#they're neat but not much beyond that

[antirepurp]

in a perfect world frontiers would've leaned more heavily onto the elements of exploration and combat, taking the wonder rise of lyric wanted to create with the way it places the player into ancient ruins and abandoned facilities to learn more about them, and replicating the love that went into unleashed's werehog gameplay that gave us a fleshed out combo system and a competent beat-em-up. alas sega is a coward, and in this essay i will -

[titaniumions]

full list of r1999 characters i have a soft spot for

vertin: that's my babyyyy i was primarily a vertin fan for awhile and i still think she's swag. she's so pretty and handsome at once ... her outfit is also very distinct and cool and of course since day one i was like "how can i NOT play this game when the protagonist looks like this????"

charlie: of course i love the theater kid ... her hair is so cute and she really can be so funny sometimes when she's "angry", awesome actress right there

necrologist: she's got one of my favourite designs in the game and i like how comforting and gentle her vibe is, you know, even though she is closely linked with death. that kind of character can be really fascinating

druvis iii: love the nature aesthetic especially in her i2 appearance. i think i also relate to her slightly, the way she generally keeps to herself ... she's just Neat to me

zima: he's just really cool to me i like his personality. and a secret 2nd reason

yenisei: i always thought she was pretty cute but after playing the new event i grew more attached to her i think ... she's so precious. her outfit just looks so nice and fluffed up. 10/10 would go traveling with her

isolde: it was love at first sight JDFHJDGHJJDFH i guess when 1.7 was announced and i saw the new characters and skins it was just me going "holy shit" multiple times in a row but damn this woman really stole the show it should be illegal to serve this hard ....... the aesthetic HELLO ... feels as though she really was designed for me to like ... i could go on but i don't want this to be too long of a post

kakania: her vibe is just so refreshing AAAHHH i kind of freaked out about her too during 1.7 announcement but 1.9 enabled the brainrot even further she's just so pleasantly designed ... i don't even usually like green but she pulls it off so well. 1910s vibes so peak

[moe-broey]

Alfonse/Lif sword enthusiast moments

I feel like there are more instances specifically of Alfonse complimenting another person's weapon?? I can't remember if I'm just making that up or like. Where or when or who it happened with. Also cannot remember if his alts talk about their weapons, I feel like they don't? Which honestly lends itself to him just being really enthusiastic about swords specifically

[daisywords]

I'm actually obsessed with designing fictional wedding ceremonies even though most of my wips don't contain weddings

[dropespeon]

something that fascinates me is the different sorts of aus different fandoms are drawn to. like i see a lot of canon divergent aus for isat, but then with other things like orv it's mostly different settings (classic fantasy aus and such). and then there's whatever the bnha fandom has going on where they just make the protagonist a completely new character

[ponett]

Any opinion on the Pokemon Gigaleak or nah?

I think seeing some of the WIP assets from when gen 3 was in development is kinda neat, because Game Freak is normally so secretive about that kind of thing. But beyond that I mostly just find this whole situation tiring.

Fans have a tendency to almost treat scrapped material as "more canon" than whatever actually made it into the finished product, in a way. It's treated as this pure, unfiltered insight into the creators' true vision. In reality, most of the time this stuff gets cut for a reason. Sometimes they very quickly realize it was a bad idea that was never gonna work, and they don't go very far with it. Sometimes it's a pitch from just one guy on the team that was never gonna get accepted. Sometimes they're just spitballing. Experimentation and iteration and knowing when to cut things are integral parts of the artistic process.

And hell, a lot of the time creators will just mess around with an idea purely as a creative exercise, or to get an idea out of their system, or to explore a crazy what-if scenario, or even just as a joke, with no intention of ever actually using those ideas. We recently saw this same thing happened with those leaked Rebecca Sugar sketches, where people were like "OMG Rebecca ships this, this is what they REALLY wanted to do with the show, this is canon, this was happening off-screen!!" And it's like, y'all have no idea how much crazy shit your favorite artists draw with their characters just to amuse themselves. The crew on Clarence had a not-so-secret Tumblr where they redrew scenes from Evangelion with Clarence characters. That doesn't mean they wanted to turn Clarence into Eva. They were just screwing around. This happens all the time, and with way more extreme examples than these. Lord knows how many Disney animators have drawn Mickey Mouse with his dick out over the years. That doesn't mean they ever actually wanted to make an official Mickey Mouse porno.

And, of course, there's the response to those myths that were never supposed to see the light of day. Anyone who's even passingly familiar with mythology from just about any part of the world shouldn't be surprised to hear fables about humans and animals having babies or whatever. But now people are responding to those unused stories and going "OMG Game Freak is a bunch of gooners who want humans and Pokemon to have sex!! This is canon!!!" It's so fucking tiring. So much of the modern internet, particularly Twitter, is driven by people who just want an excuse to whip out their favorite shocked/disgusted reaction image and ham up their reaction to something that isn't actually all that shocking. Everyone just wants to get their funny dunks in and feign moral superiority. It's childish. And it's because of reactions like this that this stuff was never supposed to see the light of day in the first place. But fans feel like they're owed every single shred of info from the development of their favorite franchises, so these leaks happen and people run wild with them.

(It also doesn't help that this is all just sourced back to a 4chan thread, so people were posting fake shit between the real leaks and muddying the waters. And also most of it is in Japanese, so people are just sticking documents through Google Translate and going "whooooaaaa this is canon")

[lvrsfilm]

Johnny and Simon aren't used to domesticity beyond what they can give each other in the quiet of the barracks. They haven't been together quite long enough to share a leave the way they'd like to. But when you came along, and chirped about on one of your weekly calls to them about how they should both just stay at your flat in London when they come back, so the three of you aren't all separated, they couldn't say no.

They didn't know what to expect, duffel bags in hand and covered in grime, sticking out like weeds on the cleanliness of your doorstep. "Door's unlocked" you had told them over the phone when they said they were on their way. Simon does Johnny the favor of opening the door first, stepping inside to cover him as if they're still on the field. But they're not met with gunfire or yelling, not even empty silence. The television is on low, playing a random football (because it is football, birdie) match and the house smells of cinnamon and something hearty bubbling on the stove.

They aren't used to the excited call of your voice from the kitchen, the sound of soft, socked feet padding on the floor towards them. You in a large shirt (one of Johnny's,) and a pair of leggings. They're almost frozen when you take their bags, dropping them to the floor and pulling them both towards you for a hug while you murmur about how you missed them.

But they like it. It's not much different than a shared tray of food in the barracks, followed by a fitful rest on a too hard mattress pad and scratchy sheets. Except it is. It's a shared meal, home cooked, the best thing they think they've ever tasted. It's you checking them over for injury not so subtly as they scarf down their plates, daring to ask for seconds to indulge both themselves and you. A shower, for both of them while you clean up, hot water and soap that smells like you.

They whisper conversation in the shower, about how different and nice it is. Johnny does more of the talking than Simon, who scrubs Johnny's back the way he likes while he listens to Johnny ramble quietly about their lass. About when did she learn to cook like that? About how he never wants to go back to his place, how he could stay here and let her feed him his weight in roast until it was time to leave again. Simon who indulges him with nods and grunts, but who's really thinking about a neat glass of bourbon and having you two draped over his lap where he can bask in your shared warmth because in his mind he's already used to this. He already knows he wants more.

It's Johnny passing out on your couch, drooling onto the armrest, a leg thrown over Simon's lap and a full belly. You coming into the living room with a mug of hot tea for the man left awake. Sitting down next to him and leaning against his side, asking him questions about where work took them and if he needs anything while you comb your fingers through his damp hair, occasionally stopping to catch a stray drop of water with your fingers. Once the cup has gone cold and theres no liquid left, you let him sit in silence as well, not speaking, only lightly pressing your lips to the stubble of his jaw and whispering that you have a surprise for him. Leaving the living room and coming back with a bottle of his favorite. Whispering about how you asked Johnny to make sure this was the right one as you burrowed your way back under his arm. And as he presses a kiss to your forehead, traces circles along your shoulder with his fingers while the other holds the bottle of bourbon on his lap, he thinks Johnny was right.

[bubblegumgothglados]

Aftercare should generally involve the opposite of the things a scene involved, it should balance the "negative" physical and psychological impact of the scene.

This is a fairly neat summation and simplification of a very complex and nuanced topic. But it's a good place to start if you're new and don't quite understand the concept of aftercare or if you're experienced and trying a new type of play. It's a simple framework to build upon as you learn more about your individual needs and the needs of your play partner(s).

So what are the physical and psychological impacts of a scene. (Do note we're specifically talking about those impacts we don't want to last past the end of a scene, puppies don't want to be told they're not puppies as aftercare)

I'm not going to separate these because what effects you psychologically is also going to effect you physically and vice versa. These things are not separate.

A good example on the more psychological side might be degradation which damages a submissive's self worth, self image, ego, etc. To balance this aftercare should focus on affirmation and rebuilding /healing those things. Similarly fear play damages a submissive's sense of safety/ wellbeing, aftercare for which should involve being made to feel safe, comfortable with their dominant, and st ease.

Having said that, a good example of this balance on the more physical side is replacing lost energy. Basically no matter what type if play you're engaging in you will burn a lot of energy, so to balance that you should replace that energy. I write about this in much more detail HERE.

Getting a little more complicated; sub drop. Coming 'down' from a submissive headspace, especially one that includes pain play, can be very unpleasant. The neurotransmitters released during a scene fade away, this feels something like the crash after an adrenaline spike, and can leave a submissive feeling lethargic, empty, sad, etc. To balance this aftercare should involve things the submissive enjoys to bring those neurotransmitter levels back up a little and alleviate some of the withdrawal symptoms. This can include but shouldn't be limited to; cuddles, kisses, warm snugly things like blankets and stuffies, their favourite snacks, their favourite movie or TV show, etc

"Top drop" is less a neurological thing and more of a social thing. Although the top headspace also includes it's own share of neurotransmitters which also drop off it's almost always to a much lesser extent. The most common major effect of top drop is guilt; hurting someone you care about is something deeply ingrained as bad and even if they like it, even if they're begging for it, it can still effect you really deeply. Aftercare for this should involve affirmation that the bottom isn't hurt beyond what they want to be, that they still care about and trust their dom, etc.

This is an infinitely nuanced topic, I could write until the character limit and still not cover all the ways that aftercare could go. But I have to draw a line in the sand somewhere so let me make one final point. Don't worry too much about getting this perfectly right the first few times, you'll figure out what you need and what your play partner(s) need. The most important part is the "care" half of "aftercare" show them you're willing yo put in the effort to make sure they're OK and you can't go to wrong

[twistedwonderlandimaginesblog]

hello hello (　＾▽＾) if you're still taking requests, can I request headcanons about how would Deuce and Silver react and do to their s/o who's forcing themselves to go to school even when they're very sick, because they need to raise up their grades? Grim is already doing poorly enough, so they need to make up for that. Feel free to disregard this though if you can't do it. anyways, take care and have a good day!!

(also i really love your headcanons, you write the characters accurately imo and each headcanon is so neat to read through (* >ω<))

(Awww thank you, that's one of the greatest compliments I've received!!!)

Deuce Spade:

Deuce noticed how exhausted you had been in class the past week but bit his tongue for a few days, believing you were a person who knew your limits and that you wouldn’t push yourself beyond your capabilities. When he discovered that you were actually on the brink of passing out during a test is when he has to draw the line, telling you with a deep concern in his eyes that he wants to be someone you can rely on when you’re in trouble. His first thought when grades are mentioned is Riddle, though he doesn’t know if that would be much better for your stress – he promised to talk to his dorm leader about it, as long as you promised to rest. He felt guilty that he didn’t see this harmful behavior to yourself earlier, making a second promise to keep an eye on you and bear some of your burdens so you wouldn’t have to do so alone.

Silver:

Silver has always been the type to have a more direct line of confrontation. When he asked you why you were pushing yourself so much his brows furrowed in concern, understanding why you wanted to keep your grades high but not agreeing with your methods. The logical thing to think of was that your illness was making it harder for you to learn and get good grades, and that you’re simply pushing yourself to fail anyway. He puts his words in a much kinder light but the advice behind them is clear: you need to rest or else your grades will continue to suffer. He promised to help you with any subject you might have troubles with, and if it wasn’t something he specialized in, he would seek out help to assure you weren’t going to overwork yourself again.

[tragicvampireromanceisland]

WELL. this started out as me just wanting to explore what their dynamic might be like, and then it turned into yuri, like. not even halfway through. what can i say!!! they're just neat!! also sadness deserves more ships!!!!!

LISTEN listen. my rationale: disgust hates being vulnerable. sadness thrives off vulnerability. sadness is blunt as all hell. disgust is the total opposite!!! they would bounce off one another so well.

they're both equally good at seeing the flaws in others, but for different reasons. a natural critic versus a natural pessimist. whereas disgust would see these flaws as a weakness, they're just...kind of there to sadness, nothing really much beyond that. i think she'd be a little confused as to why disgust tries so hard to hide flaws that are obviously there...sadness would rather just accept them. and they'd both be confused as to how they're both able to find flaws in everything so easily but react so differently to it. i think they'd be...oddly amused (and perhaps endeared...!!) by the others' neuroses and quirks and behaviors. they both kinda see the other as a bit of a loser as a result... 💙💚

[armageddon-generation]

Empire of Death was bad and cemented several fundemental flaws in this season.

I watched this in the theatre, and the contrast between everyone's excitement before Empire, and their universal disappointment leaving the theatre was super disheartening. I'm gonna try to articulate my problems with episode, and how they're linked to fundenental structural issues of this season.

SPOILERS BELOW:

Sutekh

The moment the UNIT characters died the story was robbed of any stakes. (Also? Kate and Ibrahim?? During Pride month?? Disgusting)

Sutekh was pointless, big CGI spectacle who was barely there. Saying he's been latched onto the TARDIS since Pyramids of Mars was such an asspull. Why couldn't he have latched on during Wild Blue Yonder? wouldn't that make much more sense??

You're telling me the guy who holds all life in contempt is invested enough in learning the identity of Ruby's mum he willingly reveals himself??

And then they defeat him by dragging him through the Vortex just like before, which it's been explicitly stated *didn't work* last time? He just *lets* Ruby leash him??

The 'death of death is life' bit, and the idea of the Doctor representing life as a Ying to Sutekh's Yang, is a cool concept just jammed in there with no real buildup or depth.

The issue is bringing Sutekh back takes so much effort- a literal, clunky clipshow of Pyramids of Mars, a whole episode spent building up to the reveal of a silly anagram entirely unrekated to Sutekh's previous appearance. And it just... amounts to nothing. What a silly way to cap off a season meant to be jumping-on point for brand-new viewers.

Mel was just takingup space. Pointless.

Ruby's Mother

I don't have a problem with the *concept* of Ruby's mum being normal. I really like the idea thematically. The execution was terrible.

First of all it leaves so many unanswered questions (why the snow? Why was time changing? Why was she shadowed? Literally just for the sake of the mystery-box?) and represents the worst thing about this new era- RTD using fantasy logic to handwave any logic at all, and just do whatever he wants without properly justifying it.

Second, I *hate* how easy and simple and neat the reunion is. Ruby seems incapable of getting angry with anyone. She has never once argued with 15, or Carla, or anyone besides that one moment in 73 Yards. She has never expressed any kind of negative feeling towards her mother for abandoning her. And it's fine for her to reach that conclusion! It's just bizzare we never see Ruby struggle with her feelings beyond the shallow goal of wanting to find her.

(Also Carla? Has nothing to say?? Just welcomes that woman in with basically no comment? Carla is a 2D cutout of a person, used as a plot device and otherwise relegated to the single character trait of I Love My Daughter. The children yearn for the ilk of Jackie Tyler, Sylvia Noble, even Francine Jones.)

15 & Ruby

The emotion behind 15 & Ruby's split felt entirely unearned because we've never seen their bond develop. They never argue, never disagree, Ruby hasn't learned anything about herself or grown or changed. The closest we got to that is 73 Yards, which was undone. She was already brave and kind and musical and sure she loved her adoptive family when we met her in Church on Ruby Road.

Similarly, 15 tells us Ruby encouraged him to talk about family in a way he never has, but that was in what, two moments across the season? And they seemed random, unrelated to Ruby being with him. New viewers will assume 15 is just that open anyway- he was discussing fatherhood with a dead man's hologram- and old viewers assumed trauma-dumping was just a new trait of 15's personality, not Ruby-specific.

The problem is we're told Ruby & 15 are best friends but it isn't earned. I liked 15 crying initially but both he and Ruby do it so much (15 cries about 5 times in this one episode) it loses its impact and I'm becoming numb to it. There is no contrast, no downtime.

Season Structural Issues

I think the biggest problem is Season 1's storytelling priorities. It's much more interested in selling *the show* (look at our big budget! And guest stars! And how flexible our format is! Musical episode! The Beatles as props! Bottle episode! Indie folk-horror! Black Mirror! Gay Bridgerton!) it forgot to put effort into developing and investing us in its characters. I liked a lot of the individual stories this year but in retrospect a lot of them feel like they're wasting space that needed to go to essential character and theme setup.

These skewed priorities, combined with the cut down episode count, really impact the pacing of the season. Ruby and 15 were barely together! Even in Rogue they were seperated for most of the story!! We only loop back to a flashback of 15 meeting Carla in Rogue!

This is made worse by the baffling insistence on a 45-minute runtime. We know key sequences were cut from almost every episode, with highlights including:

The Gobin King invading Ruby's flat and her banishing him with scratchcards in The Church on Ruby Road: Her missing 'companion saves the day' moment!

Refrence to the Toymaker in The Church on Ruby Road, which was itself referenced in The Devil's Chord. 'I told you about the Toymaker when we first met' sir, objectively you did not.

The TARDIS jukebox playing the Sugarbabes' Push The Button in the opening scene of Space Babies, hastily cut around in the final edit. This is the setup of a running joke still in the episode, and part of the story's climax. The first encounter with the Bogeyman was also longer, with 15 taking particular interest in its skin

Extended scenes in Abbey Road from The Devil's Chord, including an apparently significant speaking role for Cilla Black, according to her annoyed actress.

Cut dialogue from The Devil's Chord explaining the musoical number was caused by Maestro's power lingering, and that banishing them undid everything they'd done. Fans inferred thos based on the rules established in The Giggle, but again, new fans haven't seen The Giggle and were left clueless.

An opening sequence for The Legend of Ruby Sunday where 15 & Ruby meet Susan as a nanny in 1947 America, a blue-skinned waitress, and an astronaut meeting a colony of giant, sentient ants. At the end of this we actually see 15 decide to go to UNIT for help. In the broadcast version he just sorta shows up.

Really what Empire of Death exposed to me is how emotionally hollow the season was. I enjoy the exoperimentalism, but not at the cost of character. And then in the finale Russell reverts to almost a parody of his RTD1 finales, with the nonsense logic and lack of consequences. All the worst bits of Last of the Time Lords and The Giggle put in a blender.

[readychilledwine]

✨️ACOTAR Hands Handcanons✨️

Warnings - sexual references

A/N - "But liz! Where is Az?" I didn't include Azriel because I don't think some people understand how brutally scarred his hands are. A lot of people headcanon him wear rings and watches to distract from his scarring, but his scarring would be so brutal from his hands being set on fire with oil that wearing jewelry for him would be nearly impossible and more than likely very uncomfortable both physically and in the sense that jewelry will draw attention to his hands, something we know canon Azriel hates. If it is wanted, I will do a reblog with Azzy's hands, but they will be accurate, not pretty.

Also, if you're a hand whore like I am, you have to go look at this post from the lovely @thehighladywrites about asking for hand pics 🥵🥵 it's one of my favorites.

✨️ Acotar Body Headcanons Masterlist ✨️ Master Masterlist ✨️

Rhys

Rhys is a firm believer in hands speaking of how well you care for yourself, so the man have perfect hands.

Rhys keeps his nails neat and trimmed, his cuticles cut, and his nail bed moisturized.

Rhys has fine hand creams imported from across the seas. It's made with water from some river you don't remember the name of. It matches his skincare line. Very spoiled Illyrian baby.

Rhys does have calloused hands, but they are not rough and dry. The calloused mainly rest towards the top of his palm near where his fingers begin. It's one small sigh of his skill with blades.

Rhys like to accessorize, but not too much, a few unique rings and a bracelet

Cassian

We're just here to make sure @sarawritestories can't sleep without dreaming of Cassian.

These are some of my favorite hands in all of Hollywood. Say hello to the hands of Alexander Skarsgård. His hands are massive.

Cassian does have rougher hands, but he can not help it. He's tried Rhysie little princess routine, but it doesn't work. That is more than likely due to the fact that he's constantly training and teaching someone.

You truly do not mind, though. Cassian's callouses and small scars in his hands remind you that you are safe. That no one will ever harm you as long as he is around.

One of Cassian's favorite acts of service you provide for him is little at home hand care sessions. You will soak his hands in warm water and then wash and care for them. You trim his nails, apply cuticle oils, and then use a very expensive lotion that helps keep his hands softer.

Cassian's hands are constantly on you. His favorite placement is when he gets to cup under your breasts. Preferably below your shirt. And he doesn't care who sees him doing it. His second favorite placement is your hips or ass.

Cassian does not accessorize since he rarely does not have his hand siphons on. The only jewelry on his hands is his wedding band

Lucien

Soft, warm, and gentle. Lucien's hands are a personification of the male himself.

They are not too large, but they're definitely big, and Lucien has strong hands.

Lucien tries his very best to keep his hands very soft he is constantly greeting and meeting new fae as an emissary, so he ensures his hands are covered while training.

Lucien also knows you appreciate how soft his hands are. He loves watching as you lean into his touch. He loves watching you shiver when he runs them along your body.

Lucien will wear jewelry for special occasions. Otherwise, he tends to avoid it. You never know when he will need to fish with his hair and bare hands to impress you. He had a reputation to maintain there.

Eris

Eris is constantly wearing rings and fine jewelry. His hands are part of his mask of cruelty only you and a few others get to see beyond.

Eris hates his hands. He hates how they've been used to cause pain. He hates how they remind him of his father's, he hates the small scars on them.

It almost confuses him when his hands bring you pleasure. When he watches as you fall apart under his touch.

He has started to care for them more now that he has you. His beautiful wonderful you.

You have noticed the rough skin getting softer. How his nail beds seem healthier. You catch him one night with his expensive hand creme and cuticle oils and your heart melts.

Soon, the jewelry becomes a little less and less, but you told him it would be a lie of you ever said you didn't love the way rings sat on his slender hands.

Nesta

Nail, simple, and with a touch of sparkle.

Nesta keeps her hands very pretty and very soft.

Her nails are also always professionally done on Rhysand's dime.

Nesta goes to the salon once a month. She gets the works. The expensive manicures. Rhys owes her, and she wants pretty hands.

Her grandmother and mama told her hands can make or break a marriage, and this is something she can not shake.

She loves clean, simple polish. Neutral colors or a French tip, that's all. For special occasions, she will do an iridescent polish.

As Lady Death, she tries not to wear too much jewelry, but she does have two favorite rings she wears. One from you, one from Cassian.

Elain

I am a garden hobby girl, so this one was fun.

Elain keeps her nails very short. She is constantly struggling with dirt under and around her nails, so she figures keeping them short is best.

Elain has surprisingly rough hands. A garden is a lot of manual labor, and she refuses to wear gloves, so she constantly dealing with little cuts and callouses.

You bought Elain a nail brush and special soaps meant to help her keep her nails clean so it doesn't interfere with her love of baking or... other activities involving you.

Elain's hands are very small, but they fit perfectly into yours.

Feyre

This is the hands I identified most with.

Feyre's hands are constantly covered in paint now that the lands are in a time of peace.

She's been known to wipe her palette knife off on the back of her hand or dab a paint brush on them if she picks up too much color. Or use them to swatch shades as she's mixing.

It is messy, but you adore it. You love helping her peel off the bigger chunks and helping her scrub them clean.

Underneath that paint, her hands can be a little dry, so you two have been caught many times sneaking into Rhysand's room to steal his hand creme.

Feyre keeps her nails a medium length. She will paint them for fun every so often, but she sees no point since they are typically covered in her medium of choice.

Mor

The baddie of the group.

Mor keeps her hands ready to greet royalty. They are so soft, so well kept, and constantly being pampered.

Mor used hand creme at least once and hour.

She keeps her nails longer, minus two on each hand. Iykyk.

Her nails have to be red. She will not paint them any color but her power color.

She is constantly wearing a ton of rings and jewelry as well.

I personally see Mor as a gold tone girlie.

The only ring she consistently wears is her wedding ring. Otherwise, all her other jewelry is subject to change.

Amren

Nails sharp enough to rip your eye out. Sorry, Lucien.

Amren sees her hands as weapons and her nails as weapons as well. But like all powerful weapons, they need to hidden.

She hides them using fae beauty standards. Manicures, jewelry, nail polish. Amren fully believes she's fooling other fae with those daggers attached to five small fingers but she isn't.

Amren does not do two curtesy nails. Amren is a starfish. You should be spoiling her. Not the other way around.

Finding out she could do jewels on her manicure was a life changing moment for her.

She practically purrs when she gets a fresh set now.

You swear she is secretly a fire drake with the amount of jewelry she has for her hands and on her nails.

General Taglist:

@hnyclover @glitterypirateduck @slytherinindisguise @mischiefmanagers @bloodicka @starsinyourseyes @the-sweet-psycho @mariahoedt @rinalouu @sarawritestories @starryhiraeth @starswholistenanddreamsanswered @cumuluscranium @loneliestluvr @eternallyelvish @azrielsmate3 @daughterofthemoons-stuff @meritxellao @aria-chikage @hungryforbatboys @lilah-asteria @fandomrejects @sleepybesson @tayswhp @itsswritten @milswrites

[messenger-of-babel]

Green With Infatuation

Summary: Kyle hopes with all his heart that you like him back after rumors begin floating around. (Kyle Rayner x reader)

Word Count: 1.5K

Notes: Kyle just being a love sap (I know he's a more fleshed out character than that but sometimes I want to curse his romance).

━━━━━━━━━━━━━༻❁༺━━━━━━━━━━━━━━

Kyle Rayner was many things.

He was a green lantern, a defender of Earth. He had carried the white lantern mantle for a while as well, until he tried to resurrect the Blue Lantern Corp. He was a friend to many, and when he felt like it, a pain in Hal Jordan's side (even though the other man took it in good mirth). However, nothing was a strong as what he knew himself to be at the core: A man head over heels for you.

From the first time he had seen you, he couldn't help but be captivated. The way that you smiled at him made him feel like he held up the sun, your eyes crinkling at the corners. He didn't often come by the Justice League headquarters, mostly just when Hal or John put a request in for extra backup. However, he found himself going back repeatedly when he wasn't needed, pacing through the halls just for a chance of seeing you again.

You were a secretary hired by the Batman himself, keeping things orderly and neat to the eyes of the public. He'd come to get coffee with Hal, looking through the glass wall of the second floor to the reception you manned. He'd watch how day after day you dealt with angry members of the public or crazed fans trying to get past you. Not that they could, everything beyond a certain point was access restricted so they wouldn't be able to do so much as call the elevator. With a sigh and a calm smoothing of your shirt you'd click the call button under your desk, security coming to whisk the person annoying you away.

He also saw you at some of the work functions, little get togethers that Superman held to try and encourage a team environment. You were invited to those too but seemed wildly out of place among all of the superpowered (or in the Bat's case, heavily armed) figures in the room. Since Kyle had been dropping by more and more frequently for months now, they invited him along. Every time they didn't, he asked to come along with Hal.

He yearned to talk to you, yet there was a pit of worry clawing at his gut. He wished he could take off the mask and talk to you normally, like you were both casual civilians bumping into each other on the street. He had debated that exact scenario multiple times, but he didn't want to be a stalker. If you two ever did end up together, he didn't want to have the foundations of the relationship be a lie. That wouldn’t be fair to you.

So, he watched from a distance, studying the way you laughed, the way you smiled, the way you held yourself. Catching sight of Diana coming towards him, he nodded his head in polite greeting. The Amazonian returned the gesture, drink in hand as she leans on the wall next to him. "Rayner," she greets quietly, lips quirking into a grin. "I've been seeing you a lot more at these kinds of things. Don't tell me you're actually starting to enjoy them?" she teases. he shrugs his shoulders, smiling back.

"It's not like the corps are gonna throw a Christmas party anytime soon, I'll take what I can get." he chuckles, raising his glass to hers in a toast. She clinks her own cup against his, and they both take a sip in silence. Automatically his eyes seek you out again, picking you out of the crowd as you talk to Superman. Diana's eyes follow his.

"Have you met our secretary yet?" she asks, curious. He shakes his head, throat feeling dry.

"No, I don’t think I have." he replies, trying to control the thudding of his pulse. She clicks her teeth at his answer, humming lightly.

"They're a civilian that helps us out. Batman hired them to try and manage PR, you know, when people think we aren't doing anything. They help keep those tabloids from running rampant, and they do a pretty good job of it." Kyle turns to look at her, eyebrow raised.

"Doesn't that make them a target?" he asks. "If they're a civilian at the front desk of the Justice League, isn't there enemies of you all that would love to get the chance to take a free hit?"

Diana shrugs in response. "There was at the start, and truthfully it was quite scary." she says. "But our enemies realised rather quickly that to be a mistake. There's always someone at the headquarters, and they just better hope that it isn't Batman's shift." She jokes, waving her hand. "Besides, everyone figured out pretty quick that they've got a guard dog watching 24/7. No one's coming to get them knowing that."

He huffs out a laugh, grin gracing his lips into a smile. "Who's that? Don't tell me it’s the Bat, I won't believe you."

Diana laughs, shaking her head. "No, it's not Batman." she says, eyes sparkling as she smiles. "I thought you would have known."

"Why?"

"Because he's a lantern." she says matter of factly, pushing off the wall as waving as she heads back into the small crowd. His heart thuds in his chest, world slowing down around him momentarily. Did she know about how he felt? rushed around his mind, making his hands twitch nervously. He excuses himself politely, wondering just how often he had to have been caught staring for Diana to put something like that together.

As he heads for the bathroom to wash his face, he fails to notice that you've since stopped your conversation with Superman, instead conversing with the Flash and Hal. If he had paid attention just a touch closer, he would have seen the way you stood a little closer to Hal than usual, and the respectful hand that snaked around your waist to sit on your hip.

Since the night of the party, Kyle found himself inextricably coming back to the Justice League base, day after day. Just for a chance to talk to you, a chance to see you, for your hands to accidentally brush against one another when you go to get water from the cooler. You'd give him a smile and a thank you each time, his heart softening after each one. He couldn’t help the daydream of what it would feel like to have you in his arms, and to wake up with you beside him. What your face would look like as he made your favourite meal after a long day of work or flying you up to the tallest building in the city so he could see the lights reflected in your eyes. Hearing the passing chatter of others did nothing to quell his racing heart either.

The rumours that floated around that you were getting close to a Green Lantern made his heart leap from his chest, hands tingling with excitement and blood rushing to his head. When there was any tearoom chatter that you were dating a Lantern, he brushed it off. He hadn't been that forward, had he?

He tried to push past it, smiling and striking up conversation with you a bit more. His lips longed to ask you questions about what the two of you were. He had just seen it as friends, but did you see it differently? Did you want to be with him even a fraction of the way that he wanted to be with you?

When you mention your respect for the work that the Lantern's did, giving him a genuine thanks, he swore that the sun came out in a halo behind you. Of course he played it off as well as he always did, lovesick smile pulling his lips back and dark hair flopping over his eyes as he laughs and tells you not to worry about it. Every compliment you give him, every time you talk about how much you liked a certain lantern in particular made his chest pound. His throat felt tight, brain racing at the way that you brought it up so casually.

Was this your way of signalling your interest in him? Was he being too dense?

Hope fluttered weakling in his chest each time, making him giddy. When he saw you with Hal, he waved politely at the two of you, carrying on his business. He so desperately wanted to say that if you wanted to get to know him better, that you could just ask him, not Hal. He didn't bite and he didn't have any intention of being rude to you. He chalked it up to you just being scared, a nervousness that he could relate to all too well.

That's why when he sees the two of you leaving one evening, he can only sigh dreamily from the sidelines. So in love and heart fluttering with hope he can barely register the arm Hal has thrown around your neck, or the fact that it's his jacket covering your shoulders. He doesn't take note of the way you kiss Hal's cheek rounding the corner, or the way his coworker smirks and leans down to whisper something in your ear.

Kyle Rayner was a man well and truly in enraptured, with eyes that were lovestruck and hopeful.

Even if that hope was a false one.

[tanoraqui]

Dungeon Meshi Liveblog: Of Ghosts & Griffins

What do they worship? The Winged Lion, whom they mistake for a god?

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It's so interesting how Izutsumi's cat is dominant in this place. I don't understand enough about soul magic or the spell that maintains this to know why. It FEELS right - this is a place for monsters, and that's the part of her that's a monster? But I bet there's worldbuilding that explains it...

WAIT, OR: that couple pages I reblogged with hte werewolf clearly implied that Izursumi isn't a human with a cat spirit put in her, she's a cat with a human spirit put in her. So maybe whatever enchantments shield and maintain the Golden Country bring the cat spirit to the fore as part of their preservative properties, doing their best to remove this curse upon the poor cat? Izutsumi doesn't change shape, just mind, because the souls are so mixed and/or the human soul is so much stronger than hte cat.

Who the fuck took a human soul and put it in a cat. Why would you do that I wonder if we'll ever know.

(The question of the comic is thus, of course: did Falin's soul get put inside a dragon's, in which case she'll be stuck with a dragonoid body at best, or did the dragon's get put inside Falin's, in which she should be able to shift back and forth at will once the Mage isn't forcibly holding the dragon's soul dominant?)

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This is the most hobbitly we've seen Chilchuck. I keep expecting him to start talking about how his old gaffer used to drink down at the pub.

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shadkjsh Chilchuck get your mind out of the gutter!

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These would unironically do numbers at the right Met Gala. I unironically really like the middle, floral one. And specificially the crossed-antlers brassiere on the third.

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They're dead! They're under a spell (a curse) of immortality so they can't change and they can't leave and nobody knows they exist and they can't make an impression on the world and nobody even really knows they did exist, not as individuals beyond a vague collective legend; and most of all they don't hunger, they don't want for anything in their bucolic life (except freedom or death) and they don't hunger for food, they don't eat and even if they do eat it they can't enjoy it, because they're immortal but in every single way that matters they are d e a d !

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Alright my current theory is: this kingdom always venerated a winged lion deity, for whatever reason. Myths happen. Then one day, a demon slipped in from wherever demons slip in and disguised itself as the winged lion in order to be easily trusted by the populace. It started offering the fulfillment of desires in exchange for the consumption of other desires.

It tricked the Mage somehow, so that by their powers combined they turned the populace of this city into a feeding pen for the demon - safe and happy forever! being slowly drained of all their desires.

But as the people's desires started to run truly dry, until they were functionally dead, the demon grew hungry - and maybe greedy. So it sent the villagers this "prophetic dream" about one who would save them, motivating Delgal to get to the surface - probably with the demon's help, covert so the Mage wouldn't know; still pretending to be a god if Delgal himself knew. It let the dungeon be opened, drawing all sort of greedy and desperate people down into its feasting range.

...whatever trick/bargain it made with hte Mage, it's probably going to try to do much the same with Marcille, with her terror of loss.

:D

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P.S. I love how Yaad keeps calling him "Sir Laios" like he's a knight, instead of just some guy with good intentions who thinks monsters are neat. Also, Chilchuck literally just shaking his head at Laios.

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Needless to say, the contrast between Laios's blind panic at being told he's a prophecied hero and king and Kabru's "If I had the ability to take over this dungeon and kingdom, I'd fix absolutely everything and no one would have any problems ever again" is hilarious and wonderful.

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Laios basically just told that orc chieftain that he'd think about what he'd do as king, right? ...Well, I guess it's time for him to think about it.

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THEIR HANDS ARE COLD BECAUSE THEY ARE D E A D.

Btw in a just world, Yaad would be a woman. Princess in a Tower vibes off the charts. Thank you for coming to my ted talk.

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I'M FINALLY PAST WHERE I GOT IN THE SHOW!!

I see this translation is calling the Mad Mage "Sissel." Just as its decision to call her the "lunatic magician", I deem this to be a stupid-ass decision and have elected to ignore it in favor of "Thistle", which is a much better name for a weird elf orphan turned mad mage.

Ah, damn, they corrected to he/him pronouns. So much for women's wrongs... I STAND BY it making perfect sense in-universe for our protagonists to get it wrong from their first, confusing meeting, though!

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Takin' a moment to appreciate Thistle's fucked up pupils, which I'm given to understand indicate the demon's influence. I'm having so much fun! Are you having fun? I'm having fun.

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...does the famous dwarvish sense of direction derive in part from secret dwarvish trail markers that they put in all dungeons and mines and never tell other species about? That's great. That's so good. They clearly do ALSO have sensitive inner ears, and secret cultural practices.

Btw I adore every time someone calls Chilchuck "Chil." NICKNAMES ARE A SIGN OF LOVE.

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SEEING SENSHI IN DISTRESS MAKES ME IN DISTRESS, AND THEN YOU DROP HIM LIKE THE FOOTBALL ON A CHAPTER CLIFFHANGER?! JAIL! JAIL FOR AUTHOR! JAIL FOR 1000 YEARS!!!

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This map is 10/10 desired detail. I want to know the difference between dwarf-style, gnome-style, compound and I bet elf-style dungeons so bad.

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Marcille just cut off one of her braids for Senshi! She didn't hesitate at all! Her hair!!!

And they're risking basically all their food on this! (Man I love how all life, including revivification and creating familiars, literally requires heavy caloric input. I love love love how this comic starts with the simple premise "food is essential to life" and says it over and over in infinite ways.)

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This is just very cool art to represent what's happening. I don't like looking at it, it makes my eye hurt.

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This visual is just so good.

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Brotp: In-Laws on a Mission

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unironically this panel fucks so hard. I need to name something after this. I also need to watch this episode just for the intense energy of this whole sequence.

(I Love how they're just squeezing and re-shaping these things like playdoh. Good familiars best friends just to tolerate this shit.)

Btw I also really like that, while Marcille has started teaching Laios some simple healing spells, that's kept clearly distinct from this sort of advanced magic. Multiclassing takes levels just like the rest!

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TWO-SHOT KO ON A GRIFFIN! Have I mentioned how fun it is that these guys are fucking good at their jobs? We love a little competence porn on the side.

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CHILCHUCK WAS THE FIRST TO START TALKING ABOUT HIS PAST! Yes, of course, he had to be. He's the one who's most aggressively closed-off about it, as opposed to passively closed off like the rest. Mulitple good panels here fo Chilchuck being the emotionally intelligent one, too.

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oh my god Senshi's story.

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I'm so glad she keeps putting them in full-body animal suits.

(And I feel Hiromu Arakawa's cowsona in the Chili's tonight...)

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P.S. OH, LAST MINUTE EDITION as I open the next chapter: They all changed species before they stepped in hte circle of change-your-species mushrooms!! Oh man I can't wait to see a) shenanigans and b) how this gets woven into the ongoing subplot of interspecies conflict, and any other greater themes. Fuck me uuupp Ryoko Kui! (...tomorrow, bc I have to go to bed now :( )

[randomfoggytiger]

The Field Where I Died: The Tragic Flaws of Glen Morgan and James Wong

My thoughts on The Field Where I Died are divided into neat little categories for this episode: frustration for what we were given, acceptance of its existence, anger at Glen Morgan and James Wong's behind-the-scenes revelations, acknowledgment of their feelings, determination that the end product's truth was different than what was originally conceptualized, and genuine understanding of others' love for its creativity and vision.

But those thoughts are inseparable from a broader perspective of Morgan and Wong's work on Season 4.

I'm going to be pulling a lot of information from an interview here; but to save time (and sanity), I'll emphasize the quotes in italics instead of continually citing my source.

"I CAN DO BETTER" VISIONARIES

(Credit to: @sleepyscully.)

It's no secret that Morgan and Wong always wrote-- shall we say-- angsty episodes that drove a wedge in Mulder and Scully's relationship. Sometimes that was executed brilliantly-- Squeeze, Beyond the Sea, Home, Never Again-- and sometimes that was executed... badly. Their bent is the nature of conflict, and its potential resolution; or ideals and tarnished realities; or things we thought we knew and understood but never really did. And those are powerful tools... if, like all tools, they're wielded effectively.

They're the difference between the ridiculous conceit of Musings of a CSM-- an episode that set everyone against each other (we'll get to that)-- and Beyond the Sea-- and episode that wowed Carter (convincing him to keep Gillian on the show), fans, and critics alike.

I've already tackled how The Field Where I Died could work here (how Scully broke the cycle) and here (Scully, snakes, and reincarnation.) I have no qualms with the idea that Mulder and Scully themselves aren't romantic soulmates in every lifetime: that was never the magic of their relationship, to me. And I do love the concept that Melissa serves as a contrast for Mulder: as Morgan says,

 One reason why I wrote Melissa that way was my notion that if you’re Mulder and you found your soulmate, the love of all your loves, within the body of this unappealing person, what would you do? I don’t know if we totally explored that. I don’t know if Duchovny would agree with me – he knows more about Mulder – but I think Melissa is the type of women that Mulder would be attracted to. Someone like Bambi in ‘The War of the Coprophages’ is good for a joke, but I don’t really see Mulder going after her. There’s something sad about Melissa. There was a secret within her that was important for him to get at. That mirrors his life, and his own search for his sister. He is a character whose whole drive is to help everybody, but he’s so unsuccessful at that, and with helping himself. All he wants is to find one person that he can rescue – but he’s not too good at it.

No matter how despairing Mulder is, Morgan said, he would not be tempted, like Melissa, to end his life. “I looked at Melissa as if she decided reincarnation might be true, and that if she had chosen this life, at that point she realized, ‘This is a bad idea. This is a miserable life and I’m not getting much out of it. I’m just going back to heaven and I’ll wait for you.’ She wanted out. But Mulder, as much as he’d love to go to the other side to see what’s there, is a life-affirming character. He’s going to keep on looking. He’s not going to quit. Mulder has questions for this life.”

That rings true to me.

What I do have qualms with is that Mulder and Scully's incredible, undeniable, written-into-canon-at-this-point connection (that was established in the Pilot, purposefully, by Chris Carter himself, post here) is boiled down to a destined, warped tri-connection that is part of and secondary to his (chemistry-less) connection with a woman that doomed him in every lifetime. A woman who is an unreliable narrator, and who could easily be swaying Mulder into believing her story because of her own form of mental instability and fragility. It could be a beautiful love story, and it's undeniably beautifully shot (and mostly beautifully written), but it's not Mulder's-- it's Morgan's:

For Morgan, an episode about reincarnation and eternal soulmates was not just a good story for Mulder, but a personal expression of the thoughts and emotions he had experienced during the past year, when his relationship with Cloke grew from friendship into romance (they are now engaged), “I had gone through a failed marriage in which I had really believed,” Morgan revealed. “I had always wanted to believe there is somebody out there for you, and I had been in a situation where that didn’t come true. And I thought, ‘It’s a lie. That person you think is out there for you is a lie.’ But then I met Kristen and I was rejuvenated by that. I really thought. that you can be reborn in this life, not just life after death. I regained faith that there is one person for you, one person who, by being in your life, can motivate you to change the crappy things you were doing before. In this case, it was Kristen. I knew she did a lot of characters and voices, so I wanted to incorporate that.. I wanted to write something for her that challenged her. Also, I wanted to write something for David Duchovny that challenged him.”

("Challenged", indeed.)

And that... that rubs me the wrong way.

NOT EVERYTHING IS ABOUT YOU

I'm not here for Glen's romance, I'm sorry. I'm here to be persuaded that Mulder might have a soulmate, that Scully might be a soulmate, that all three could be bound in this doomed pattern for lifetimes; and if that cycle was broken with Melissa Ephesian's death. (More importantly: does Mulder and/or Scully believe it's broken?) What we were given instead was a memoir to love in general that shoehorned itself into the show without regard for canon.

I'm not angry with TFWID as much as I am other episodes (most of Existence and canon onward, for example) because Mulder and Scully's characterization never strays-- Field may have been carelessly wedged in, but it was skillful with its emotional exploration. Further, the events and facts presented so summarily contradict each other that there's no real "threat" propped up by its existence. And, while I can't excuse the cringe-inducing acting from Morgan's wife, I can explain why DD's turned out so "badly" (read: jarringly):

Bowman’s director’s cut ran so long that Morgan and Wong were forced to trim twenty minutes out of the episode.... Morgan felt that the emotional impact of Mulder’s hypnosis session might have been marred by the cutting, since it interfered with the flow of Duchovny’s acting throughout the entire scene. “I called David and I said, ‘I’m cutting it this way.’ I could hear that he was upset. I know what actors go through to prepare, and then to have to sit in a chair for a couple of hours in front of a bunch of grips and gaffers and people that they hang out with everyday, and cry – it’s just like taking off your clothes. And then to find it’s been cut out. I had to come home and tell Kristen, ‘Look, this part is coming out.’ She was upset and David was upset. Jim was off prepping ‘Musings of Cigarette Smoking Man’ or doing something and I was just very alone.’

(For context, the hypnosis scene was originally twelve minutes long.)

While I might be tempted to sympathize with Morgan, he didn't extend that sympathy equally to his wife or Duchovny, instead turning this combined loss into a one-sided self-pity party.

MULDER THE SACRIFICE, SCULLY THE SAVIOR

I also have a theory that Carter was writing Scully as a savior and Mulder as a sacrificial lamb for the mainline series (until he made William a magic baby and ruined eight years of build-up), post here.

There's a reason that The X-Files is told through Scully's perspective; and that Mulder is often compared to Ahab chasing the White Whale, to a man on a fated quest, to a boy who lost his sister and can't live freely until he has that closure. There's a reason that Scully is Mulder's "one-in-five billion", his salvation ("But you saved me!"), his constant, his touchstone-- and his "human credential", as David Duchovny put it. There's a reason that Carter banked an entire series off of a chemistry and bond he wrote into the graveyard scene, and maintains that that is when Mulder and Scully fell in love (though to what degree is up for fanon interpretation.) There's a reason that the CSM was wrong to picture Mulder as a Christ-like figure, and Scully was right to walk into Mulder's subconscious and rescue him with the truth ("Get up and fight.") There's a reason that Mulder's rescue in Deep Throat underscores his and Scully's partnership from then on out: he in danger-- be it from Jersey Devils, moth men, fated love triangles, Houston bombs, brain surgery, alien abduction-- and she his rescuer (discussed a little here.)

Why is this important? Because The Field Where I Died's concept is not without canonical merit: Mulder running headlong into danger, Scully holding him back long enough to prevent the cycle from repeating. And it ties into the mytharc's ad nauseam question of Fate v. Freewill (posts here and here.) TFWID could even work if you factor in the theory of Scully's immortality (post here.)

But the reality is, Morgan and Wong were not going for canonical adherence.

THE WONDER OF THE SUPERNATURAL, THE FAILURE OF THE HUMAN CONNECTION

Episodic timeline goofs and gaffes aside, the problems in The Field Where I Died lie deeper than which woman Mulder loves and which one he perpetually makes friendship bracelets with. The greatest problem arrives, settles, and stains with the introduction of soulmates: the recontextualization of the infamous MSR dynamic.

Morgan was focusing again on Mulder and Scully as humans; but he fumbled, amplifying then explaining away their "unspoken" as a supernatural connection rather than the meeting of uncannily similar minds:

Apart from personal considerations, Morgan and Wong wanted to reorient the show’s attitude towards the paranormal, which they felt in the third session had been expressed far too often as something evil or wrong. “The paranormal isn’t about death or evil,” Morgan said. “It’s about wonder.” In line with this approach, he and Wong wanted to avoid writing a conventional villain; instead, the principal conflicts take place between Mulder and Scully or are internal, with both Mulder and Melissa haunted by their pasts, in this life, and perhaps previous lives. 

Morgan and Wong wanted to zero in on two humans, and all their complications as such, brushing up against the unfathomable, neutral force beyond their comprehension... but then ruined that message, that build-up, by justifying the personal, human aspect-- their connection-- by making it inhuman, unnatural, and supernatural, too. All the while, of course, telling us (and believing themselves) that fans were upset because they introduced another romance for Mulder.

(As a side note: why do I excuse-- for lack of a better word-- David Duchovny's similar sentiments towards TFWID and its reception? Firstly, he, and others, genuinely loves it; and I'm happy for him. To David, it seems, love is more powerful when it is guaranteed for a lifetime and beyond-- the insecurity of someone falling out of love, platonically or romantically, is more powerful than a finite and fickle love that can be lost or tarnished. That being his interpretation-- and Morgan's intention-- I can see why he'd love TFWID. It's a powerful sentiment. More importantly, the man doesn't hold it against fans-- he thinks they misinterpreted its intent-- like Morgan thought they did-- understands why it would disgruntle, but maintains that he loves it, regardless. I can respect that position, even if we disagree; because the heart likes what it likes. I, for one, have my own likes that others might hate.)

LAZILY WRITTEN

The greatest mistake of all-- one Morgan humbly recognizes-- is the faults in the writing. Well... more accurately, that he and Wong failed to keep a complete vision that would (most definitely, guys) translate better to audiences. His ideas, I concede, were intriguing; but like all mediums, the final product is what audiences are left to judge and believe in. For TFWID, it was mixed up before the scenes were filmed, and hacked apart after the footage was wrapped-- so much so, that Morgan kept realizing the magnitude of his mistakes after the fact:

Under hypnosis, Mulder describes a scene of death and destruction from the Warsaw ghetto; in this past life, he is a Jewish woman, Scully is his father, Samantha is his son, and the Cigarette Smoking Man is a Gestapo officer. 

Next he [Mulder] becomes Sullivan Biddle, already dead in battle, Scully is his sergeant, and Melissa is there, as Sarah. He has no information on the bunkers, all he sees is death. Morgan wrote these scenes to express the overwhelming sense of loss that Mulder has felt his entire life. The scene was shot in extreme close-up, inspired, Morgan said, by his love of Ingmar Bergman’s films. “To spend three quarters of an act, six or seven minutes, in close-up, on television, is wonderful,” he said. “On TV, we’re always cutting back and forth. We’re always blowing stuff up. Jim and I participate in that. Act Four of ‘Home’ couldn’t be more different than act three of ‘The Field Where I Died.’ I’m proud of that. ”

(And you might have blown it, Glen.)

Morgan’s enthusiasm for the scene was not matched by a good number of the show’s fans, who felt the scene was overwrought, both in the writing, and in Duchovny’s performance. “I think both Kristen and David did a great job,” Morgan said. “David just can’t win. If he walks around going, ‘Scully, I’m going here. Oh. Extreme possibilities,’ everyone says, ‘...that guy just mumbles his way through.’ If he emotes, people don’t want to see that. People can say his acting was bad. I don’t think that it was, but some felt it was obviously ‘acting.’ It’s in a close-up, it’s a long monologue, so it points to acting. 

(An unnecessarily long scene that, unfortunately, had to be chopped; and was chopped so badly that, consequently, it lost its nuance and made Duchovny look like a fool by proxy.)

Bowman’s director’s cut ran so long that Morgan and Wong were forced to trim twenty minutes out of the episode, including eliminating one of Melissa’s personalities, a crude loudmouth named Jobee, as well information that supported Scully’s viewpoint, and large sections from Melissa’s and Mulder’s hypnosis sessions

 “If we’d focused on Scully’s viewpoint more, we could have thrown up the idea that maybe Mulder’s wrong, maybe this is just wishful thinking,” Morgan added. “I know this sounds really bad, but to me the hypnosis scene is more important than a teaser. I was desperate to cut out time, and in favoring emotional content over plot content, I might have blown it.”

[Morgan]: "... I read a post online asking why Scully was always a man in the past, and I hadn’t thought about that. I wish I had altered that; it was a mistake.”

And it wasn't just TFWID that was littered with inconsistencies in service to Morgan and Wong's vision.

TFWID, "MUSINGS", AND THE BLAME GAME

When Morgan and Wong returned from their other writing projects, they had to decide whether to leave the studio-- angry at its interference-- or take a deal and partly work for The X-Files and Millennium. Obviously they chose the latter, and rejoined after a hiatus of one or two years. In that time, the X-Files had become a hit. But M and W had changes, and plans to execute those changes, in mind: they both thought that the show had strayed from its original vision-- again, the "wonder" of the paranormal and supernatural-- and would be set to (better) rights with their input and direction.

Not all of their work was flawed-- Home and Never Again were tightly written-- and not all of their ideas were self-involved. For example: when joining the show, they and the other writers were told this season's purpose was to drive a wedge between Mulder and Scully, and framed Never Again around that idea:

“My understanding at the beginning of the year was that we were going to drive to a point where Mulder and Scully didn’t trust each other,” Morgan said. His own scenario for plotting out the season was somewhat different from what Carter and the other writers came up with this year, but the fundamental issue was the same: trust. “I would have slowly split Mulder and Scully up over the course of the season, then in the last episode have Scully put Mulder away for his own good, which he would perceive as the ultimate betrayal,” Morgan said. “And then the next season, they would have had an entire year’s healing to go through.”

That's not an entirely unreasonable direction to take, either.

The other writers had other plans. For good or ill, it was Chris's show; and Chris wanted to steer it in a certain direction. Those who joined and added their thoughts cohesively helped construct the mainline arcs that bloomed into Season 4's cancer revelation and Season 5's lack of faith, as well as building up Fight the Future concurrently. M and W, however, felt bruised when their visions were either tweaked or countermanded; and left the experience disgruntled. For good or ill, Chris Carter, Glen Morgan, and James Wong all had good and bad ideas; but only one of them had created the show-- something which the latter two couldn't, at times, accept.

Case and point: I detour to Musings of a Cigarette Smoking Man because that episode-- from its conception to its creation to its execution-- explains clearly what led Morgan and Wong astray.

Home was successful, The Field Where I Died much less so. For both episodes, Chris Carter seemed content to let Morgan and Wong do whatever they wanted. However, a shift occurred when fans fell out of sync with M and W's vision (TFWID); and that shift manifested when Glen and James immediately wanted to jump into a CSM backstory, the mytharc domain of CC. Both writers felt the big bad of The X-Files had become gutless; and they wanted to inject some terror into him by killing off Frohike in the end. Per their original vision, the narrative element was excluded and CSM would reclaim his villainy via a Forrest Gump monologue then follow through by gunning down an innocent man. Chris Carter, meanwhile, did not want Frohike killed and did not think that CSM would care to waste time murdering a relative nobody to his life and work. William B. Davis, CSM's actor, was also insistent this version of CSM was not his character; and was so dissatisfied with it that he called up CC himself. Carter tried to appease all sides with a compromise: letting M and W write what they wanted (within limits) and reassuring himself and WBD that this episode wasn't canon:

Davis promptly called Carter to ask if this was the real history of the Cigarette Smoking Man (Carter told him no).

...“The Cigarette Smoking Man’s flashbacks were my idea, because I indeed wanted the episode to be a memoir,” Morgan said. But the idea that Frohike could be the real narrator was a Carter-imposed addition to the script, to make it seem as if the events of the episode were not real. Carter even changed the name of the script, from “Memoirs of a Cigarette Smoking Man” to “Musings of a Cigarette Smoking Man.”

[Wong]: ...“The line where Deep Throat says, ‘Maybe I’m not the liar’ was another change imposed on the script so you could make the leap that perhaps this is all. a dream, or the ramblings of Frohike.”

If that weren't potentially explosive enough, Morgan and Wong went behind Chris's back, consulting others on set to create their vision, anyway. When CC turned down Glen's dogged request, twice, to film an alternate ending, Wong took matters into his own, unauthorized hands:

Morgan and Wong felt so strongly about this issue, that they decided to try an end run around Ten Thirteen. They figured that if they filmed the scene their way, and cut it into the episode, it would be so powerful that Carter would have to agree with them. Morgan called Wong up in Vancouver and told him to take a few crew members while everyone else was at lunch, and get some shots of blood spattering on the sign to the Lone Gunman offices. Wong decided against the stealth approach; instead, he filmed William B. Davis pulling back on the trigger, and Tom Braidwood, as Frohike, getting a bullet in the head. Morgan nearly panicked when he heard what his partner had done; he was certain word of it would reach Ten Thirteen down in Los Angeles. His fears were justified.

Carter, meanwhile, allegedly proved how cleverly his fingers always remained on the pulse of the show:

Wong recalled: “I was in the editing room, and I said to the editor, why don’t we print up the B negative? We’ll cut it in and show Chris. [The “B” negative was the negative with the footage of the Cigarette Smoking Man pulling the trigger and Frohike getting shot.] And the editor told me, ‘You can’t do that.’ I said, ‘What do you mean, we can’t do that? Just print the B negative.’ He said, ‘Well, it’s been taken out of the lab. It can’t be found.” In a move worthy of a scene from an X-Files episode, someone had deliberately removed the negative without telling Morgan and Wong, and they had no idea where it was. 

(And how do we know this was CC's doing? Because every single actor, writer, and director interviewed always marveled at his inhuman ability to be aware of every single, teeny tiny detail on set.)

Apparently, the incident blew over wordlessly, so much so that Chris asked Glen and James to help flesh out Millennium and called them up, years later, to craft the Revival with him (and sat nearby while Morgan teasingly alluded to the above incident, just a few years ago.)

To tie it all back to The Field Where I Died: the work they created-- while beautifully written-- was sloppily fitted into the show they were hired to write for:

And then there were the timeline inconsistencies, which Morgan and Wong didn’t even know about until the episode aired and Morgan logged on and was bombarded with dozens of internet posts complaining that the events of “Musings” couldn’t be for real, because they contradicted the teaser to “Apocrypha.” In the “Apocrypha” teaser, which is set in 1953, a young Cigarette Smoking Man (already smoking), a young Bill Mulder, and a third man, all in civilian dress, question a horribly burned submarine crewman who had encountered an alien in a flashback shown in the previous episode, “Piper Maru.” Morgan’s version proposed an entirely different history, with the young Cigarette Smoking Man and Bill Mulder, both Army officers, first meeting in 1961 at Fort Bragg, North Carolina. The Cigarette Smoking Man doesn’t even smoke, until he takes his first nervous puff late in the first act. Although Morgan and Wong had seen “Apocrypha,” they didn’t remember the events of the teaser. “Okay, we’re sloppy,” Morgan admitted.

To top off the battle of egos, Glen and James laid a portion of the blame at the nameless feet of some faceless "other" rather than taking it upon themselves... or having the guts to point the finger at one person in particular:

“But somebody should have told us. They all read the script. It was the same thing that happened to us on ‘Little Green Men when we showed Samantha’s abduction.'” Added Wong: “If somebody had said, ‘Hey, you know, in the third season, this was said and this doesn’t make sense anymore.’ And we would have changed it. But nobody told us that And the internet people go, ‘This doesn’t make sense,’ and now we look like idiots. We have part of the blame obviously; we didn’t know. We didn’t catch it.”

(It's easy to feel for them and their position... until you realize that there is no evidence-- that I have found-- of them asking if there was a show bible or other resource to consult. Meaning, again, that M and W have to take some blame for this grievance, as well.)

And last but not least, they-- particularly Glen Morgan-- martyred their pain instead of fully accepting and owning their own part in this ever-evolving disaster:

But their disappointment over the changes they were forced to make “Musings of Cigarette Smoking Man” caused them to withhold the ghost story and look for something else. “I had done a lot of research and I had always wanted to write a feature about Lincoln’s ghost,” Morgan said, “But I felt they didn’t want my heart and soul anymore, so I wouldn’t give this one to them."

CONCESSIONS

While these two scalawags contributed their fair share to frustrating and complicated behind-the-scenes shenanigans, their instincts weren't completely wrong, nor all their conduct unrighteous.

They were right on the money with Home--

“Thematically, Sheriff Taylor was doing the same thing that the brothers were doing. They didn’t want things to change,” Morgan said. Scully conducts an examination on the baby, and when the DNA tests come back, she is shocked to find results impossible to believe; they indicate the child had three fathers.

“It was much more controversial than we thought it would be,” Wong said. “Some fans were repulsed beyond analyzing the show; they were just kind of sickened by it. They were pretty turned off. Some people loved it. There was a lot of really, really negative reaction.”

“I have really been stung by that whole reaction,” Morgan admitted. “To me, the show must have become so big while we were away. I think a lot of people hadn’t been exposed to what we did when we were first on the show. They were going, '...what are they doing?’ and we go, ‘But, this is what we always did!’ We had “Squeeze,” or episodes like Chris’ ‘Irresistible,’ these shocking, horrible shows. Act four of ‘Tooms’ I think is on a level with ‘Home,’ so we were going, ‘What is all the ruckus about?’ We figured a lot of people don’t know that earlier stuff, or certain tones that we were going after then.”

-- and Never Again--

“He’s been caught off guard by not knowing something about her,” Morgan said. “A date with someone in Philadelphia, someone he’s never heard of, someone she’s never told him about. He’s unnerved by his lack of certainty about her, with her being wrong about Ed.” The episode ends with Scully telling Mulder firmly, “It’s my life,” and Mulder saying, “But it’s…” and suddenly stopping. Why didn’t he finish his sentence? “It was our way of saying to the other writers, ‘Here’s where Mulder and Scully are, and now the ball is in your court,'” explained Morgan. “That’s what I always felt was our role. In the first couple of years when we were on the show, we might hand it off and then have to pick up the ball ourselves a couple of episodes later, but knowing we were about to leave and would have no input whatsoever, we just said, ‘Well, here’s this thing, how about this? Now it’s yours.’ I feel that Mulder had come to respect that there’s more to this than just him, that Scully is now a part of his life and he’s a part of hers. I think that she learned the danger of exploring the rebellious side, and that it has to be accompanied by responsibility. What she did almost got her killed. So I think that she probably has it a little in check, and yet she’s always carrying the memory of it on her back. It isn’t anything for her to let go of. But next time she’ll be smarter about it, and she won’t let it get so far away from her.”

--and were misunderstood both times.

They were also wrongfully done by here or there--

Morgan had the unhappy task of telling an understandably upset Anderson that the scene she specifically requested had been cut. 

Morgan and Wong were frustrated once more when the network decided to move “Never Again” out of its post-Super Bowl slot, and substitute “Leonard Betts,” the episode that was originally scheduled to air after “Never Again.” “Leonard Betts” ended with the wrenching realization by Scully that she might have contracted the cancer that afflicted the other female abduction victims she met in second season’s “Nisei.” This revelation impacted the rationale behind Scully’s behavior in “Never Again” in ways never intended by Morgan and Wong. “I felt horrible,” Morgan stated. “Those are not her motives for her actions in this episode. The motives in ‘Never Again’ are completely altered by posing that she has a disease or a death sentence...."

-- but did wrong themselves, despite unprecedented creative freedom (see the previous section.)

The trouble, it seems, is an inability to differentiate the criticisms they receive. The pearl-clutching, deaf-and-dumb moralizers over Home are not the same crowd scratching (nay, banging) their heads over the blatant and illogical inconsistencies in The Field Where I Died and Musings of a Cigarette Smoking Man. (In fact, the last episode mentioned aged nicely, if the IMDb numbers haven't lied.) And that trouble compounds when they can't understand why a behemoth ship, constantly taking on mounting expectations and schedules, might halt for pit stops but won't change course for inconsistent passengers.

Lastly, while I can sympathize with the emotions both Glen Morgan and James Wong felt for having their work constantly tampered with, that sympathy dwindles when contemplating a few factors:

They were working for someone else's show, not their own.

They were given unlimited creative freedom upon their return, and were only reigned in after their projects continued to falter.

They were butting heads against two factors that the show runner himself wanted to keep ambiguous or under hat: CSM's backstory and Mulder and Scully's lives outside of work.

Having one's spirit crushed by back-to-back disappointments can't solely fall on the shoulders of the network or show runners when the first two ventures weren't touched, tampered, or changed (except for a run time you knew you had going in); and they can't fall solely on fans when the end results provided were lackluster in quality.

And an important last note: I do not feel that Glen Morgan or James Wong acted maliciously-- carelessly, mostly; overly self-involved here or there, most probably. Their focus remained on fleshing out the characters, exploring the ramifications of their actions, and digging up and handing over imperative context for canon-- attempting to iron out Mulder and Scully's split-up, William's adoption, and Charlie's estrangement in the Revival, for example. But they're not saints; and they still have an edge against criticism and interference that clings to and eats away at the quality of their work. In short, we are only glimpsing one aspect of Morgan's and Wong's lives during an intensely frustrating moment in their lives-- but it was important enough to The Field Where I Died's lore that I felt it was crucial to share.

CONCLUSION

For me, I'm glad Morgan and Wong messed up so badly that Gestapo CSM was still alive when canon CSM was born. To me, I think Morgan was way too eager (kindly, I shall reframe from saying 'self-involved') and way too disinclined to ask for necessary criticism for his projects. To me, I'm certain Morgan and Wong cared more about their concepts than the canon they were writing for-- making Mulder and Scully platonic (but could become romantic?) soulmates without providing essential explanation or further clarity. To me, I think focusing only on what Mulder gets out of this arrangement-- instead of exploring how this would affect Scully, as well-- was a cheap maneuver to vehicle in Morgan and his wife's love story (the same impulse that drove Morgan to write Melissa Scully as a romantic option for Mulder, that inspired the death of Frohike, and that butchered Maggie Scully's deathbed in Home Again: the impulse of wanting things his way.) For me, I'm glad this episode was too long, was chopped up very badly, and was ultimately exposed as a vanity project by fans' negative reactions. And, to me, I believe that negative reaction was largely brushed aside-- ignorantly, though not maliciously-- by Morgan because "fans just wanted Mulder and Scully together."

And, lastly: to me, Glen Morgan and James Wong-- while wrong to some extent-- at least take (partial) fault for their vision going awry. We're all human, we all make mistakes; we all learn and grow.

The rest I leave to you to draw your own conclusions.

Thanks for reading~

Enjoy!

[timesomewhere]

in honour of the West End's next to normal closing today I've finally proof-read my 'things I noticed/general thoughts' post that's been sitting in my drafts since I saw it earlier this month. it's very long I'm very sorry.

Act One:

it was really fun watching this show in September given that there's two references to it in the first song

I adore the monologue about the pills that Dr. Fine gives during 'Who's Crazy'. it's rhythmic and funny yet also unnerving. It's such a quick and impactful way to summarise what Diana has been through for the past 16 years

Gabe does a 'one of your French girls' pose on the kitchen counter under the cabinets during 'My Psychopharmacologist and I'

Jamie Parker made direct eye contact with me during the last part of 'Who's Crazy' and it was one of the most intense experiences of my life

I might just be dense but I don't get the point of the neon sign that says 'Fine' which drops down during the Dr. Fine scene. Initially I thought that then one would drop down saying 'Madden' during his scenes to help people differentiate between the doctors but then it didn't so it just feels like a weird extra prop

speaking of random props, shout out to the iPad on the table in the opening scene which Gabe pretty much instantly takes away after telling Diana that she shouldn't obsess over tragic news stories and is then never seen again as far as I remember

Dan in the flashback scene being such an optimist about Diana's pregnancy and the future they're gonna have together... soul-crushing

Caissie Levy's 'I Miss The Mountains.' Holy Shit.

I love how Diana and Gabe are the only characters who sing on/stand on the table. it's as though it's this extra dimension of the house that only they have access to and it's a really neat and subtle way to show that they relate to each other in ways other characters don't

'It's Gonna Be Good' is so underrated. Jamie Parker's somewhat genuine optimism becoming optimism-through-gritted-teeth is incredibly acted

The way Jamie delivers the first line of 'He's Not Here' is devastating. the heaviness of that moment as you feel the audience around you realising what's just happened is something I'll remember forever

Gabe body-blocking Dan from Diana during 'I Am the One' is such good staging. People talk about how Jack Wolfe plays Gabe with a lot of layers and a lot of simultaneous contradiction and this song is one of the best examples of that. how Jack manages to project a character who is goading his father and protecting his mother at the same time is beyond me

also Jack has maybe half-an-inch on Jamie which obviously isn't something the actors control but it does makes Gabe seem just that bit more threatening when he's getting in Dan's face

for the first part of Superboy and the Invisible Girl when it's just Natalie singing, Gabe is actively laughing. He's totally unperturbed by her efforts to make herself seen to her mother. it's only when Diana replies, particularly when she says "you're our little pride and joy, our perfect plan" that you see his face drop and you see him trying to figure out a way to stop her from getting Diana's attention which then results in him kicking her off the melody in her own song

"I'll hurt you" being directed at Dan and "I'll heal you" being directed at Diana as Gabe gently touches her face gets me so bad. but the most painful part of 'I'm Alive' for me is when Gabe looks at Dan as he says "I'm the perfect stranger who knows you too well." that's the first time you realise that perhaps Gabe doesn't just impact Diana, and there's something much larger at play

Caissie and Jack W's voices harmonising on 'Catch Me I'm Falling' was one of my favourite parts of the whole show. Their voices are so magical together and their mother/son chemistry is incredible

The 'I Dreamed A Dance' into 'There's a World' sequence is one of the most tragically beautiful things I've ever witnessed. I went into the show knowing what Gabe was trying to achieve during 'There's A World' and yet Jack's voice is so beautifully haunting you totally forget you're supposed to root against Gabe in that moment

Jamie Parker's 'I've Been' is some of the best acting through song out there. Interestingly my friend and I had very different interpretation's of what Gabe's horrified reaction to the blood meant. I viewed it as him being upset about what he convinced Diana to do - he doesn't like seeing her hurt. Whereas my friend saw it as him being angry at himself that she didn't manage to follow through, meaning that he has failed to regain control over her life

'I'm no sociopath, I'm no Sylvia Plath. I ain't no Frances Farmer kind of find for you' is one of the best musical theatre lyrics of all time. I genuinely don't know why I Miss The Mountains is the 'big song' known from N2N over 'Didn't I See This Movie?', it's just so good

Natalie's 'She trusts you!' line is heartbreaking, I was basically watching that entire scene through my fingers because of how high the emotion was

Act Two:

'Pfizer's woman of the year' will in fact be peak comedy every time. Eleanor's delivery is *chef's kiss*

Gabe having just one line in 'Wish I Were Here', and that line being 'Wish I were here.' Yeah. I feel very normal about that.

Natalie's line of "Can I hide my stupid hunger, fake some confidence and cheer?" being pretty much exactly what Gabe has done throughout the entirety of act 1

"And you're not a scary rockstar anymore" got one of the biggest laughs at both of the shows I went to

Dan's desperation during 'Better Than Before.' He is simultaneously trying to cajole Diana into remembering and get Natalie to be more positive. This one song really highlights how he's being pulled in a million different directions while trying to hold it all together and Jamie portrays that so well

Aftershocks. Wow. The way the last word of each line echoes throughout the theatre is great sound design. I've been in exam halls louder than the audience during that song. Holding a room that captive as a silhouette is quite the feat Jack Wolfe you will always be famous

"I don't know where the fucking pieces go" as Diana pushes things off the table as if there's a real jigsaw there that she's rage quitting and choosing to give up on is such a nice detail

"Have you talked of your depression, your delusions and your son?" The gasp in the theatre both times was sickening

the response of "good' in reply to "name?" when technically that was part of his name as they are the "Goodmans". I don't really have a point here I just think it's neat

The 'It's Gonna Be Good" reprise was one of my favourite Dan/Diana moments. Caissie and Jamie are really pushing each other to their emotional limits and they handle it so well

The first "Why stay?" is so fragile as Diana sits against the kitchen island. Also interesting given that Dan and Gabe will also sit against there later when they are at their lowest point in the story. The idea of the characters crawling to the 'centre/heart' of the home when they are at their weakest

"This is one old game that I can play so well" is the line that has stuck the most with me throughout the show. Jack's delivery of it while striding across the kitchen table - seemingly totally invincible - is crazy.

how Caissie manages to deliver "you shrugged and said that no one really knows" with humour and desperation at the same time is amazing

When Gabe and Diana stand on the table and if they let go of one another they'll fall. yeahhhhh.....

Gabe's realisation that Diana isn't going to give up on getting better. Totally collapsing in on himself and beginning to cry. How you manage to feel bad for him after all the destruction he's caused is wild

Diana's "maybe I'm tired of the game" relating back to Gabe's "this is one old game that I can play so well"

the lyrics in 'Hey #3' clearly reflecting things Diana has done, Henry cutting Natalie off at "bleeding in the bathtub"

"I am the one who'll heal you" being said to Dan not Diana this time

"Why didn't you go with her?" is the most devastating line in the whole musical I said what I said. Jamie's delivery of it is heart wrenching

the drums and bass kicking in for the loud part of I Am The One as Gabe becomes desperate to be seen once again

Jack and Jamie's acting in this moment is so intense. there's a moment where it's genuinely feels as though only one of them can make it out of the interaction alive

Jack's emphasis on the word 'loved' in the line "I am the one who loved you" nearly killed me on the spot. how somebody can deliver a line so desperately while remaining pitch perfect is unfair

Natalie coming in to kiss Dan's head at the start of 'Light' like Gabe kisses Diana's in the first scene. I'm such a sucker for a gut punching

the "And are they real?" line about Diana's parent's from Henry gets such a loud reaction from the audience. Some people laugh immediately, some people clearly get shocked out of their sobs. so good

In conclusion, this is my favourite musical of all time and I'm going to be so annoying waiting for the pro-shot to come out