#to not do so is to support our own deaths

[angstywaifu]

Secret Relationship - Brennan Sorrengail x Reader Riorson

A/N: You guys seem to really want Brennan in a secret relationship with an older sister of Xaden. I literally have 4 requests for this. So I’m just gonna mash them all together. So for the 4 of you that requested some Brennan with Xaden’s older sister. Enjoy.

Prompts/Requests: Brennan and Xaden older sister who have a relationship while at Basgiath and reunite in Aretia and she finds out he's alive. Xaden walking in on Brennan and his older sister. Warnings: Mentions of death, Fluff and minor smut.

Masterlist | Support Me

Home. I hadn’t been here in so long. But it feels like a day hasn’t passed since I was last here. Thankfully most of the damage from all those years ago has been repaired, only a few spots not looking quite how they use to. Part of me was annoyed Xaden had requested my help and appearances elsewhere, but it needed to be done. And now, after all these years, I was home.

My dragon turns and banks downwards towards the clearing below where a few people await our arrival. I can easily spot Xaden amongst them. Even from here I can tell how much he looks like our father. Gods, I could even mistake him for him if I looked quick enough.

As soon as my dragons feet touch the ground I jump from their back, rushing towards Xaden who is already heading towards me. Immediately he pulls me into his arms and crushes me into a hug. I swear he’d grown again since I’d last saw him. His head easily resting atop my own. So much for being the little brother.

“You need to stop growing. You’re meant to be my little brother.” I joke as I step out of his arms.

He chuckles and shakes his head. “Wait till you see Garrick then.”

I go to respond, but as Garrick’s familiar face appears from behind Xaden i stand their shocked. He’s easily a few inches taller than Xaden. Last time I’d seen Garrick was just before the rebellion had started, and back then he wasn’t that much taller than me. Now I just reached over his shoulder.

“Bloody hell. I’m going to need some heeled boots to stand next to you guys, I don’t like this feeling short thing.” Both of them laughing at me.

”Don’t worry, Xaden’s girlfriend can make you feel tall.” Garrick teases, earning a glare from Xaden.

”Girlfriend? What happened to Cat? Weren’t you engaged to her or something?” Least that was the last I’d heard from Xaden. Though we didn’t really talk about it much.

”Don’t get me started about it.” Xaden says with a sigh. “And she’s not my girlfriend. It’s…. Complicated.”

I shake my head. “What did you do?”

”What didn’t he do.” Garrick jokes before stepping out of Xaden’s reach as he goes to shove him away.

Gods, I’d missed this. I hadn’t been alone while I was away, having a squad of my own who had chosen to pretend to be dead and do anything Xaden and the rebellion needed of us. But nothing beat the feeling of being around the ones you called your family. The ones you loved. The ones you would do anything for. I push down the feeling of sadness that wants to creep its way in. Push down the urge to look over my shoulder at the spot I last saw them that day.

“Come on, let me take you to your room.” Xaden says, ignoring Garrick who is currently chuckling to himself before turning away and walking towards the our home.

I quickly hurry after him despite the fact I know the way without him. We fall into a comfortable silence as we walk together. Neither of us needing to speak as we take in the feeling of being back here together for the first time in a long time.

It was odd walking these halls with Xaden. It felt familiar, but also not at the same time. Last time we both did this we were a lot younger, a lot was different, and a lot more people were alive. The usual commotion of the house no longer there. Least not the commotion I was use to.

Xaden pushes open the door to my bedroom, holding it open for me as I walk past him. Not a single thing had changed. It was exactly as I’d left it. Except for the bed. I’d left it in a mess last time I was here. Hopefully who ever made it had also changed the sheets. I hated to think how gross they’d be after all these years.

“You doing ok?” Xaden asks after a few moments of me walking around the room.

I nod. “I will be. It just feels…. Weird. Being back here I mean. Everything is so different now, but this place still looks the same.”

”You get use to it after a few days. I felt the same when we first got back here properly a few weeks back.” He tells me before a soft knock sounds at the door.

I furrow my brow in confusion, who could be knocking at my door? It can’t be Bodhi, he would have just barged in here, pulling me into one of his hugs, which I had a feeling would be a lot more bone crushing than they use to be the last time I saw him. I hated to think how much he had grown since I’d last seen him if Xaden and Garrick were anything to go by.

”Promise to not get angry.” Xaden says as he looks back at me, as he walks towards the door.

“Why would I-“

My words die on my tongue as Xaden opens the door revealing who had knocked. The same curly auburn hair, shaven on the sides just as I remember. Same amber coloured eyes, now just with a few lines at the edges. Same indent from where his dimple sits when he smiles. All I can do is stand here and look at him.

There’s no fucking way he’s there. I have to be hallucinating. He can’t be here. I watched him die. Watched Naolin try to save him. Watched Naolin kill himself trying to save him. He steps into the room, nodding at Xaden in greeting who nods back as if this is normal. Why is Xaden not shocked like I am? How does Xaden even know him? What the hell is going on?

I’m jolted from my thoughts as Xaden steps out of the room and closes the door behind him, leaving Brennan and I alone for the first time in years. Brennan cautiously walks towards me, almost like he’s approaching a dragon during threshing.

“Hi.” He says as he stops a few feet away from me, fidgeting with his hands ever so slightly.

“Hi? After all these years of making me think you’re dead, all you say is hi?” I say harshly, watching as he swallows nervously.

”I didn’t really know what else to say. How to explain what’s happened.”

”How about starting with how to hell you’re alive?” I snap at him.

”Right, that might be a good place to start.” He says quietly before walking over to the bed and sitting on the edge, resting his arms on his knees as he leans forward and looks down at his hands. “Whatever Naolin did worked. Clearly not straight away, but it worked somehow.”

”Least he didn’t die for nothing.” I add, Brennan nodding in agreement. “Have you been here this whole time?”

Part of me wants him to say no, to make this a little easier. But as I look over at him and meet his gaze I already know the answer.

”Yes. The rebellion took me in, healed me and looked after me. All without knowing who I was. And when you’re brother came back, he put me in a leadership position, help run things while he was at Basgiath.”

All this time Brennan had been the one calling the shots in Xaden’s absence. Keeping everything running while Xaden couldn’t. He’d been the one giving me my orders and updates.

”Lieutenant Colonel Aisereigh. That’s you isn’t it?” I ask, even though I know the answer.

Yet again he nods. I shake my head in disbelief, racking my head for any sign or hint that it was him in those letters. But I know there wasn’t. Otherwise I would have picked up on it. Seen something that hinted it was him.

“Trust me when I say I wanted to tell you.” He says as he stands and walks over to me. “So many times I wanted to give you some sort of hint that would make you realise. But I couldn’t risk it.”

I take a step back and avert my gaze. He’s right. I hate that he’s right. But it doesn’t stop the hurt. The betrayal I’m feeling. Even though there’s a larger part of me that wants to jump into his arms and never let go. Even though it had been years, there was a part of me that could never get over him.

“I get it. I understand.” I say, trying to hide the hurt in my voice.

I gasp as he reaches out and grasps my hand in his and pulls me towards him. I try to pull away but he just grips my hand tighter, his other hand coming to rest on my hip. I keep my eyes lowered, focusing on one of the buttons of his jacket.

“Mo Chroí, look at me. Please.” He pleads as he pulls me closer.

I can’t help but look up at him as he addresses me with the Tyrrish phrase he use to use all those years ago. The same one my father would use when I was little. As my eyes meet his, he smiles down at me, his dimple becoming more obvious at the movement.

“There she is.” He whispers, his hand letting go of mine as he cups my cheek.

I’m not sure what comes over me, but I grasps his jacket in my hands and pull him down to me. His breath hitches, warm against my skin as his face hovers just inches from mine. For a moment, time slows. The sound of our breathing fills the space between us, and I can feel his heartbeat racing beneath the layers of fabric.

He opens his lips, but I silence his words by pressing my lips to his. The world falls away, and all that remains is the heat of the kiss, the way his hands move hesitantly to my waist, then quickly righten as if he’s afraid to let me go. Afraid to lose this moment. I don’t know if this is right, or if I’ll regret this later, but right now, none of it matters. Right now, he’s here and alive, and so am I, and that’s enough.

I loosen my grip on his jacket, reaching up to push the material from his body, Brennan manoeuvring his arms to let the clothing fall to the floor. I feel his eyes on me, his presence commanding every inch of space between us. I can feel the heat radiating from him, an intoxicating warmth that wants to draw me in.

”Are you sure?” His voice is low, husky, and laced with something that feels like both desire and restraint.

I now, swallowing hard, my own voice barely above a whisper as I grasp the bottom of his shirt in my hands. “Yes.”

My heart races as I fumble to pull the material up his torso, Brennan releasing me from his grasp to reach down and pull the fabric from his own body. I don’t know what I expected him to look like, but it wasn’t this. With the material now gone, it reveals the sharp lines and smooth planes of his chest, freckles dotted here and there from training outdoors more than likely.

Brennan reaches out and pushes my jacket from my arms, throwing the clothing to the corner of the room before quickly grabbing my shirt in his hands and pulling it up my body. His lips capture mine again, this time tentative as though testing the waters. But the second I respond, threading my fingers through his hair and pulling him closer, something shifts. The kiss deepens, a fire igniting between us, burning away any common sense or anger I had left.

I push him back towards my bed, Brennan stumbling backwards as his knees hit the edge, grabbing my hips and pulling me into his lap, my legs sitting either side of his as I straddle him. I can feel the heat of his breath against my skin as his lips trail down my jawline, grazing the sensitive spot just below my ear, sending shivers cascading down my spine.

”Gods, I’ve missed you.” He mumbles against my skin as he kisses down my neck causing me to arch into his touch, a moan escaping my lips.

He turns his head back up to me, his lips ghosting over mine as the door to my room swings open.

”You better not have killed my-” Xaden starts as he walks into the room, stopping in his tracks as he sees me straddling Brennan on my bed, both of us half dressed.

Seconds tick by as he just stands there and looks at us as we both stare back.

”Well least you haven’t killed him.” He says with a smirk.

I growl at him before grabbing the closest thing to me, which happens to be a pillow, hurling it towards him as he dodges it with ease as he closes the door behind him, his laughter echoing in the hallway.

”Least you don’t look like you want to murder me anymore.” Brennan mumbles against my jaw as he presses soft kisses along it in an effort to get my attention back to him.

”Don’t push your luck.”

[crazywolf828]

Hey there friends

I wanted to hold off making any donation posts until I knew how much it would cost but the situation got a lot more dire.

Mom's had a heart attack, my grandpa died, and my uncles are coming after our house.

My grandfather died just before Christmas, it was a shock to all of us as he seemed to be doing fine. His final wishes were to be cremated and spread over the beaches with my grandma, everyone has known this, but because he didn't write a will before getting sick with Alzheimer's and dementia all of his children have to agree on what to do with his body. If they don't he gets turned over to the state and disposed of, and we never get him back.

Yesterday my mom had a mild heart attack, she's still in the hospital now (though she seems to be doing better) because we found out my uncles are refusing to cooperate. I'll explain the full story under the cut but they haven't been around for over twelve years and are now coming after our house.

The funeral is at minimum going to be 4k not including any lawyers we need to get to get control of his body and fight my uncles. If you can spare anything at all, please I'm begging more now than ever before, donate if you can or just reblog.

Thank you all, so much, for everything you do and have done.

My uncles have never been around, the last time was after a settlement from my grandmothers wrongful death where they took almost all the money. We got enough to buy our current house and that was it. My mom and grandpa specifically put on the deed that they both owned it so my uncles couldn't steal it once my grandpa passed away.

Well, we found out it is considered an asset, until we are able to get a death certificate to get his name off the house and give my mom full ownership, my uncles can technically try and get a part of his assets (even though we have no other money).

We haven't seen them in 15 years. They weren't around when we had to take care of my grandpa after his surgery in 2016 and his decline in mental health after. We couldn't afford to put him in a home so we did what we could.

They weren't there during the outbursts and anger of my grandpa not knowing who we were, having to give him baths, change his diapers, taking him to the hospital, making sure his food was soft enough he could eat it. But now they think there's money on the line and they want to bleed us dry when all we have is our house.

We were told all of this yesterday at the funeral home, told that if we don't go to court or they don't all agree on what to do with his body then he gets turned over to the state and disposed of. We would never get him back.

The stress caused my mom to have a minor heart attack, she was transferred to a bigger hospital and is currently having a cath test done because she already has an autoimmune disease.

I can't do much else to help other than come on here and ask for help, I have so many of my own illnesses that prevent me from working and the government is giving me a tough time trying to get on disability.

It's a lot and I'm just so lost and I'm sorry to ask again, I'm sorry to make another donation post, but please, we need this so much, every bit helps.

[rootspiral]

I don’t remember if you mentioned this in your deep dives, but I just noticed that almost everyone’s hallucinations during Jen’s trial are about their dead loved ones. Except Jen’s, which was her binding.

It’s almost like being bound, losing her magic, was as traumatic as losing a loved one. Agatha and Billy really didn’t get that, did they.

Also can we talk about how no one remembered to collect Sharon’s hair for the potion but it still worked?

I'm so glad I got this question since it's something I've been meaning to talk about, thank you!

The thing is, there are so many kinds of grief. Death is what we associate with the term the most since it's both so common and so final, but we grieve and mourn a lot of things throughout our lives, some less severe than others. You might grieve the loss of your childhood when you go live on your own for the first time, you may grieve after losing a job or a house, after ending a relationship with a friend, a romantic partner or a family member, and (this is Jen's case) after losing body autonomy and your sense of identity.

When you experience loss your brain will tend to react in specific ways, you might feel shock, numbness, anger, sorrow, depression. Some people will become more generous and empathic, others will cope by becoming isolated and defensive and self centered. I love that we see different kinds of coping mechanisms within our witches, and I love that Jen reacts very similarly to Agatha (although not as extremely): she rejects her own community, puts on a lot of armor and essentially becomes a scam artist in order to survive.

This show in my opinion brings home beautifully some very important points: people are much more complicated than good or evil. The way we react to sorrow might be healthy or unhealthy but it's still undeniably human. People need to work on their issues but it's almost impossible to do it on your own, without the support of a community. Jen copes with the loss of her powers in an arguably unhealthy way, but it's so much more nuanced than that! Like you point out, her pain is just as valid as the others', and it's comparatively harder to come to terms with too because she wasn't hurt by a random natural occurrence, but by real people that of course she is gonna blame and hate!

Jen took a lot of pride in being a root worker and midwife, losing that was like losing her identity and sense of self. And where was her community when that happened? Why was she an outcast? I'm sure some of it was self-inflicted self-preservation, I have very little backstory to base my observations on but Jen saying "like I care about that dusty, warty, snaggle-toothed community" when she cares so much she almost cried when Lilia called her a "sister in the craft"? Where WAS her community? Why was she left to fend for herself? Jen's attitude changes so much when she finds empathy and understanding in her fellow witches, and Lilia makes it clear that Jen's future is so bright and there so much potential there for exceptional achievements. Jen is such a driven person! I do really hope we see more of her, I want to see what she does next and I want her to be happy and fulfilled (and also get a little revenge, for funsies.)

I'm not sure if I answered your question at all, I just kind of blabbed on 😅 and re: Sharon - did the potion work though!?! It very much didn't.

[impalementation]

Read Uncle Vanya recently, and was struck by the similarity between Sonya's famous monologue at the end of the play and the church scene in "Beneath You." Specifically Spike's repetition of the phrase "Can we rest?"

SPIKE: [He walks to the crucifix at the altar.] She shall look on him with forgiveness, and everybody will forgive and love. He will be loved. [He stands before the crucifix, staring at it.] So everything's okay, right? [He embraces the crucifix, and his body begins to smoke.] Can we rest now? Buffy? Can we rest? - Buffy the Vampire Slayer 7x02 "Beneath You"

Here's Sonya's full monologue, though the most relevant part is at the end:

SONYA: What's to be done, we must go on living! [Pause] We shall go on living, Uncle Vanya. We shall live through a long, long chain of days and endless evenings; we shall patiently bear the trials fate sends us; we'll work for others, now and in our old age, without ever knowing rest, and when our time comes, we shall die submissively; and there, beyond the grave, we shall say that we have suffered, that we have wept, and have known bitterness, and God will have pity on us; and you and I, Uncle, dear Uncle, shall behold a life that is bright, beautiful, and fine. We shall rejoice and look back on our present troubles with tenderness, with a smile--and we shall rest. I have faith, Uncle, I have fervent, passionate faith... [Kneeling before him, lays her head on his hand; in a weary voice] We shall rest! [TELYEGIN softly plays the guitar.] We shall rest! We shall hear the angels, and see the heavens all sparkling like jewels; we shall see all earthly evil, all our sufferings, drowned in a mercy that will fill the whole world, and our life will grow peaceful, gentle, sweet as a caress. I have faith, I have faith... [Wipes away his tears with a handkerchief.] Poor, poor Uncle Vanya, you're crying... [Through tears] You have had no joy in your life, but wait, Uncle Vanya, wait... We shall rest... [Puts her arms around him.] We shall rest! [The WATCHMAN taps; TELYEGIN plays softly; MARIA VASILYEVNA makes notes on the margin of her pamphlet; MARINA knits her stocking.] We shall rest! The Curtain Falls Slowly - Uncle Vanya, Anton Chekhov (trans. Ann Dunnigan)

Uncle Vanya is a story of ennui and disappointment with life. The titular Vanya and his niece Sonya have spent their lives dedicated to supporting Sonya's father Serebryakov, a celebrated academic, at the expense of their own yearnings and ambitions in life. Over the course of the play, both experience disappointment in romantic love. They are also shocked by Serebryakov's intention to sell the estate they have poured their lives and funds into, without regard for the precarious position it will leave them in. Near the climax of the play, Vanya attempts and impotently fails to kill both Serebryakov and himself. Sonya and Vanya end the play where they began, toiling and romantically alone. On the surface, Sonya's monologue is a spiritually optimistic exhortation to endure and hope in the face of unrewarding drudgery. But it also highlights the bleak inability of the characters to change their circumstances on their own.

"When done well it’s not just Vanya who weeps. Through an act of will, the thing that has most afflicted them – drudgery – can be embraced. The (religious) reward is loaded with paradox: in death they will find rest, and new life. Whether or not you believe in God, it’s bleak yet the repeated phrases (“We shall rest!”, “I have faith”) have a persuasive force of uplift, tolling like a bell." - Dominic Cavendish, The Telegraph

The connections to Buffy are numerous. Like Buffy, Uncle Vanya depicts the existential dilemma: How to carry on in the face of cosmic indifference? If your lot is drudgery, how do you keep going? Throughout the show, Buffy experiences slaying as an often dreary, inescapable fate, one which she has to imbue with her own meaning instead of expecting recognition or the approval of authorities or institutions. In seasons five and six this metaphorical slog is made more human and literal as Buffy struggles to continue on with the everyday aspects of being an adult. Buffy gets her rest at the end of season five, but heaven only ends up being a false, temporary respite--she has to keep going.

Freshly ensouled, Spike in "Beneath You" is newly aware of the existential struggle. Like Vanya and Sonya, Spike has been romantically disappointed and disillusioned, and can no longer rely on it as a source of meaning. It parallels Buffy's own disillusionments when it comes to both romance and Romance (for more on this if curious, there's my unfinished romanticism series). Furthermore, now that he can make true moral choices, Spike is faced with the prospect of having to keep on making them--day after day after day--and living with the consequences. He now truly understands that, due to his actions, a chance with Buffy is impossible--that his labors, with Buffy in mind, like Vanya and Sonya with Serebryakov, cannot reward him--that his romantic and heroic narratives of himself are pathetic, broken. Now he'll have to find some other reason to keep on making choices, and it will be a thankless, unending task.

But the scene also inverts aspects of Sonya's monologue in interesting ways, making it both more and less optimistic. As a text, Buffy is not underwritten by any kind of religious or spiritual faith. Where Sonya puts God ("God will have pity on us"), Spike puts Buffy ("She shall look on him with forgiveness"), and this invocation of deity is more clearly ironic in Spike's case. He proceeds to drape himself on a cross, a Christian symbol, and the fact that it burns him emphasizes the inability of formal religion to provide the absolution or direction or reprieve he might crave. In general, the religious imagery in the church scene, the basic image of an empty church, supports the idea that this is a scene about the struggle for meaning. What does it mean to crave redemption if there's no God (or Buffy) to grant it to you?

What is left, instead, is the human ability to provide such things. On the one hand, in Buffy, one cannot have faith in even a bleak hope of spiritual reprieve. But on the other hand, there is a hope and belief in people's capacity for agency and change. As always, any given scene should ultimately be tied back to Buffy's story, especially when the scene is a dramatic centerpiece between Buffy and Spike--who, like the other major characters, has paralleled her throughout the show. I think it's very significant that this scene comes so early in the season. It restates, via Spike, Buffy's own struggle for meaning and agency within the Slayer fate, adult existence, and Romantic ideas that bound her. It re-establishes that this is one of the show's most central ideas, something to be re-explored throughout the season and resolved--in some way--by the end. (Which I think it is. There are a lot of connections between this scene and Buffy and Spike's final scene in "Chosen." Spike's sacrifice, done without stated belief in Buffy's love, suggests achievement of some internal locus of meaning. He burns with purpose, instead of on a cross. This parallels Buffy's triumph over the first and sharing the Slayer power. She no longer burns on the cross of self-hatred, or slogging away at an isolated fate.)

Of course, as ever, I don't know for sure whether or not Vanya was a direct influence or reference. I would say it's fairly likely. I wasn't able to find anything direct on the subject. All I was able to turn up was that Joss Whedon (who wrote and directed that scene) had not seen The Seagull--another Chekhov play--until ca 2007, which doesn't exactly help my thesis, lol. But I will say Vanya is probably the more famous play, and Whedon has a documented love of theater, given "Once More, With Feeling" and the Shakespeare readings hosted at his house and such. Also, Vanya on 42nd Street, a classic performance of the play, was released in 1994. The modern, stripped-down rendition of Vanya in that movie has aspects in common with Whedon's version of Much Ado About Nothing. Here's Sonya's monologue from that Vanya. The delivery of "We shall rest" is simple and restrained, closer to Spike's delivery of "Can we rest" than a more ecstatic Sonya performance.

The church scene, also for reference:

[sonic-fan-01]

Probably not a hot take from me, but...

Sonic The Hedgehog 3 is one of the best family films of 2024.

SPOILERS UNDER THE CUT

It's not a perfect adaptation of Sonic Adventure 2 by any means, but it cleans up a lot of the unessary stuff from the game.

Especially in regards to Maria and the ARK.

I LOVE that the Space Colony ARK doesn't exist in this movie. Because the movie knows it doesn't need it. All it needs to adapt is the research facility where Maria dies and the Eclipse Cannon.

Gerald Robotnik is an interesting character in the film for sure. He still has the same hatred he harbored for humanity in SA2, but with the added bonus of resentment for his grandson, Ivo because, in his own words...

"You're no Maria."

Gerald definitely is playing favorites, and I think it's abundantly clear why. He sees himself in Ivo, and it disgusts him. Whereas with Maria, he can only remember her innocence.

Speaking of Ivo, man, he's great. I mean, he's just all over the place in this film. He's good, he'd bad... and he sure as hell is funny. He and Stone are great, and I love how he finally admits his true thoughts about him during his sacrifice. Stone deserved to be validated for all the shit Ivo put him through over the years.

Now, I wanna move on to our meat and potatoes. Sonic and Shadow. They're phenomenal. Sonic is pretty much the same as he was in Sonic 2, with a little bit of added angst, which is due entirely to the film's themes about family, morality, and loss. Shadow is... jesus... he was amazing. He was everything I wanted him to be. Cool, dark, yet understanding. That being said, I wish they spent more time on Shadow dealing with the issue of what Maria wanted VS getting revenge on GUN with Gerald. I think extending Shadow's conversation with Gerald about their plan and Maria's wish would have done this perfectly and, in turn, better set up his switch to the good side so it's not as "oh yeah I guess we're doing this now."

"Live and Learn."

Okay, time for me to gush about Crush 40.

First of all, SEGA needs to pay Johnny G. what he's owed. Second...

HOLY FUCK

Live and Learn is everywhere in this thing. It's basically Shadow's theme for this film, playing in moments where he's either doing cool shit, or turning further to the light.

And when it played when Sonic and Shadow went Super on the fucking moon?! Oh my god, I would've screamed if it weren't for the fact I was in a public movie theater. You do NOT understand what this means for the next few films. We might actually get songs like "What I'm Made Of" or "His World" adapted for these movies if they keep doing well.

And I don't need a masters degree in Sonic-The-Hedgehogology to tell you how COOL that would be.

Speaking of Sonic, I wanna turn it back to talk about him and Tom. Dude. I love how Tom is immediately ready to join Sonic on his adventures. He loves this kid and wants to support him in any way he can, and I bet Sonic's so happy Tom wants to Hero with him.

"What did you do."

Tom's injury towards the end actually hurt me a bit. I didn't realize how much I cared about him until they played with the possibility of his death in this film. Also, I love what it meant to Sonic. We've seen in Sonic 2 that Sonic has some pent-up aggression for the echidna that killed Longclaw, that he never really properly expresses. The possibility of losing Tom, his best friend and father figure, the first person he connected with after years of isolation, it drives Sonic into a dark mindset. And. I. Love it.

This is what modern Sonic stories need. To give Sonic a wide variety of emotions, for him to act rashly if his closest friends and family are hurt, because it gives him more personality and shows us just how much he cares.

"What was his name...? Tom...?"

I loved everything about the scenes where Tom is hinted at being dead. I love how Shadow sees Sonic's reaction to Tom's potential death, and he has a small realization that he's become just like who he hated. I love watching Sonic panicking because he might be losing his best friend and father. I love how Maddie tries to keep a hold of herself for the sake of Team Sonic. I love the argument between Knuckles and Sonic about the use of the Master Emerald. I love the fight between Super Shadow and Super Sonic. I love how Shadow criticizes Sonic for letting his blind rage take over. I love how he wants Sonic to finish the job, and Sonic realizes what he's doing.

"The light shines, even though the star is gone..."

Sonic and Shadow's brief conversation on the moon is actually really sweet. They share a connection through their losses, and Sonic is able to guide Shadow to the light, by simply telling him to make the right choice. I think it's great because up until now, I think Shadow believed what he was doing WAS the right thing. But after seeing himself become like the GUN agents who ended up killing Maria... He starts to doubt himself. He goes to Gerald, who reassures him that what they're doing is justified, but Shadow doesn't believe that. Note how in that scene he asks if "this is what Maria would have wanted." Gerald responds by basically ignoring his question, saying that destroying earth is what deserves to happen to it. Gerald's own attitude led to his downfall. It's what caused Shadow to realize that he's on the wrong side of the fight by the time Sonic and him are on the moon, sulking.

"There are no winners with revenge."

I love this line from Sonic. It says so much about his past experiences from the last 2 films. He's seen revenge constantly ruin his life. So to be the one delivering it...? It goes against everything he's stood for, crosses a line he doesn't want to cross, and most importantly, sets him up for failure.

"Don't tell me you have a catchphrase.."

I like the comradery between Sonic and Shadow in the Super Hogs v GUN drones fight. They have a newfound understanding for each other that I think would have been able to make them better friends had it not been for Shadow's sacrifice, which will probably lead to the amnesia plot lines from Heroes and Shadow 05, which means it'll probably make Shadow a Sonic hater again. But then again, these movies keep surprising me, so who knows, maybe we won't go that route?

"What..? Who are you?"

Speaking of surprises.

FUCKING. METALIX.

And AMY MOTHERFUCKING ROSE.

Holy fuck. You all have no idea how hype this is. Unfortunately, I can say much in terms of predictions, but I think we'll be in for a treat come 2027.

[short-wooloo]

I cannot overstate this enough, but with the threat of trump and project 2025, there is GENUINELY a chance that this year's pride month could be the last...

I want y'all to really think about that, think about it when you hear or think "I'm not voting" or "both sides are the same

[someobscurereference]

Insane over the awakening trio again. We fought a war together, saved each other multiple times, and I know for a fact I can trust you with my life. We have never learned to socialize normally so we can't interact in a normal environment for five seconds without dunking on each other. I would follow you through time and space and abandon everything with you. You are the living reminder of every awful thing that have ever happened to me. Our traumas make us hurt each other at every turn. We're the only ones who know what lead to each other becoming Like That. Our jobs are barely in the same area and we don't even hang out that much outside of necessities. You are all I have left. I cannot fucking understand you. I am the only one in this entire world who has the ability to even try to.

x

[stirdrawsandreblaws]

screaming crying coughing up blood every time i have to fucking defend genocide joe bc ppl wanna lie and say he isn't responsible for most of the best domestic policy we've seen in decades

his foreign policy is dogshit, yes, and he should rightly be called on it and primaried out, but we can criticize the shit he's actually done wrong instead of making shit up about him ~not doing anything good~

[sincetheducksleft]

"Proshai, Livushka": Arcs or the lack thereof as a major theme of The Sopranos

One thing that's straight up insane about The Sopranos is how a narrative show can expose the insufficiency of narrative to explain our lives. I think Christopher's story is probably the most obvious example, but you see it with every single character, including Tony.

In "Proshai, Livushka" we see Tony rewatching an old mobster movie again and again, and we know that he saw the whole story every time, but the piece of the story that we get to see and our corresponding understanding of Tony's character changes over the course of the episode.

Meaning that Tony's arc in this episode, or the overall arc of the episode, may be less a true transformation of Tony himself than a transformation of what the audience knows of him. In fact, we are the ones who are changed by this episode, and from Tony's perspective he has no arc at all.

Which is sort of perfect, because here if there ever was one is a story with no "arc."

An "arc" (in the context of screenwriting, which is the context in which it was introduced to this show) is what gives meaning to the whole story. It's the narrative satisfaction, the profound feeling, the purpose, the message, the thing that makes the movie feel like it amounted to something and it was worth your time.

In the wake of his grief, Tony isn't obsessed with just any mobster movie, he's obsessed with a movie full of broad stereotypes and simple messages that amounts to a cliched, simplistic mother figure losing her son. It's the tragedy of a mother's profound grief that gives tragedy to the death of the son and makes the movie worth your time.

It's a contrast to Livia's obsession with mothers who kill their children, and its an extension of his comment to Melfi that he deserves to die. And you realize when the son character dies that Tony is wishing it was him in the coffin. Not because he's suicidal, but because he's just that desperate for a sense of meaning. For a story that has an arc.

And then you realize in the final scene, when it's not the mother's grief but the mother's love that brings him to tears, that he knows it wouldn't work. His death would have no arc, no profundity, no purpose. Because Livia never loved him the way a mother figure should.

His story isn't written in broad caricatures and it has no divine mother's love at the center of it giving divinity and meaning to everything else. Losing himself in a movie is the closest he'll ever get to putting some kind of arc or meaning or sense to that relationship.

And if real life has no arc, then at what point does it become worth your time? Or, like Livia and Robert Frost said, is every moment of our lives surrounded and defined only by the big nothing?

[candied-cae]

"Izzy's appearances in 2x03 with Stede were some of the only times I could stand him." - Allow me to further explain

I want to preface this with "I know." I know I was not an Izzy Enjoyer during Season 1 and I know I wasn't really looking forward to a redemption arc for his character because I was worried it wouldn't be taken seriously enough, since this show is a comedy. And, so far, I feel like I was right. His forgiveness feels rushed to me, and Stede's adverse reactions to him are the only times where it felt like this was in fact Izzy Hands from season 1 and not a guy with the same name and face but with a clean record and softer disposition.

The instances where Stede is put in Izzy's proximity are the only ones that really make sense coming out of Season 1. As far as we see, a few months has passed and pretty much everyone on The Revenge has forgiven Izzy for the simple reason that they can tell Ed is taking a little extra of his anger out on him. We see no apologies made, we see no kind gestures, we see no really complex stuff about him realizing he fucked up.

They skip right to his breaking down and the rest of the crew picking up the pieces behind Ed's back, even though for most of them Izzy was their torturer at least twice before all on his own.

So it felt weird and jarring that he seemed completely washed free of his "sins" of the last season, especially since it happened right there in the first episode. I wish the production team put more time in making Izzy "earn" the kindness the crew affords him, but I digress. The interactions Stede has with Izzy feel the most right (to me) and I adore how much character work we can pull from them.

(In agonizing detail by going over every word of dialogue and expression exchanged between them, you've been warned.)

The first time they address each other, goes as follows:

"Bonnet. Good to see you." "Piss off, Izzy. I don't wanna hear from you."

With Izzy approaching Stede without reason and speaking first. He limps on over and opens up with something polite almost. But when it comes from Izzy Hands - the man who personally insulted Stede, insulted all his favorite activities, insulted his crew, challenge him to duel and skewered him through the side, went on to call on Calico Jack and the Royal English Navy to take down The Revenge, who stole his crew and ship after he'd been arrested, and Stede's clearly got suspicions that Ed's behavior was influenced by him - that greeting is a slap in the face.

It's that kind of fake sweet pretend-we're-friends-for-the-sake-of-social-graces thing that Stede left behind on the mainland.

So he just tells him to leave. That he doesn't care what he has to say if it isn't information, and even if it was, Stede doesn't trust what Izzy shares.

And Izzy's a little caught off guard by that reaction. We see him sort of sway and look to the side. He looks rejected, which he is. And it's the first time all season that someone hasn't really let him have a fresh start (except for Ed). It's the first time anyone's tried to hold him accountable for the litany of things he'd done to the crew in the last season. Events that seem to have taken place only weeks/months before.

The second time Izzy speaks up, he does so to tease:

"What about my painting? Why was it all stabbed up?" "That was me." *sighs*

Izzy puts on a smile and leans his head back a bit. He's try to act proud and sort of snarky, since Stede isn't playing with him like they did previously. So, he tried to goad him into saying something. Into getting snippy or bitchy in return. He's trying to push Stede into giving him something to work with.

Because if people talk to him, and they play his games, and they soften up, that's how (it seems) he's been able to win them over and get into folk's good graces.

But Stede doesn't give. He doesn't want to play Izzy's mind games. He doesn't want to volley a few insults back in forth until it's fun. He doesn't want to give Izzy any of his time or attention or energy, because Izzy doesn't deserve any of it to him.

Stede walks away, and we see Izzy's expression freeze and fall. He's stuck and confused, because he thought that was a good move. He thought that one was going to get a reaction. And maybe that's how he's always gotten people to talk to him, by pushing them into a retaliation, but it doesn't work.

What's the quote? About how hate isn't the opposite of love, indifference is? Stede is being indifferent to Izzy's presence, and that's doing more to Izzy's feelings than if he outright hated him.

The third time they interact, Izzy's followed Stede into the captain's quarters and jokes:

"Don't cry, Bonnet. We just redecorated." "I don't mind, actually. I think the knives really help bring the place together."

Again, he's tried to push Stede's buttons. Playing on already used jokes that Stede's too posh and soft to, say, appreciate something like a dozen knives thrown/stabbed into the walls and ceiling of his cabin.

He's teasing, on the edge of calling Stede a cry baby, either just to see if it'll work him up, or if that's the only way he knew how to start their discussion. But again, Stede isn't playing with him. He brushes past the implied insult and moves to something more like "I don't care" in response.

Instead, turning his attention back to the subject of Edward Teach. Because he knows the crew were all dodging the question and he knows Izzy would have to know what happened to Ed.

During that same conversation they pivot to more serious matters:

"What'd you do with him? I know he wouldn't have left by choice." "I know you think you understand him-" "He was either going to watch the world burn or die trying. So which was it?" "Alright, Bonnet. Have it your own way. He went mad. He tortured the crew. He took my fuckin' leg 'cause I dared to mention your fuckin' name. He was a wild dog, and we dealt with him like one." "You sent him to doggy heaven." "No, I could never do that. We deserted him on a beach. Left nature to do the rest. More than he would've done for us. You and me did this to him. And we cannot let this crew suffer any more for our mistakes." "Why would they suffer?" "If your captain senses mutiny, she'll kill us all. That's pirate code."

The most notable expressions during this conversation are Stede's who almost seems to wince when Izzy says Ed retaliated against him over mentioning Stede's name, his defeat when he believes Ed was killed in mutiny, and his concern about making sure his crew will be spared.

These are feelings that are barely about Izzy, and mostly about the fact that Stede is taking on a lot more blame than he's saying. He feels a lot of the responsibility for what's happened (further exemplified by him cracking to tell Zheng Yi Sao that he should've told Ed how he felt and avoided all of it). And this is the first time Izzy really gets anything out of him from all his poking and prodding he does in the episode.

And though Stede is convinced that Ed was simply marooned and it's its own kind of tragedy and means there was somewhere to go to try and get him back, Stede worries about saving his crew first. He pleads with Zheng Yi Sao and even wins her over until Auntie finds Ed's "body."

After that revelation, Izzy's in The Red Flag's brig and only says:

"Go on, Bonnet. Give me your worst."

And Stede says nothing. He looks at him. He hears what he has to say. But he doesn't do anything. Nothing except having to physically push himself off the bars to walk away.

And again, we can tell there's blame he's assigned to himself for it.

It's a little bit his fault that Ed's "dead." It's a little bit his fault the rest of his crew is going to be executed. It's a little bit his fault, and it's a little bit Izzy's. He knows so, because Izzy said it to him himself. "You and Me did this to him." And Izzy huffs, gives him permission to fly off the handle. To pour his rage and grief all over Izzy, to retaliate with words or with blades.

Izzy would take it. Whatever Stede was going to give him, he was going to take it. Just like he was trying to make him mad earlier, Izzy was still grappling for something. For acknowledgment. For something in his last moments before an entire career of piracy ended at The Pirate Queen's behest.

But Stede gives him nothing.

And that hurts worse. That brings tears to his eyes. That settles in the quiet idea of "I'm not mad, I'm just disappointed" that cuts so much deeper.

And the last time Izzy tries for anything, he tries being grateful:

"I just wanted to thank you for-"

But Stede still doesn't listen. Doesn't even let him finish thanking him.

Even though he went as far as to save Izzy's life along with the rest of the crew (he could've struck him down or declared he was unwelcome to join them back on The Revenge if he really wanted to), he still hadn't earned acknowledgment. Hadn't deserved pity or anything else. He doesn't even deserve to stand next to Stede and fluff his ego, as far as Stede seems concerned.

Stede hasn't forgiven Izzy. And maybe it's because he feels there's nothing to forgive, it's mostly Stede's own fault- maybe it's because he blames him too much and will never let it go- maybe he's too hurt to feel anything but tired and sad once the immediate danger has passed... Izzy doesn't know.

What he does know, is that he has tried everything to get reactions out of Stede. Everything except apologizing. So, I'm personally hoping for an apology in the upcoming episodes. For some vulnerability and truth and embarrassment. Because these are the beats of a redemption. These are the plot points of turning your life around, and people either don't believe it's genuine at first or don't care.

This is the "cost" of Izzy's actions in Season 1. And it's something they haven't given us from anyone else yet. I'd also really like Ed to make some kind of address of the fact ("You wanted Blackbeard as dark and demanding as he could possibly get, I gave that to you"). Because that's how a redemption arc works best. The guy who fucked up has to put in an effort expressly to be forgiven.

To me, it's not enough that his life sucked for a couple months and he didn't get exactly what he wanted (aka, he didn't realize he didn't actually want it like that) and he lost a leg. He's going to keep pirating on one foot, but to receive a position on The Revenge happily shared, there needs to be something more.

More OFMD

[after-the-end-times]

It's gonna be both exhilarating and devastating if Ed immediately goes back to being Stede's Ed upon waking

As a crew, they'll always know that he could have been that guy, but instead drove them all to kill him

And it's no ones fault that none of them were the one guy in all the world that can keep Ed's head above water and keep the kraken at bay

But to know you just killed him when he's just back up, walking around in flowing gowns, enjoying his tea and marmalade?

That's just a devastating thing to have to reconcile in your self

[todayisafridaynight]

SO! I've wanted to talk about The Clip all day but felt like I should wait until the tumblr "premiere" (even though I think you were literally one of the first people to see it on Twitter lol). Thank you for defending my honor btw even if I am just Someone <3

But. Yes. Yeah. Yokoyama's absolute certainty in saying that??? Without anything to even buffer it? No maybe. No "don't expect too much." Just point-blank in front of a huge fan (whom I believe he's now going to be working with), a staff member, and a massive audience. As if that part isn't the matter of contention. I WILL be injecting those words directly into my veins for some time.

I was on the verge of choking and/or spewing blood and/or crying before posting it though lol, so I really appreciate the vote of confidence regarding the translation and I love your redraw! The reception as a whole has been really nice, although I wish people would keep it to themselves if they'd rather have Nishiki or Ryuji back or whatever. Not like it's a race, but even if it was, Mine's been in last place for ages lol.

And while I enjoy Y3's writing more than most, Mine's death wasn't some Grand Meaningful Statement, it was the decision of a fledgling studio that never knew if it would be able to keep making these games trying to tell a self-contained story. It did have far-reaching consequences for the series, but those consequences are also... not really relevant anymore?

Like, I can and have argued that Mine's death caused the fall of the Tojo Clan, but the clan has already fallen. So I don't see why some people are acting like revisiting his character would be A Spit In The Face to the saga somehow, but I guess I've never really been against characters being brought back...? A quote from the staff that's always stuck with me from the staff is that RGG is always going for RGG-ism, not realism.

Ranting aside... I honestly don't know if I should be saying this, but there's this new guy working the counter at Survive in some LaD8 behind the scenes footage. Now, upfront, I'm 99.8% sure it's not Mine (I happen to have a 100% accuracy rate so far identifying major RGG characters from extremely blurry images and silhouettes lmao), and I have no idea who it is, whether it's a new character or an old one heavily redesigned or Just Some Guy.

But he's not Kashiwagi. And he happens to have slicked-back dark brown hair with what appears to be an ahoge in some angles. And, unless the materials are temporary, he also dresses A Lot Like the celebrity Mine's design was based on. And his features... line up closely enough to piss me off, even though they don't fully match in the end, which is why I don't think it's him.

I'm in argumentative essay mode 100% of the time which is why I'm saying this in a "convincing" tone despite literally not believing it myself, but like... wouldn't that be something? To just have Mine part-timing at Survive or whatever and no one makes a big deal of it because they don't know any better? If nothing else, I really do think he should get The Bartender Treatment.

I dunno, I might post about it with a comparison tomorrow because it's been on my mind lately, especially with The News, but I really don't want people to get the wrong idea either. Or embarrass myself if it was too tenuous of a link to look that deeply into from the start lol

I remember seeing it two minutes after you posted it, so I can imagine I was one of the first to the scene of the crime (so my friends put it LMAO). AND OF COURSE I- and a lot of us- can't be any more grateful for all the work you do than we already are. I'd go insane trying to document and manage everything you do! especially when you have insane people like me ready to pounce on the smallest thing like I know I'd cry FJLKAJ The least I can do is give a proper title/credit to you when I can o7

If Yokoyama had any remaining hesitance about Mine being alive, then he REALLY would have fumbled by sounding so certain. Like in his old tweet, he certainly sounded more ambiguous, but this time he really had no extra notes and sounded more sure of himself. I won't expect RGG to do anything with Mine, but the concept is still very much exciting and the idea that Yokoyama almost seems earnest about the idea of bringing Mine back for whatever reason is very nice to know :] And thank you about enjoying the art I did! I can't lie in the slightest, since the last ask where you alluded to posting the clip, I had that drawing saved in the back of my head ready to make once you had that posted LMAO

But oohh not to touch drama since I generally try to Not touch it, but yeah I can't act like I haven't seen some people be. ""Interesting"" about the idea of Mine being alive. I won't dive too deep into it, but I think my major issue with the few grievances I've seen is that RGG hasn't done anything with Mine's alive status. As of right now, it's just a thing Yokoyama said, so I don't understand the need to be so angry about it (it's especially weird to say Ryuji hasn't been back when he not only got to be a playable protagonist in Dead Souls, but he was also the protagonist of RGGO- though I suppose I can understand wanting him in the mainline series again. Still, it's weird to act as though Mine's back any more than he is and being upset about it just because Yokoyama said he was alive)...

Moving on though, I'm really curious as to this 'mystery figure' you mean. I've been missing out on LaD8 production material, so I haven't seen this bit myself but I'd love to take a stab at it and analyze myself too. I agree though: if Mine does come back- whether he's working at Survive or anywhere else- I would greatly prefer if he had The Bartender status and was just never really called attention to and only existed in the background

[followerofmercy]

Networking/Knowing A Guy: A Guide

This is the autism website. Now, as an extension of the power of love and friendship, there are few things more useful than Knowing A Guy. Knowing A Guy means you have a support network. Knowing a plumber, or a tax accountant, or just that one dude that's really fucking good at finding the information you need when you're really overwhelmed, can be the difference between being able to pay rent and having a fun party with friends to fix your shit.

How does one end up Knowing A Guy? It's a skill you can develop called Networking and it is one of the foundations of society. Unfortunately making those connections with people is fucking hard and nobody makes a tutorial for it. So, here you go:

The golden rule is you scratch my back and I scratch yours

It is necessary for survival to seek out useful people

Great news! Everyone is useful in some form or fashion - including you! When given the opportunity to learn about someone, do it! Extroversion does not come naturally to some people and that's okay. Just take whatever falls in your lap.

Types of usefulness: trade skills, connections of their own, personality you jive with, pleasant to talk to, niche interest in shared hobby, security - the list is pretty much endless. I know a guy that lives in the metro area - no job, no major hobbies, inoffensively annoying to me personally, kinda ignorant, not attractive to me, but you know what? He knows how the fuck to get around the city by foot. My rural-raised ass APPRECIATES the guide.

Remember important information: general personality, background, skillset, likes and dislikes. You can find this information by making smalltalk about their life. There is no such thing as pointless conversation. (Yes, even the annoying smalltalk)

The more people you know, the higher the likelihood that one of them will be useful in a given situation - or will know someone who is.

It is overwhelming. In a given clique/community/workspace/whatever, there is A Guy Who Knows The Other Guys. This Guy is a shortcut. Find them. They're often elderly, extroverted, a little bit annoying, a secretary or in some otherwise forward-facing position. Look for people that are gossipy/talk about other people a lot but not in negative ways. If they constantly talk shit, they'll talk shit about you too. They're still useful but be careful with the information you share

You do not have to like someone for them to be useful.

You do not have to like someone for them to be useful.*

If you have low self esteem, you're going to feel like you're using people. You're not. That's the devil talking. People like feeling valued and the connections you are making are the threads holding community together. Recognize people for their talents. It's only a problem when you're taking advantage of people

So: don't feel scummy about it. You're an animal. You have to claw out your right to survive and people will respect you more for it.

Luckily mutualism is the name of the game in the animal kingdom. Offer something back. The foundation of a Know A Guy relationship is Mutual Benefit

Sometimes that Mutual Benefit is just spreading news of the The Guy far and wide. My plumber friend is my actual friend and I love her to death, but I'm maintaining our backscratch relationship by pimping out her plumbing business to anyone that'll listen

Food is a good Mutual Benefit. People across cultures for all of human history have bonded over food. I have good success asking people for a favor and then offering to buy them lunch in return **

General compensation is also good. Offer a service in return and always do your best to offer financial compensation as appropriate. Having your plumber friend take a look at your drain: doable with a case of beer. Having your plumber friend redo the pipes in your entire house? You need to pay for that.

Being transactional is not necessarily a bad thing. I would advise against keeping an itemized list of things owed, but fish don't seek out cleaner shrimp just because they enjoy their company. Everyone gets something

Unfortunately being extroverted and generally personable is a huge benefit here, but that's the value of the Guy That Knows A Guy. There's someone out there that has consolidated All The Guys so you don't have to be the local expert. Always remember nobody can do everything and you don't need to master every skill

* This is the foundation of a functioning community. I have many acquaintances that I find incredibly annoying. They include doctors, welders, artists, social workers, lawyers, construction crew and random fuckers at the grocery store. I do not hang out with them. I do not have to in order to maintain a civil Know A Guy relationship. I can drop them useful tidbits and fuck right off so I don't have to spend any more time than necessary with them

** People may assume romantic intent. Be prepared for that. I generally denote that it's a friendly/work lunch by calling them bro at some point if they're my age. Otherwise my general demeanor is sufficient to show that I do this with everyone

Source: personal experience, mother's teachings of crime, booth vending and poverty

[femwizard]

[whumptober]

WHUMPTOBER 2024: PROMPTS LIST

Welcome to Whumptober 2024 — Seventh Time's a Charm!

Please make sure to read the Event Info and FAQ below carefully, as most of your questions will be answered there already. For everything else, you are welcome to come to our ask box or ask questions in our Discord server here.

This year’s AO3 Collection can be found here.

This year's playlist can be found here.

The 'Anatomy of a Whumptober Prompt' post can be found here.

And our 'Resources for Writing Sensitive Topics' post is here.

We’re very excited to see the community come together for another year of Whumptober! Go wild with the prompts, and support your fellow creators - we wish you all the fun!

Best of luck and happy whumping,

Mods Vanne, Yenn, Kitty and Surro

(Text versions of the prompts, as well as event information, rules and FAQ are posted below the cut!)

Whumptober 2024 Prompt List

No. 1: RACE AGAINST THE CLOCK

Search Party | Panic Attack | "If only we could hold on.” (Icysami x Renegaderr, Strangers.)

No. 2: TRUST ISSUES

Amusement Park | Role Reversal | “You got away with the crime while the knife's in my back.” (Charlotte Sands, Rollercoaster)

No. 3: SET UP FOR FAILURE

Fingerprints | Wrongfully Arrested | "I warned you."

No. 4: HALLUCINATIONS

Hypnosis | Sensory Deprivation | “You're still alive in my head.” (Billy Lockett, More)

No. 5: SUNBURN

Healing Salve | Heatstroke | "If my pain will stretch that far." (Lottery Winners, Burning House)

No. 6: NOT REALISING THEY'RE INJURED

Unhealthy Coping Mechanisms | Healed Wrong | "It's not my blood."

No. 7: ONLY FOR EMERGENCIES

Unconventional Weapon | Magic with a Cost | "It's us or them."

No. 8: SLEEP DEPRIVATION

Isolation Chamber | Forced to Stay Awake | "Leave the lights on." (Coldplay, Midnight)

No. 9: OBSESSION

Broken Window | Bruises | “Frame me up on the wall, just to keep me out of trouble.” (Fall Out Boy, Irresistible)

No. 10: BLOW TO THE HEAD

Slurred Words | Passing Out from Pain | "I can't think straight."

No. 11: SEEING DOUBLE

Convenience Store | Loneliness | “Leave no trace behind, like you don't even exist.” (Taylor Swift, Illicit Affairs)

No. 12: STARVATION

Underground Caverns | Cannibalism | "Just a little more."

No. 13: TEAM AS A FAMILY

Familial Curse | Multiple Whumpees | "Death will do us part." (Set It Off, Partner's In Crime)

No. 14: LEFT FOR DEAD

Hunting Gear | Blackmail | “Because I want you to know what it feels like to be haunted” (tiLLie, kooL aiD mAn)

No. 15: CHILDHOOD TRAUMA

Painful Hug | Moment of Clarity | "I did good, right?"

No. 16: NECROSIS

Swamp | Wound Cleaning | "No, I can't feel anything."

No. 17: NOWHERE ELSE TO GO

Ruined Map | Shipwrecked | "We had a good run."

No. 18: REVENGE

Unreliable Narrator | Loss of Identity | “I see what's mine and take it.” (Panic! at the Disco, Emperor's New Clothes)

No. 19: BLOOD TRAIL

Abandoned Cabin | One Way Out | "Is there anybody alive out there?" (Bruce Springsteen, Radio Nowhere)

No. 20: EMOTIONAL ANGST

Shoulder to Cry On | Giving Permission to Die | "It's not your fault."

No. 21: BODY HORROR

Body Horror | Tattoo Gun | Spirit Possession | “Let the bedsheet soak up the tears.” (Apparat feat. Soap & Skin, Goodbye)

No. 22: BLEEDING THROUGH BANDAGES

Tourniquet | Reopening Wounds | "Oh that's not good."

No. 23: FORCED CHOICE

Public Display | Broken Pedestal | "I'm doing this for you."

No. 24: RADIATION POISONING

Collapsed Building | Equipment Failure | “I never knew daylight could be so violent.” (Florence + The Machine, No Light, No Light)

No. 25: SURGERY

Stitches | Being Monitored | "It's for your own good."

No. 26: NIGHTMARES

Breakfast Table | Parting Words of Regret | “I'm haunted by the lies that I have loved, the actions I have hated.” (Poe, Haunted)

No. 27: VOICELESS

Laboratory | Muzzled | “I have no mouth and I must scream.”

No. 28: DENIAL

CCTV | Exposure | "They caught me red handed."

No. 29: FATIGUE

Labyrinth | Burnout | "Who said you could rest?"

No. 30: RECOVERY

Hospital Bed | Holding Back Tears | "What have I done?"

No. 31: ASKING FOR HELP

Therapy | Making Amends | "I'm alive, I'm just not well." (Elliot Lee, Alive, Not Well.)

Alternatives List:

Body Swap

Communication Barrier

Finding Old Messages

Forgotten

Friendly Fire

Motion Sickness

No-Holds-Barred Beatdown

Regret

Secrets Revealed

Shivering

Survivor's Guilt

Time Loop

Used As Bait

Venom

Vermin

Event Info & Rules

WHUMPTOBER is a month-long, prompt-based creation challenge (think: Inktober, but whumpier). There are 31 official themes this year - one for each day of the month - which can be used, skipped, or combined in any way you’d like. They are meant to serve as inspiration without being taken literally (e.g. you don’t have to include the exact wording of prompts into your work). Feel free to run rampant on interpretation. For example, if the prompt is “flame", you could create something with reference to a candle/campfire, your character could have suffered a burn, or the flame could be a reference to an ‘old flame’ - an old relationship. It’s truly down to you!

In total, there are 4 prompts for each day. These are optional suggestions and can be used in conjunction with the theme, or as options/alternatives.  We want to give everyone as much creative freedom as possible, as well as increase event accessibility for folks with triggers and squicks. There is also a list of 15 alternative prompts that can be subbed in for any day, again to give participants as much creative freedom as possible.

Creators can PRODUCE work in any media they choose, including but not limited to: writing, visual artwork, photo/video/audio edits, paper crafts and elaborate recommendation lists (not just a list of links). Creators can PARTICIPATE as much or as little as they want (i.e. you don’t have to do ALL the prompts if you don’t want to) and prompts can be used in any order. They are also free to use even after the event ends.

When uploading Whumptober content to your blog, be sure to tag it with:

#whumptober2024 …..(the event tag)

#no.1, #no.2, #no.3, …..(theme number)

#bruises, #stabbing, …..(the theme or specific prompt you chose)

#altprompt …..(if you use an altprompt, tag the post with the number of the prompt you replace)

#fandom or #OC, …..(ironman, original content, oc, etc.)

#medium …..(gifs, fic, podcast, art, etc.)

#teeth, #etc …..(trigger warnings & any additional tags. Keep in mind not to add “tw” in front but only use the word/trigger itself)

#nsfwhump …..(only for nsfw content)

#your own tags go here

PLEASE BE DILIGENT WITH YOUR TAGGING. Only properly tagged posts are considered for archiving on the official @whumptober-archive blog. They must be tagged in the order above. An elaborate post about our tagging system can be found [here]

Unfortunately, due to the sheer number of participants in recent years, we cannot guarantee your work will be archived. A random selection of properly tagged posts from all genres will be reblogged each day.

Whumpers who produce content for 31 total theme days are considered event completionists and will be tagged in a masterpost at the end of the month. A form will be published at the beginning of November asking you to tell us if you completed. This is based on trust and we will not check this.

Frequently Asked Questions

Please read this before you send an ask!

TIMELINE

July: Trope voting form released. Late August: Prompt list is released for at least four weeks of preparation time. Tropes cannot be posted earlier than August 25th because of Moderator obligations in real life. (But, you know, go ahead and start writing/drawing, and add the themes in later, if you want!) September: Do as much or as little on your works as you want. You can prepare everything in advance or let September go by with vibes and start working in October. It’s up to you. October 1st: Challenge begins! A storm of whump breaks upon us all! During this time, some posts will be reblogged to the whumptober archive blog. We open the yearly AO3 collection for posting (optional). November 1st: The challenge is officially over! Completionist form opens for those who want to be included in the hall-of-fame. Early November: We release completionist and participant badges, solicit feedback, and post a hall-of-fame list of completionists by the 10th.

PARTICIPATION AND COMPLETION

Q: What counts as participation? Create or continue at least one work inspired by one of this year’s prompts. Q: What counts as completion? Creating work(s) inspired by at least one prompt from each day (or alts), for a total of 31 unique prompts. Q: Do I need to create 31 works? No. You can, if you want. Or you can create one work that you add to every day with a new prompt. Or several works that combine prompts. You can also update an existing work by adding new material with the current prompts. Q: Do I need to post my works somewhere to be a completionist or a participant? No. Q: How do you know I actually completed the challenge? We’ll take your word for it! Q: Do I have to finish my work(s) to be a completionist? No, you can post WIPs. And you’re not obligated to finish them in October, but if you want it to count towards being a completionist, you must have completed 31 prompts by the end of the month. So for example, if you’re writing a long fic and you fit 31 different prompts into the writing you did in October, it’s okay if that fic isn’t finished by the time October ends, you’ll still be a completionist. Q: Is co-writing/illustrating allowed? Yes, absolutely, and it would count towards being a completionist for both/all of you. Q: Is there a min/max limit on word count for written works? No. Q: Is there a min/max limit of quality for art? No. Q: Do I have to do something each day to be a completionist? No. You can skip days whenever you want, and as long as 31 daily prompts (or alts) are in your works done in October, you can be a completionist. For example, if you wrote a 1000-word ficlet that covers prompts in days 2, 3, and 17, you can check all three days off your list even though it’s only one work. Q: Is this challenge just for fics? No! Artworks, GIFsets, headcannons, rec lists, poetry, moodboards, or any other creative work is encouraged. Q: Can I combine Whumptober with other creation challenges? Absolutely, as long as the other challenges allow it too.

PROMPTS

Q: How do the prompts work? There are FOUR prompts per day: a theme and three ideas. You can use one, two, three, or all four prompts for each day. If you don’t like any of the daily prompts, you can substitute one of the ALT prompts instead. Q: How strictly/literally should we interpret the prompts? As literally or as figuratively as you want. For example, if the theme is WATER, that could mean drowning, waterboarding, raining, swimming, take place underwater, be lost at sea, construct a metaphor about a character’s mood that changes like a flowing river, crying, or whatever else you can think of that fits that theme. Q: Can I combine prompts? Is there a limit on how many? No limit and combine as many as you’d like. If you create a work that checks off multiple prompts, that work will count for a fill of multiple prompts. You need to address 31 different prompts to be an official completionist, but you don’t have to produce 31 separate works.

WORKS

Q: What’s whump? Hurting a character, whether that’s physically, emotionally, intellectually, psychologically, or any other way you can think of. Comfort afterwards is optional. Angst is emotional whump, so it counts. Q: How do I know if it’s whumpy enough? If your character is just mildly inconvenienced, it probably needs more whump. However, no participant has to prove whumpiness to the mods. Whatever you write is up to you. Q: What kind of characters can I create for? Anything. Generic “whumpee,” OC, PC, NPC, major characters, minor characters, or whatever you want. There are no limits. Q: Does it have to take place in a specific fandom? No, you can create works for your own worlds or for fandoms or for both. You can also create more generic or pan-fandom works. You can do cross-overs or use OCs, whatever you want. Q: Can I create AI-created works? We will not reblog or promote any works we know to be generative AI-created. Q: Is there anything we’re not allowed to write? As long as it contains whump and is based on our prompts, it’s fine. Please courtesy tag your works if you post them so people who follow the #whumptober2024 tag can filter according to their preferences. Q: What about sex, minor characters, and potentially disturbing content? You can create whatever works are legal in your country and post them accordingly. Please courtesy tag anything you think might be objectionable if you post to Tumblr so people who follow the #whumptober2024 tag can filter according to their preferences.

POSTING

Q: Where can I post my work? Post where and how you want. You don’t even have to (cross)post it to Tumblr. Just keep in mind if it’s not on Tumblr we will not be able to add it to the blog archive. There is an AO3 archive for Whumptober 2024, as well as the parent collection for works completed outside of the event. Q: Can I start posting early? You can, but this is an October event and wouldn’t it be more fun with everyone doing it at the same time? We won’t be reblogging any work predating October 1st. Q: Can I post late? Yes. For the sake of our hardworking Post Fairies, only a day’s themes will be reblogged to @whumptober-archive each day of October. But you can post whenever. Some of us are still working on and posting Whumptober fics from years ago. Q: Do I have to use your tags? Only on Tumblr and only if you want us to reblog your work on @whumptober-archive. Q: How do I have my works reblogged to the archive? Properly tagged posts will be reblogged to @whumptober-archive. If you want the official archive blog to reblog you, post on Tumblr and tag correctly (see this FAQ link for more info on tagging). Please note not all posts will be reblogged each day. Q: Can we @ you? For questions and comments, of course. We’ll be getting a flood of notifications, so if you really want us to see something send an ask. Q: Can I cross post on other blogs? Yes, multiple platforms and blogs are perfectly acceptable, as long as they allow cross-posting (to us). You can also post different works to different accounts under different names, without posting them everywhere at once. If you post some works under your main and others under an alt blog, that’s fine for completionist purposes. Q: Can I upload/repost my Whumptober content to other social media platforms? Of course! We’ve created an AO3 Collection to archive any fics posted there, which can be found here. The blog is the official archive, so please respect the personal boundaries of any whumpers in your social circle (don’t out anyone as a participant who would prefer not to be outed).

Most importantly, have fun, create, and enjoy all the whump posted this October!

[steveyockey]

To be aware you might be trans but unwilling to do anything about it is to create endlessly bigger boxes within which to contain yourself. When you are a child, that box might encompass only yourself and your parents. By the time you are a gainfully employed adult, that box will contain multitudes, and the thought of disrupting it will grow ever more unthinkable. So you cease to think of yourself as a person on some level; you think not of what you want but what everybody expects from you. You do your best not to make waves, and you apologize, if only implicitly, for existing. You stop being real and start being a construct, and eventually, you decide the construct is just who you are, and you swaddle yourself up in it, and maybe you die there. There is still time until there isn’t.

This reading of TV Glow’s deliberately anticlimactic, noncathartic ending cuts against the transition narrative you typically see in movies and TV, in which a trans person self-accepts, transitions, and lives a happier life. Owen gets trapped in a space where he knows what he must do to live an authentic life but simply refuses to take those steps because, well, burying yourself alive is a terrifying thing to do. The transition narrative posits a trans existence as, effectively, a binary switch between “man” and “woman” that gets flipped one way or another, but to make our lives so binary is to miss how trans existences possess an inherent liminality.

Humans’ lives unfold in a constant state of becoming until death, but trans people are uniquely keyed in to what this means thanks to the simple fact of our identities. You can get lost in that liminality, too, forever trapped in a midnight realm of your own making, stuck between what you believe is true (I am a nice man with a good family and a good job, and I love my life) and what you know, deep in your most terrified heart of hearts, is real (I am a girl suffocating in a box).

And yet if you want to read the film as being about the dangerous allure of nostalgia, you’re not wrong. I Saw the TV Glow totally supports that interpretation, too! But in tempting you with that reading, the film creates a trap for cis viewers that will be all too familiar to trans viewers. Somewhere in the middle of Maddy’s story about The Pink Opaque being real, you will make a choice between “This kid has lost it!” and “No. Go with her, Owen,” and in asking you to make that choice, TV Glow is simulating the act of self-accepting a trans identity.

See, the grimmer read of the film’s ending truly is a nihilistic one. It leaves no hope, no potential for growth, no exit. Yet you must actively choose to read that ending as nihilistic. If you are cis and the end of I Saw the TV Glow left you with a gnawing sense of dissatisfaction, a weird but hard-to-pin-down feeling that something had broken, and a melancholy bordering on horror — congratulations, this movie gave you contact-high gender dysphoria.

In an infinite number of possible universes, there is at least one where I am still living “as a man,” embracing my fictionality, avoiding looking at how much more raw and real I feel when I “pretend” to be a woman. I think about that guy sometimes. I hope he’s okay.

Consider, then, my cis reader, that TV Glow is for both you and me, but it is maybe most of all for him. I hope he sees it. I hope he breaks down crying in the bathroom afterward. I hope he, after so many years locked inside himself, hears the promise of more life through the hiss of TV static.

Emily St. James, “I Saw the TV Glow’s Ending Is Full of Hope, If You Want It to Be,” Vulture. June 4, 2024.