, specifically noted them as inspirations for Jayce and Viktor's relationship, with Jayce (Jobs) as the face of the company and Viktor (Woz) as the real brains behind the invention.

This caused a lot of sturm and drang on Twitter with people misinterpreting that he means Jayce isn't the actual inventor of Hextech, which I think is an overreaction. Jobs, unlike many tech bros who have earned society's ire lately like Musk, was actually an engineer too. It's completely common in tech spaces for partnerships to be made up of one partner who is able to handle being the public face of the company, and one introverted and socially awkward genius who prefers to sit in a dark room and actually tinker with the problem and who would literally rather set themselves on fire than talk to a non-technical human being. I know because I've been in such partnerships before myself as the public face.

Where Jayce and Viktor rather charmingly buck the stereotypes of that relationship and so in turn actually make it more like what I've seen in the real world, is the fact there isn't resentment between the two as a result. Viktor is glad that Jayce is willing to be the public face and doesn't want to get in the way. This is actually very common with the engineers I know! It's not seen as glory stealing, it's seen as sparing them awful, painful work they don't want to do, like networking.

Yes it means Jayce needs to sacrifice some time in the lab, but it's a simple division of labor that he's happy to do, especially if it frees Viktor from the responsibility so he can focus on what he loves, because Jayce loves him. And you'll note that Jayce is very above-board academically speaking on this front, he always cites Viktor as his partner and is scrupulous in giving Viktor credit, in conversation at least, even if he doesn't forcibly drag Viktor on stage to take credit there.

Anyway, when I write meta or even fic for these two, this sort of background is always on my mind, and I thought it might be valuable for others who maybe aren't as familiar with the tech space as I am.

[casscainmainly]

The thing about Dick and Cass is not only that Dick resents Cass' closeness to and understanding of Bruce, but that Cass resents Dick's closeness to and understanding of Babs. They both make each other feel insecure in their most fundamental relationships, which is why they fight so often, and why many of their fights feel one-sided. Essentially, they're mutually beefing with each other over different people, but because they'll never admit it neither of them ever know what the other is mad about.