#what I did instead of writing

[radiance1]

"May I help you, mister...?"

Pariah Dark paused, slowly looking the old (by human standards) butler up and down before slowly sheathing his sword and crossing his arms. He looked the butler up and down once more, before glancing at the mansion and back at him.

Hm.

Hm.

"May I come in?" The king asked calmly, voice kept carefully lower than he would usually speak with. He was aware that his normal tone of voice was 'loud' in human standards. The butler stared at him for a moment, before slowly stepping to the side. "Of course, sir. Though I am certain I have not yet gotten your name."

He pushed his foot forward, soon passing through the threshold as fire wrapped around his body as he shrunk. Armor being exchanged for more 'comfortable' clothing besides his cape as he stepped through the doorway and grunted. "You may refer to me as War."

The butler nodded, not batting an eye as the sudden shift in clothing or size. "You came at quite the convenient time. Would you like to join us for dinner, sir War?"

Him?

Eat mortal food?

Perposterous.

"If you would have me and it's no further effort on your part, I could make such an arrangement." He fell in step easily behind the butler, hands folding behind his back in a similar if not a bit more extra way as his cape and hair swayed behind him with his every step.

"I believe I can arrange something to your liking," There was a sliver of mischief in the butler's tone as he led the king to what he assumed to be the dining room. "So far, all of my guests had only good things to say about my hospitality. I do so hope you're among them as well, words of praise from one of your station is quite hard to come by."

"I trust that your hospitality be nothing but kind." The king said, coming to a stop at a door the butler soon held open.

"Please, make yourself comfortable while I go inform those who will join you and make something more..." There was a slight twinkle in the butler's eyes. "Attuned, to your pallet."

The king chuckled. "I look forward to it." Then stepped inside.

[wasyago]

i imagine it's quite chilly in the black sea (for the lack of sun and color), so they're wearing slightly warmer clothes now uwu

+ thoughts

[damiel-of-real]

that fucking flower i hate

[hellsquills]

Disclaimer: I know about the duffle bag Filbrick threw at him, but you can ignore that if you want

My thoughts below the cut! (this turned into a whole ass fic lmao)

My personal headcanon is that Filbrick is as much of a coward as he is of an asshole. Therefore, he wouldn't have kicked Stan when he did in canon. Probably not for a while after that.

However, he does try to send him to military school. He keeps talking about how this kid needs to learn discipline and respect, and if he's not gonna bring money to the house, then he should at least bring some honor to his family.

Stan obviously does NOT want to go. Not only because it's a pointless war ("what've the vietnamese done to us anyways?") but because he remembers his mother's face when Shermie got drafted and he will NOT make her go through that hell again. Also, he doesn't wanna die!!!! Hello?????

He talks it out over the phone with Ford, who's obviously just as against it as he is. He tells Stan that, if he gets into a PhD program, he could skip military. Stan laughs in his face. It'd be easier to jump off the plane without a parachute.

And so, he comes up with a plan. When he goes to take his physical, he tries his best to botch it. If he is bad enough, if it looks like he can't do it, maybe he won't have to. Unfortunately, the recruiters are far too used to this by now, and they don't buy it. Stan goes home with a recruitment letter hidden in his jacket.

Everything goes downhill after that. He runs away from home, changes his name several times, does some crime here and there... The military is after him, and it doesn't take rejection kindly.

Stan stays out of contact with his family for a few years. He can't risk getting them involved in this mess. They don't deserve it. So he just leaves, without saying a word, in the middle of the night. No phone calls, no notes, nothing. Not even he knows where he's going. But if it just looks like he abandoned them, maybe they'll hate him. That will make them sound more believable with the police. They aren't covering for him, because they genuinely have no idea where he is. It's the best way to keep them safe.

In that time, Ford doesn't stop looking for him. He finds him every once in a while, but only his phone number, and he knows that could give away his brother's location and get the family in trouble. So, against his deepest instincts, he doesn't call.

One, three, five, seven years pass. Stan has been around almost all the country, and is genuinely considering leaving it. Maybe going to Mexico, or Colombia. Those sound nice. Maybe they'll be nicer to him.

He's passing his time and thinking about this in a small town restaurant in wherever he's in (somewhere he's not banned from, yet), when a family enters. He doesn't make eye contact, but he can't help but stare at them: a man and a woman, probably in their 50s, with 7 kids; one must be older than him, the second one around his age, the third one a little younger, the fourth one a teenager, and the last three between 10 and 15, no more. Except for the last three, they're all taller than him, even the mother, and they have various degrees of blond hair. Their clothes (overalls and plastic boots) suggest they must work in one of the farms he's seen around the state. They don't wear any accessories, except for the glasses that the father and four of the kids have. They're talking loudly and laughing. They look exhausted from a morning of hard work. They seem happy. They... look nothing like his family, and yet, he can't help but think about it.

He can't help the sob that comes to his throat. It's loud and messy from trying to suppress it, which obviously makes it worse. He covers his mouth immediately, and at that point he notices the tears that have run down his cheeks. "Great", he thinks, "that will make it easier to hide, for sure".

He doesn't move. He wants to escape, but that will draw even more attention to him, and he hasn't even paid for the food yet (normally he'd leave without paying, but the old waitress was kind enough to give him some extra food when she saw how little he ordered). He settles for not moving, lowering his head and covering his face, hoping that no one heard (unlikely) or cared (very likely).

"Ya'lright, son?"

The voice startles him. I wasn't very deep, but it was close enough to send his body into immediate danger mode. He looks up at the man towering over him, who's standing in front of him at a prudential distance.

"Y-Yeah, yeah, no worries."

He hates how broken his voice sounds. He's spent more than enough time sweet-talking his way out of trouble, he should be better at this by now. The man looks about as convinced by it as he is himself.

" 'lright then. Can I help ya?"

Damn villagers and their welcoming demeanor. If he wasn't a wanted man, he would appreciate it. But right now, it couldn't be worse timing.

"Come get ya food, kids!" The waitress' yell yanks him out of his thoughts.

"No", he blurts out, and he turns to the man. Least he can do is show him some respect and look him in the eyes. "I'm fine, thank you."

The man smiles lightly and nods. "Okay. Welcome to the town."

Stan watches as the man goes back to his table. He wishes he had been more polite, the guy was just worrying about him, but he can't afford it. They already know his face, he can't risk anyone else recognizing him-

"Sweet Mother of God almighty."

Stan turns to his right. One of the kids, the one about his age, is looking at him like he just grew a second head. He's frozen in place, his eyes wide as plates behind thick glasses. He doesn't say a word, and it's getting increasingly unnerving. Was the bruising on his face still visible? Maybe it's more apparent in broad daylight than in the shitty light that last motel had in the bathroom.

"I'm sorry, I- Can I ask your name?"

The fuck?

"No", answers Stan. Considering how nice his dad was, this guy is pretty rude.

"Son, leave him alone." The mother seems to have manners too, good to know.

The guy does pretty much the opposite. He comes closer to him, until he's right in his path, blocking his exit. That can't be good. Stan feels trapped.

"Are you Stanley Pines?"

Well, that's about it.

Stan tries his best to stay still. This guy doesn't look like a cop, not even an undercover one. But he knows his real name, so maybe someone in his family or friends works in the police; or worse, in the military.

"Listen man, I don't know who you're talking about, but that isn't my name. See?" He reaches for his wallet. He pulls out an ID, with a very clear Jackson Cage on it. He makes a mental note to change it soon, just in case his hunch is right and this guy has connections. "Now, if you excuse me, I'd like to pay for my food and leave. Move."

Stan is already on his feet, but the guy hasn't moved. Stan looks him up and down, trying to appear threatening despite his face probably still being a little red from before. He also gauges how feasible it'd be to escape if things turned bad; the dude is taller than him, sure, but he's also as thin as a toothpick, and by the anxious look on his face, he doesn't seem eager for a fight. The real problem would be evading the restaurant's staff and the other costumers, which include eight carbon copies of the guy in front of him. Probably better to try to de-escalate the situation.

"I- I can't let you leave. Please. I know who you are."

This man is making it really difficult to believe he's not a cop.

"No, you don't. I'm new in town. Move."

"Listen, I-"

"Move out of my way."

"I know your brother."

The words are like a bullet between his eyebrows.

"You look just like him-"

Against his better judgement, he quickly grabs he guy and pins him to the wood in between the booth benches, arm to his throat. If he knows Ford, he knows too much. God he just wanted to have lunch.

The commotion is immediate. He doesn't break eye contact with the guy who's grabbing his arm, whose strength is frankly surprising. He can hear, however, the screams from the dad and the siblings, as well as a couple of gasps from the other costumers. This is not going to go well, but fuck that. He's escaped worse.

"Stop!", the guy shouts as he keeps Stan's forearm from blocking his airway. "Don't hurt him! Don't get closer!"

It takes Stan a second to process what he said. The first part, sure, who wouldn't shout 'stop' when you're being attacked? But the second half doesn't make sense. Is he protecting him? The attacker?

Whatever it is, it works. The family stops in their tracks, still very ready to attack if needed. Out of the corner of his eye, he can see the three younger kids moving closer to their mother. For a split second, he feels a pang of remorse for the scene he just caused.

"Hang up the phone, Clarisse, it's okay. Please."

Stan looks in the direction the guy was talking to. Right behind him, the waitress reluctantly puts the phone down.

He looks back at the guy. He looks a little shaken up, probably from the impact his back (and his head?) made with the wooden plank, but he doesn't look scared. He almost looks... sympathetic? Stan is confused as hell.

"I know who you are", the guy whispers, low enough for Stan to hear alone. "You're Stanley Pines, and you have a brother named Stanford. I know him, okay? He's my friend. I met him a few years ago in a quantum physics congress and we've been talking ever since. He told me about his family in New Jersey, and about you. About how he hasn't seen you in years, and how he was trying to find you, to no avail."

Stan is gradually loosening his grip on the guy's neck, who takes a deep breath. He should know better, but- shit, hearing that Ford was looking for him was not what he expected. Even if he doesn't know yet if this guy is lying out of his ass, it's enough to make him doubt.

"I know you were called to Vietnam. He told me. I spent a week with him in his place when he found out, he was unconsollable. When you ran away, he called me. He knew what it meant for you and he thought he'd never see you again, whether you got caught or not. All because of that stupid war." Stan is now trembling a little, he knows it. This guy must know it too, with how close they are. If he stays here any longer he'll break down, but he can't move. Anything to hear his brother's name a little longer. "I know what it's like. Three of my cousins were drafted last year, and I know at least one of them won't be coming back home. Please... let me help you."

Stan meets his eyes. They're green and brown-ish, not unlike the immense fields he's seen in his last journey, the one that led him to this town. With the years, he's learned not to trust beautiful eyes, because they are better at hiding. These ones, however, seem serene and honest, just like his words, and he can't help but believing them. This guy, whoever the fuck he is, knows just about enough.

Stan lowers his right arm. The guy still has his hand on it, but this time is much less defensive and much more comforting. He doesn't complain.

"My name's Fiddleford McGucket, and I'm gonna help you find your brother."

______________________________

Essentially, after this Fidds calls Ford as if nothing happened (per Stan's request, since he's still paranoid about the police tracking his calls) and asks him to come to Tennessee. Ford argues that he's very busy and all, but Fidds convinces him in the end.

Obviously the twins have a dual breakdown and cry their heart out. In this AU they're much less emotionally constipated lol

Ford tells Stan that he's gonna build a house in a small town in Oregon as a part of his research, and asks him to move in with him once it's finished. Stan, of course, accepts.

In the meantime, Stan stays in the McGucket farm and helps them out as a way of laying low. He has a great relationship with his family, and they're very proud of him for what he did (i believe that the McGuckets are hippies at heart, and they're VERY anti-war, especially when it already took three of them)

I don't know how much of the canon storyline would this AU follow, but it's pretty much your average Mystery Trio AU with some different backstory

[saltedbiscuiit]

Matching pyjamas mayhaps?:3

[vvachillessongvv]

[queenharumiura]

2024 Akira Amano 'The Characters' Exhibition bonus 'Selfie-style' cards.

[lost-in-fandoms]

cw: mentions of blood and animal death (of the hunting variety)

Daniel raises his knife, muscles tense as he listens to the rustling between the trees growing louder.

He's not far from home, he was just checking on his traps, but he's not going back until he knows what's moving in the woods.

He takes half a step back towards a tree, to cover his back, eyes flicking towards the sky as some spooked birds take flight. He can hear someone screaming further away.

Then suddenly the sound of frantic running becomes clearer, sticks breaking and undergrowth snapping, and a second later someone is tumbling into the small clearing, tripping over the bag Daniel had left a few steps away and tumbling to the ground.

Daniel doesn't know what he was expecting, but for sure not this.

It's a boy.

It's hard to figure out his age, both because of how dirty he is and because of how he's still scrambling to get back up, struggling to find his legs, but he must be younger than Daniel for sure.

Daniel lowers his knife and takes a step forward, wanting to give him a hand, but the boy lets out a small growl, stopping his apparently fruitless attempts of standing back up and crouching instead, one leg awkwardly bent, clearly hurt.

"Hey, calm down, I'm not going to hurt you," Daniel says, using the same tone of voice he uses for his horse and scared animals. He doesn't want to put away his knife, doesn't know if this guy will be dangerous after all, but he tries to at least appear less threatening, making himself smaller.

It seems to work, because the boy shifts again, now kneeling instead of crouching, hazy blue eyes gazing up pleadingly. He looks like a supplicant at church, and Daniel isn't surprised when he starts begging.

"Please," he says, voice scratchy and weirdly accented, exhaustion clear in every syllable, "they will...please."

Daniel doesn't know what is going on, but he can still hear screaming somewhere in the woods, can see the boy flinching with it, and he understands enough.

"They're looking for you?" he asks, eyes going from the boy to the woods and back again.

The boy nods, mouthing please once again, no sound to accompany the way he shivers.

Daniel doesn't know if he'll come to regret this decision, but he's not going to leave someone scared and exhausted in the woods, not when he can help. And if the guy decides to attack him, Daniel is pretty sure he'll be able to fend him off. He looks skin and bones.

"My house is straight down that way, the door is open. Go in and close it behind you."

For a second the boy doesn't move, looking at him like he doesn't understand, and Daniel just has the time to start wondering if maybe he really doesn't, maybe doesn't speak this language, before he's clumsily pushing to his feet and running away.

The sounds of the pursuers are growing closer, so Daniel doesn't waste any time, dragging his boot across leaves and mud to hide any traces of the boy falling there and then running away.

He grabs his bag again, then moves away from the clearing, towards the people he can hear approaching.

He's glad he didn't hesitate more, because he's just a few steps away when a group of men bursts through the trees, carrying swords, bows and a lit torch.

They all stop when they see Daniel, but they don't raise their arms. Daniel recognises one of them from a nearby village he sometimes goes to when he needs to buy something.

"You're scaring my food, gentlemen," he says, hoping he sounds as normal as possible. He doubts any of them knows how he normally sounds anyway.

"We're looking for someone," one of the men rushes on, fully ignoring what Daniel said. Rude.

"About this height, looks a bit like a feral animal," adds another, the one with the torch. Danie doesn't like the free fire in his part of the forest and the boy did not look like a feral animal, just like a scared kid, so he doesn't feel particularly moved into helping.

"The only feral animals I've seen are the ones in my bag," Daniel replies, plucking a dead rabbit out of his bag by the ears.

The men look at each other, clearly not believing him, but also eager to just keep going, with or without his help.

"He's dangerous," the one with the sword finally says, "cursed."

Daniel doesn't know if as a warning or if to encourage him to rat the boy out. Daniel refuses to react.

"Well, good luck with your search, then! Thank you for keeping the people safe, and all that."

The man with the torch glares at him, clearly not amused by Daniel's levity, but Daniel just smiles. He doesn't move from his spot as the men grumbles among themselves about which direction to take, but waves when they start running again, slightly more east than Daniel's house.

He waits until he can't hear them anymore, then heads home.

--

When he is in front of his door he pauses. He doesn't want to get inside with his knife out, and the kid looked more scared than dangerous, but he can still hear the man's voice when he had said cursed, like he truly believed it. And it's not a guarantee, people will believe in anyway, he would know, but usually underneath those stories there are slivers of truth.

He still puts the knife away.

When he gets inside everything looks unchanged, enough for him to wonder if the boy just ran off.

"Hey, it's just me," he calls out, just in case. If the boy isn't there nobody will hear him embarrass himself anyway.

For a second nothing changes, but then a shadow near the fireplace moves, and the boy uncurls from his hiding place next to the firewood.

Now that they're no longer among the trees, he looks even worse. There's mud and leaves in his hair and on his clothes, a dark smudge next to his nose. There are several red scratches on his face, and his clothes don't seem to be in a much better condition. He's still holding his leg weirdly.

"Are they gone?" he asks, voice even raspier than earlier. Daniel can see how dry and cracked his lips are, and resolves to get him some water as soon as he's sure he's not going to get killed.

"Seemed to be going towards the river," he nods, pointing east. Then, cutting to the chase, "they said something about you."

He watches the boy flinch, back going rigid, hands splaying on the floor as if he's readying himself to push to his feet and run.

"Are you going to kill me?" Daniel doesn't care about curses, not at the moment at least, but he does care about his life. Mostly.

The boy looks surprised by the question, but shakes his head.

"Have you killed someone?" Daniel asks again, just to make sure.

There is something there, a shift in the guy's expression, but he still shakes his head. Good enough.

Daniel walk towards the table, dropping his bag and his knife, before going to wash his hands. He can feel the boy's eyes on him the whole time, so he's not surprised to find him staring at him when he turns back towards him.

"Is your leg hurt?"

The boy hesitates, probably considering if it is worth to give Daniel a point of weakness just to get some help, but then he nods. He rolls up his pants to show deep puncture wounds, still bleeding.

Daniel hisses, not knowing how the boy was able to not only stand, but run on that. That looks nasty. It looks like a...

"Wolf trap?"

The boy flinches again, and Daniel can see his hands shake. Must be a yes.

"Okay, I'm gonna help you with that, and then we're going to eat, and then you can decide if you want to stay in my amazing company, or if you want to leave. That good for you?"

There is another long pause. The boy seems to have some difficulty processing all those words, even if Daniel doesn't know if there is a language barrier or if it's just the blood loss, but finally he nods, dragging himself slightly further away from his hiding corner.

He extends a hand, looking almost shy, but Daniel has no problem filling the distance separating them and helping him up, watching as his face contorts in pain but no sound escapes his lips.

"I'm Daniel," he says as he helps him towards one of the chairs.

The boy waits until he's taken a couple full breaths after seating before answering.

"Max."

"Well, Max, I'm gonna fix you up, and then I'm gonna change our plans and offer you a bath instead," Daniel says, looking up from where he is grabbing some supplies to grin at Max. "You stink."

For a moment, it looks like Max won't react, the joke falling flat, but then the corner of his lip turns up, his eyes growing slightly less glassy.

"You too," he replies.

It's not much of a joke, but Daniel rewards him with a laugh anyway. Max's small, pleased smile, feels more like a blessing than a curse.

[chirpsythismorning]

El being *12 hours earlier* than the Cali timeline when she arrives at Nina. Will saying ‘it’s been 9 hrs’ in the scene following his monologue in the van.

We know that at some point their timelines merged when they arrived to save her…

But we don’t know when exactly those alignments took place when they were still apart… which just makes you wonder…

[realbeefman]

stacy is sooo interesting because she's in love with house but knows that they will never ever be able to have a healthy, stable, sane relationship because they're too similar so. she finds house-lite instead and marries him and. essentially moves on with her life! and is successful in this because she's a moderately well-adjusted person!

wilson, in contrast, never manages to escape the inevitable, in spite of his best efforts to find a house-lite of his very own, because he's an absolute fucking freak and ends up glued to house to the bitter. bitter end

[necrotic-nephilim]

I am always thinking TimJay thoughts related to the fact that they have matching scars from getting their throats slit, and not only that, but Jason slit Tim's throat first in an attempt to threaten Bruce, where Tim was nothing more than a pawn for Jason to use to emotionally manipulate Bruce.

batman (1940) #618

And then, just a little while later when Jason is trying to confront Bruce and do his whole dramatic moment with Joker in UTRH, and Bruce slits Jason's throat to stop Jason from killing the Joker.

batman (1940) #650

It makes me so Unwell. They have literal matching scars. When do you think Jason realizes it? When do you think, while running his fingers over the scar he has to always remind himself that Bruce was willing to jeopardize Jason's own life just to save the Joker, Jason realized it was the same scar *he* gave Tim? And does it click for him too, that he and Tim are a lot alike? Being used as pawns in Bruce's game? And for the first time he maybe understands Tim Drake, just another kid trying to get Bruce's attention and approval? And Jason did to Tim exactly what Bruce did to Jason? And that's part of what spurns on Jason's obsession with Tim, trying to "save" Tim from Bruce's ideology?

When they finally get together does it make Jason even more possessive? He put that mark on Tim and now he has his own to match. It's the closest to being understood and loved he's ever felt when Tim runs his fingers over Jason's scar at the same time Jason touches Tim's. Mirrors of each other, in a fun, fucked up little way.

[aerithisms]

i think my problem with this dw season arc accusing the audience of fanbrain for theorising about ruby is that it both feels deceitful and isn't actually that compelling from a character perspective. the season goes out of its way to build up supernatural mystery around ruby and even invokes susan more heavily than ever before in a way that is deliberately trying to get the audience to make those connections. and then it turns around and says you stupid idiot why would you ever try to connect these dots i have deliberately tried to get you to connect.

building up a mystery only for the character to be ordinary is an impossible girl arc redux only this time accusing the viewer of failing to see the humanity of the companion, whereas the impossible girl arc was turning that accusation on the doctor. 7b didn't really blame the audience for viewing clara as a puzzle and in fact several times spells out the fact that clara is perfectly ordinary before the big reveal to give the audience a chance to catch on. as 7b goes on, instead of laying the mystery on thicker, the audience just gets more and more affirmations that clara is a normal human being (rings of akhaten, journey to the centre of the tardis, hide). i found this approach compelling because it was rooted in character, focusing on the doctor's disconnection from humanity/the gendered dynamic of a man treating a woman as his manic pixie mystery to pull him out of grief. s14's meta approach of accusing the viewer feels both unfair, given it has deliberately led the viewer towards theorising, and personally less compelling to me because it wasn't tied into character in any way.

the thing about rey's parentage in tlj is that the reason rian johnson chose to go for that reveal was that it was the only answer that was interesting. none of the theories - rey is a skywalker, rey is a kenobi, and even the eventually canonical rey is a palpatine - were interesting or satisfying because they brought nothing compelling to the table for the story being told. the only satisfaction to be gained from those answers was a fanbrained "omg rey is important because she's related to that guy from the other movie." on top of that, rey desperately wants her parents to have been important, to give her life and her abandonment some kind of significance. so them being ordinary provided the most compelling trajectory for her character because it was the thing she least wanted to hear. it forced her to do the most introspection and growth, as well as tying into the film's themes about the capacity of ordinary people to be special. it wasn't just a choice made to "gotcha" the viewer, it was rooted in character.

i don't think ruby's mother being ordinary accomplishes the same thing. by invoking susan, s14 is engaging with the most egregious example of the doctor's streak of abandonment, which has potential to be very compelling in relation to ruby (and now also the doctor's) own abandonment issues. theories that ruby might be susan, or be somehow related to susan, or somehow related to the doctor, weren't just fanbrained "omg she's related to that guy i know from the classic series." they were theories genuinely rooted in character and the potential to explore both the doctor and ruby's issues with abandonment. and this is something the show willingly led fans towards by invoking susan so much in the first place. so for the show to turn around and act like they were shallow out of nowhere ideas when they were not shallow and were based on potential character conflicts the show itself deliberately invoked, feels misguided.

as well as that, ruby's mother being ordinary does not require that same growth from ruby as it did for rey because it is exactly what ruby wanted to hear. she never wanted her mother to be important, she just wanted to know who her mother was and have a connection with her. so finding out she was a normal woman who still loves her and wants to be a part of her life is everything she's ever wanted. it doesn't introduce interesting conflict for her the way rey's parents being ordinary did for her, because they were written as different characters with different hangups over their abandonment.

tl;dr i don't necessarily dislike ruby's mother being ordinary as an idea but compared to the things it was inspired by - 7b and star wars - it is not nearly as compelling in terms of how it relates to the characters or themes. and the meta angle, while conceptually interesting, doesn't quite work for me because it feels a little manipulative of the audience.

[quaranmine]

Some photos I edited today from May :)

(1) (2) Múlagljúfur Canyon

(3) Svínafellsjökull Glacier

(4) Jökulsárlón

(5) Skógafoss

(6) Reynisfjara Beach

[skitskatdacat63]

Fernando Alonso & His Relationship With Cards

I'm sure we're all familar with the cards on the back of Fernando's Vegas GP helmet by now, but did you know his relationship with cards goes a lot deeper?

I. Magic Tricks

You've probably seen or heard someone at least mention Fernando's propensity for card tricks. As far as I can tell he was doing them(publically) as far back as 2003 all the way to as recently as 2018. Even once performing a card trick, with a condom and a teddy bear(!??!?!??!!), in front of Valentino Rossi who said "How was that possible?"(x)

But how did this start? According to James Allen, "Fernando admits to having been heavily influenced by his grandfather, a mercurial figure, who taught him magic and card tricks, still one of his passions away from the race track."(x) And I'm not sure the validity of this one, because I couldn't find an actual source, but apparently he once said: "My parents are responsible for the two things I like doing most - driving and magic tricks. They bought me my first go-kart and a magician's kit."

In several interviews he described it as his hobby off track, and that he loved learning new tricks and surprising others in the garage with them! So clearly cards are pretty important to him both as a hobby but also to who he is as a person since they've been with him just as long as racing has.

II. Card Symbolism in His Helmets

This is the reason I originally made this post, but I thought I should also explain the origins of his card fascination first. As I said, we probably all remember the cards on the back of his helmet in Vegas, but did you know that wasn't the first time he had cards on the back of his helmet?

From 2008-2013, he used to have a pair of cards on the back of his helmets. The symbolisms of the cards themselves as well as the evolution of their design is really fascinating to me! Even more so with the recent development of the card choice in 2023.

Fernando said he wanted to reference his two titles in some way on the back of his helmet and after his friend sent him several ideas, he decided on having two cards(an ace of clubs and an ace of hearts, sometimes pictured with 05 and 06 on them as well), saying: "I picked the cloverleaf [the ace of clubs - Ed] to give me luck, but the only pity is that it doesn't have four leaves!"(X)

2008.

Here's the very first appearance of the cards! They're displayed flat, with the 05 and 06 clearly visible

2009.

Very similar to 2008, but with a slightly different design, and they're maybe a bit more straight with less shadow?

2010.

This is the first major change! I was sad they didn't have the years on them anymore, but then I realized they're sparkly to match with his signature lightning bolts on the top of the helmet!!

2011.

Honestly I'm still somewhat unsure if this is the actual 2011 helmet? It's pretty difficult to find clear photos of the back of helmets from older seasons. It's easiest to find them on replica sites or auction sites so I'm not 100%? But anyways, I like that this has the championship years on the underside of the cards

2012.

This is when I started getting weirdly emotional about the helmets. Do you see how they've progressed from being a centerpoint to being curled up and sad at the bottom of the helmet? Not listing the year anymore??

2013.

Same thoughts as 2012. And after this season, they cease to exist (just like his ferrari chair in the garage, WOAH CALLBACK), until cards make a reeappearance in his Vegas helmet, albeit in a different form

2013 Monaco(Honorable Mention):

For some reason 2013 helmets were easier to find proper pictures of, so I happened to witness this absolute beauty. The creativity of this helmet genuinely blows me away??? Wanting to keep the card motif, but making sure to incorporate it into the rest of the puzzle piece design?? Mwah! There was another special 2013 helmet but they didn't change the cards at all so I really applaud this one

2023 Las Vegas(The Return of The King):

The magnificent return! But look! The cards are different cards! Instead of being two aces, it's now an ace of hearts, a four of hearts(his driver number of course!) and, the, now iconic, representation of himself as a Joker. I literally could not believe my eyes when this helmet was released and I saw the Joker card, what a fucking silly old man....I really wonder if he felt nostalgic having cards on his helmet again or if he didn't think about it all and was just like, "ah cards because Vegas!!!"

III. Why Does This Matter?

*The rest of the post was factual, this is moreso my personal thoughts on the symbolism of the cards/designs

This post spawned from me recently watching the 2010 Bahrain gp and noticing "hey wait a minute...are those CARDS ON THE BACK OF HIS HELMET!?" It's a really tiny detail that's unfortunately covered up by the HANS device pretty much whenever he's wearing the helmet, so it's really difficult to spot! But I became fascinated with the fact that he had cards on his helmet before that recent helmet, and now here we are!

There's something to me about how the design of the cards evolves over the course of six seasons from the cards being front and center to being smaller, more folded up and closer to the bottom of the helmet. As I said, the 2012-2013 ones genuinely made me depressed because it feels, symbolically, like his hopes for getting another Ace are becoming more and more unlikely and falling away until they eventually fall falt and fade away entirely after 2013 and disappear for basically a decade.

But when they return? They're not the same cards! Instead of representing Fernando's championships, they now represent him as a person, displaying his driver number and his persona of being a Joker!! Though I do think it's interesting he happened to keep the Ace of Hearts, even though he talked more about the Ace of Clubs before. I'm not sure it's actually this deep in reality, but I like to think that it's him not letting his championships(and the lack thereof) define him, but rather letting who he is as a person shine and be the centerpoint instead! But on a sadder note, as @suzuki-ecstar said to me, maybe the Aces aren't there anymore because he's lost all hope for a chance at a third Ace entirely :(

[emloafs]

emloafs core ✨

[sacchiri]

Hellsing 2002 calendar illustration.

Ein wunderliche und erschröckliche Hystori von einem großen Wüttrich genant Dracole wayda Der do so ganz unkristenliche marrter hat angelegt die mensche, als mit spissen als auch die leut zu Tod geslyffen

A wondrous and frightening story about a great berserk called Dracula the voivode who inflicted such unchristian tortures such as with stakes and also dragged people to death