#this is the reason why im still here

[kitkat-sans]

Im am undeniably getting infected by the empurata prowl apocalypse in my feed inch by inch, , , brick by brick, slowly.. .. slowly. . .

it is making me want to practice drawing prowl and jazz then draw the au.

AHRGGHARRHGARHGAGHARHGHGAG--

[fridgrave2-0]

hehe ghost-turbo haunting felix au

turbo is connected to the last piece of his code in the whole arcade - a trophy he gifted to felix in mid 80s as a symbol of him genuinely caring about their relationships on par with being the best racer. felix also gave him one of his medals and both kept their gifts next to other rewards, but when roadblasters and turbotime were unplugged, the medal was gone with everything else

now, after burning in cola-lava turbo is basically dead, but scraps of his code still were intertwined with the trophy (after all, it was his first winner's cup, but felix never knew about it), giving turbo an opportunity to exist as a shadow incapable of interacting with anything and anyone besides felix, who kept the trophy even after the roadblasters incident

also I went crazy in tags, feel free to check them out

[just-null]

HELLO HANTENGU NATION (5 people)

I'VE MADE AN [unofficial] HEIGHT CHART FOR MYSELF

Hantengu: 5"5 (166cm) Sekido: 5"9 (175cm) Karaku: 5"9 (175cm) Urogi: 5"9 (175cm) Aizetsu: 5"9 (174cm) Zohakuten: 5"3 (160cm) Urami: 8"5 (257cm)

[little aftermath under the cut]

they're so annoying. peace is nonexistent... they're the best ever.

[manderleyfire]

HOUSE OF THE DRAGON COUNTDOWN TO S2 Day 7 – Dynamics: Otto x Alicent x Aegon

[why] DO YOU [destroy yourself] LOVE ME?

[danandfuckingjonlmao]

i can’t casually watch the first night nurse “IM A DEAD BOY DETECTIIIVE” scene (still have it memorised somehow tho) because it makes me so sad, and one of the main reasons is edwin’s reaction.

we see throughout the show that edwin’s fear response is freeze. he can’t snap into action, he just freezes. that’s why charles has to always be like “motherfucker move?? fuckin run??” and eventually just shoves him because he won’t do it otherwise. as much as i joke about him being a passenger princess and having the vibe of “i simply refuse to lift a finger to defend myself, i will stand here and look pretty”, it is fully a fear response.

so after saying charles’s name in the most heartbreaking terrified way possible, he just starts moving. he doesn’t even think about it—it’s automatic. it’s the most natural, instinctual thing in the world for him. where charles goes, he follows. ESPECIALLY when things seem like they’re going to go horribly, because he will under no circumstances let charles get into trouble alone. like HE IS FOLLOWING THE PERSON WITH THE POWER TO SEND HIM BACK TO HELL JUST BECAUSE HE CANT BE WITHOUT CHARLES I AM SO FUCKIGN UPSET RIGHT NOW DO YOY UNDERSTAND

[meamiki]

Happy Anniversary In Stars and Time!! Have some Friend Quest based drawings :D

(These have specific quote picks related to them! And there's also a long ramble on why I like those specific quotes below if interested)

(And by long, I mean roughly 2k+ words of proper ramble total, so be warned before clicking keep reading this link right here to the rb!!)

[beyondplusultra]

I think if you're going to ship Farcille (or Senchuck, for that matter,) within the realm of canon, then you gotta admit to yourself that it's going to be a little weird. Falin and Marcille met when Falin was 10 and Marcille was the equivalent of someone in their 18-19-early 20s. It gives "elementary student gets a crush on the TA." And even when Falin is grown and in her 20s, Marcille says that she still sees her as a kid. It is a running gag in the series that even after learning Chilchuck's true age, Senshi still thinks he's a young child and feels the need to protect his innocence.

It's a whole thing in-universe that most people of long-lived races are icked out by the thought of having a relationship with someone from the short-lived races, since they experience time and aging so differently. And some people from the short-lived races see this as discrimination against them. You can't poke fun at Otta and call her the Leo DiCaprio of Dungeon Meshi while erasing the same in-universe societal constructs for Farcille. I like the ship too! I just think it would be so much more interesting to examine how these things would affect their relationship rather than just pretend that canon doesn't directly address it.

[the-physicality]

thinking this labor day about all the athletes in women's sports who didn't have a stable league, who were only making decent money from a spot on their national team, who had to fight to get even a fraction of what they deserve. who spent their prime without a club league or the infrastructure to propel the sport. who came of age after title 9 in the usa [forcing schools to fund women/girls’ sports], the ones who fought for cbas and are only seeing big change at the end of their careers or after their careers concluded. who didn't have the media attention before, but are now showing just how much they can sell out stadiums and arenas. the players who played year round because overseas teams paid athletes what they were worth. athletes who endured and reported harassment but the league never took appropriate action. athletes who never had the media attention or ability to monetize their talent but who had careers that were just as impressive as the stars of today. who did it without the help of the science, technology, and medicine we have today. who set records with less support and fewer games in a season, which will be broken by kids who have had personal trainers since high school. athletes who played great games that are no long available to view, their talent no longer archived and accessible for young or new fans. athletes who still don't have a league or are just getting one in 2024. athletes who took it upon themselves to create change for which they will never reap the full rewards.

[luck-of-the-drawings]

my TWO FAVORITE THINGS IN THE WORLD, VAMPIRES N COWBOYS... deacon keller is SUCH a fun character, hes charming and funny but ALSO formidable and STRONG when he feels he needsta be. i hope him and arthur can get a chance to talk more and be better friends. l ike really good friend s. . like. like really good f. hangon i gotta go i think i hauve rabies.

[doctorcanon]

I just love the Hero of Time a lot, guys. Like a lot, a lot.

[piko-power]

My Personal Headcanon On Why Amy's Love For Sonic Died Down Lately (and their dynamic)

When they were younger, Amy's love for Sonic was pretty extreme, and Sonic was, understandable, uncomfortable for the most part. He knows she means well, but that girl needs to calm down.

She can fight, but sometimes her hammer could only stun her enemies for a while. (It took her a long time to get rid of that robot that has been chasing her around Station Square.) She wasn't fully independent yet, even if she fought on her own a couple of times.

She often follows Sonic and his friends around. She is part of the team, but she was not a strong as she is now at the time yet.

She admires Sonic. A LOT. And Sonic knows that. Obviously, he could only run away from something like that, since he is NOT ready for that kind of thing, and whether Amy takes the hint or stop, she still loves him.

...BUT, I think things were slightly starting to change between her and Sonic after Lost World.

Remember this line?

You remember that? Okay, okay. Here's another totally unrelated question:

Before the events of Lost World, when was the last time Amy said "I love you" to Sonic out loud?

...YEP. 😈 (Unless I'm missing something, let me know lmao)

As more games and adventures come out, the characters get slightly older, and Amy is 12 to 13 now, and she is most certainly at that age where her body starts to change, but especially on how she views Sonic.

She knows she loves Sonic, but it was this moment during her change where she actually wanted to admit that she loves him.

I believe that Amy was all about sharing her affection to him not through confessions, but through obvious hints. Sonic totally got it, and there was no need to confess. Sonic knows she loves her.

...But she never said it. And she almost did, but she never did again for a while.

I think this was the moment in her life where, oh, God, she actually loves Sonic. SHE LOVES HIM, WHAT.

And she was looking back at all the times she had with Sonic that she can now see were unpleasant to Sonic (At least that's what she thinks) and that's probably why she isn't so expressive about her love to him than how she used to back then.

She wasn't sure what to do with this realization, and sets aside it for a while, and nearly stayed as her casual, peppy self... until the Eggman War happened.

During the 6 months of being with the Resistance, fighting Eggman's army all day and all night, all she can think of was Sonic.

She dreams that he still with not just her, but with her friends. She just wanted to see Sonic again, she just wants to be with her hero again.

But I'd like to think that she was also thinking about how she used to treat Sonic back when they were younger, how Sonic would almost always run away from her whenever she asks him out, or always look so uncomfortable whenever she gets so close to him.

Cringing at those memories big time, she wanted to change and hopefully when Sonic is okay and comes back, she can be better for him.

...Or will he still find her uncomfortable regardless? Would he even be happy to see her at all if he did survive?

But, hold on! She can't just give up her love for Sonic! He made her who she is today! A peppy, nature-loving, hammer-swinging, confident, brave... loud-mouth... annoying... Sonic obsessed... weak... pathetic... lonely little girl.

If she gives up on Sonic, it'll be like she gave up on the one hedgehog who saved her life. If she didn't she'll still be the same ol' Amy.

I also like to think she had parents a long while before she met Sonic, and was even expecting a little sister, but a robot invasion happened from where she was and attacked her parents and instead of trying to save them, after getting hurt, she ran away, hoping that they'll come back okay. But they never did.

She was all alone, and needed someone, a friend, a new family, someone who will hold her hand, anyone, to be there for her. But she was ignored by lots, and at that point, she's better off by herself, but still longed for company.

Eventually though, her tarot cards told her her future hero, and there might be hope after all. She encountered Sonic, held onto the belief of the cards tight, and the rest is history.

So, with that headcanon in mind, not only did Amy loose her parents that she didn't save because of her cowardliness (she was only so little at the time that happened) and also Sonic, who she thought will be her only hope, but now gone.

She doesn't even care if he did come back, he'd probably hate her now after everything she did to him, always talking about their "future wedding" or forcing him to go to Twinkle Park.

For the last few months of the war, it was nothing but Amy mentally beating herself up for either refusing to change or moving on, and they are both not fine choices.

She loves Sonic, but he does not love her, and she finally, finally realized it. And it's probably for the best if no body loved her at all.

But of course Sonic did survive and all of her worries wash away in an instant, she's just not expressive about her love for Sonic AT ALL now, since she's still worried about it but rather not mention it to Sonic because it doesn't matter.

If Sonic doesn't love her, then her feelings don't matter to him, and according to Amy herself, that is okay.

But also, I'd like to think that Sonic was thinking about his friends a lot up in the Death Egg for the past months, sometimes it's Tails (worried for his safety), sometimes it's Shadow (because he's wondering why he would join Eggman.) At some point, for a few days, Amy was in his mind the longest, and he felt bad about how he thought he was rude and pushy to her.

He wondered if she's not thinking about it too much, and if she is, will she give up on him? Yeah, he doesn't feel the same and still not looking for a relationship, but it's so strange but interesting how anyone could ever like someone like Sonic the Hedgehog. Amy was never afraid to show that, and she probably might be now.

He couldn't help but feel guilty. They were kids when she was like this, but he was so... arrogant at the time too. Not a lot happened at the time yet. He'd always have trouble expressing how much he value his friends, until he shattered the Paradox Prism. (I'd like to think Prime took place before Forces. It makes sense.)

She is such a sweet girl, and he probably made her believe that he didn't care for her. Just because he doesn't feel the same, that doesn't mean he hates her at all.

He wished he never ran away from Amy... Worrying for his little bro and wishing to be a good person for Amy was when Sonic cried in the Death Egg for the first and only time.

Frontiers, in my opinion, is kind of confirming their dynamic now. Sonic is a lot more sincere and kinder to Amy and she is not all hyperactive and lovey to Sonic. There is probably a real reason for this now.

They are both hiding their feelings from them, and they are both unaware of this. Amy, hiding her mental issues from Sonic, and Sonic, hiding his guilt away from Amy.

None of those things are important now. Sonic is with Amy and Amy is with Sonic. They are here with each other. They can be finally be better for each other now.

They don't care if they'll ever be something more when they get older. None of that matters anymore. They are here with each other. They can be finally be better for each other now.

Maybe someday they'll both talk about it, but for now, the present is important. They care about each other too much to think about it right now.

It's the kind of love that is unbreakable. It doesn't even have to be romantic. It's just love. Love is important for everyone, in any form. It's something Sonic and his friends need. And especially Sonic and Amy.

Amy Rose is the living embodiment of love, and without her, a lot would go downhill for Sonic and co. Heck, if it weren't for her, Shadow wouldn't have never remembered Maria's promise, which lead him to save the world with Sonic, before he temporarily disappeared from their lives for a while.

She is always there to lend a helping hand for anybody, even bad guys like Metal Sonic, and despite what she had been through, both in Forces and headcanon wise, she still fights back, even without her hammer.

She will pick you back up on your feet, reminding you that you are important and that you are loved, and that you should never give up. It's pretty much the words of encouragement she herself needed also...

She is still the happy, hyper, butt-kicking hedgehog we all know and love, but she still need someone to pick her back up on her feet after so long. Thankfully, she has her friends and her blue hero. The hero who made her who she is today.

I think Amy has no idea how important she thought she is, but Sonic does. Sonic knows fully well how important she is to a lot of people. It's about time he returns the favor to her. It's his turn to remind her how much a lot of people love her.

How much he loves her.

And I feel like The Murder of Sonic the Hedgehog was the moment where their dynamic really shined, but also the starting point of their relationship not only healing, but also the next chapter of what's to come for them.

Everyone, friends old and new, gathered around for a special birthday. A birthday for the confident, unshakable, and radiant Amy Rose.

It was such a special moment in Amy's life. After years of chasing and following the people she look up to, she is part of the team, but most importantly, she is part of the family.

She is fully realized as someone more than just a fangirl, but someone strong, courageous, creative, kind and a big inspiration for others.

I feel like this moment here...

-is where Amy is eternally grateful to call her friends her family. A family she thought she'll never have again. She's not alone anymore, and as long as they're by her side, she'll never will be again.

Her chasing days are over. She's finally caught up to them. She's finally home.

And it's all thanks to Sonic.

If it weren't for him, she'd probably be alone forever. Her past moments with Sonic might be embarrassing to look back on for a while, but they are good memories regardless, because they involve him.

Sonic saved her life in more ways than one, and despite everything, he's grateful to have her too.

He cares about her. He really does... And in her eyes, that all she needed to know. As long as Sonic loves her in his own way, she'll be happy.

Amy hasn't given up on Sonic. As long as Amy always supports him, he'll be happy.

Maybe sometime in the future, they can talk about their problems, but that's a story for another time. At this point, they need to. Right now, they are happy. They are okay.

They are here for each other. They are finally better for each other now.

"You guys won't ever leave me, right?"

"Wouldn't dream of it."

[xxplastic-cubexx]

not to be myself on main but im still here

[mishidefresa]

Oh yeah sharing food, my favorite love language

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[pimento-playing-hopscotch]

I love this show and it means a lot to me,

and I feel disappointed and a little bit misled tbh by the choices they have made-

These are two thoughts that can coexist btw

[dayurno]

hiii dayurno could you tell me more about raven!jeremy? it's such a new idea sounds very interesting!!!

hiii of course! buckle up. long story and also a collab with ao3 kevjean :3

well first of all let me say that in this au jeremy is not part of the perfect court or in fact even close to it at all. he’s a sub striker with a high jersey number who did not see much playtime during his career as a raven and was on the lower end of the raven spectrum skill-wise. this is important to tell you because the fic doesn’t start with jeremy in the ravens, it starts with him dealing with the aftermath of the nest getting dissolved and losing every bit of his hopes and dreams after sacrificing everything in his life to make it in eau—it starts with kevin salvaging the last dregs of jeremy’s college career by recruiting him for the foxes for his last year, even though jeremy, as an ex raven, hates him (and jean) for what they’ve done both to riko and to their team

ok good. so set the scene. jeremy is miserable. the ravens already didn’t like kevin and jean to begin with, isolated as they were from the perfect court. now jeremy lost not only his team but the lifestyle surrounding it, the ideology of the ravens, his partner, and his career prospects. he doesn’t have the eau raven title anymore and he can’t use it to get himself in the line of sight of most pro team recruiters. he gave up a family (that didn’t love him much, but still) and a trustfund for this. kevin day leaves the nest, jean moreau follows soon after, and their king kills himself. Do you understand how much jeremy hates them? kevin and jean were perfect court, were untouchable, didn’t even know or care to learn his name as a sub striker with not much under his belt—and then they left and destroyed everything jeremy had worked so hard for without even thinking about him. without remembering him at all, in fact.

he hates them!!!!!!!! desperately. With a passion. getting recruited for the foxes and by kevin day on top of it all is humiliating, but it’s the last chance he has. jeremy arrives in palmetto an angry hateful mess made ten times worse by kevin’s constant criticism of him, unaccustomed with normal life and without a partner for the first time in four years. he’s volatile and destructive and he has nothing to live for. exy is the only thing he wants and it doesn’t want him back. :) kevin steps in and takes jeremy’s game from him much like he did with neil, both out of desperation because the foxes are a mess now with the addition of their freshmen, and because, while jeremy isn’t really anything to write home about in terms of skill, he’s far more ambitious and disciplined than the average fox. jeremy hates kevin but can’t afford to reject his help. thus begins the most convoluted raven partnership to ever exist

jeremy hates kevin and has a non-negligible wish to harm him whichever way he can, but he’s also a raven that escaped the nest all on his own. he latches onto kevin immediately, the two of them becoming partners in the raven sense of the world while clashing Often and Intensely with each other both on and off court. their relationship gets more and more volatile the more jeremy goes out of his way to get under kevin’s skin, resentful and so angry at what the perfect court’s done to him, while kevin sinks his feet in and pushes jeremy way past his limits in his training. basically they are a match made in hell :) lots of hatefucking and jealousy and violence and the one murder attempt ensue as the foxes try to navigate this destructive, hopeless version of jeremy that wants to die and take down as much as he can in the process, up to and including kevin day. they’re together every second of the day and jeremy hates him for everything kevin took from the ravens, but he also depends on kevin’s training and presence to feel like a person again. it’s a really big mess basically that is eventually made worse (and better) by kevin and jeremy starting to sleep together to get the adrenaline out raven-style. and that’s all without jean coming along, which he will eventually