#writing for new fandoms be like that

[helpallthenamesaretaken]

i hate how sometimes people make out rachel to be this tragic heartbroken mess. WELL FRIENDLY REMINDER THAT

she was the one who dumped percy in the first place

and the scene after that she said "I don't have to tell you what you have to do now, right?" with the next scene being percy confessing to annabeth

she genuinely CHOSE to be the oracle, if she was really serious about percy she would have not have gone along with the whole thing without being a tiny bit sad about not dating percy

she flat out admitted percy was just a vehicle for her to be involved with the greek world

she is not august by taylor swift. she is not driver's license by olivia rodrigo. she did not care less about percy once he didn't reciprocate pls 😭

[utterlyazriel]

to see you just right

word count: 5k... my freakin sweet spot apparently synopsis: Shooting practice reveals your less than stellar vision. Arthur determinedly hunts down some glasses for you and you realise what details you've been missing out on. mutual pining, friends to lovers (almost) set during horseshoe overlook ! this is my first rdr fic so... be nice <3

Times like now, squinting at the bottles in the distance, the question of why the gang still kept you around bugs at you like an incessant horsefly.

I mean, you knew why—you've been running with the Van Der Linde gang for a couple years now. If you hadn't already proved yourself as resourceful and sharp-minded, you would've been kicked to the curb quite some time ago.

But you certainly weren’t a hunter. Nor a shooter.

You weren't even very good at picking pockets.

What you had was keen ears; good for picking up leads and the hushed conversations of businessmen with deep pockets. Not to mention your adeptness at stitching up bullet wounds, better than anyone else at camp.

Yes, yes, you weren't useless by any means.

But still... that didn't mean you could shake the envy of others' skills. It didn't take away that simmering, uneasy feeling as you stared down the targets in the distance, helplessly blurred to you. The shot from your last bullet still rings out.

You can already tell it hasn't hit its mark.

Just hit the fucking target. You think to yourself scoldingly.

You're not sure why this is so much harder for you than just about anyone else in the gang. And as much as it isn't your job, you've grown determined to be able to handle yourself if trouble ever comes knocking.

You thought that with a gunslinger as fine as Arthur Morgan himself, you'd learn a thing or two — a foolish idea that's dissipating quickly before you.

Adjusting your clammy grip on the pistol cradled between both palms, you shift your stance and squint again, rolling your shoulders back.

Empty lungs. You pull back the hammer and line up your best shot, feeling the kick of the recoil.

The lack of shattering glass is answer enough, but even so you lower your extended arms an inch or so to see closer. Scrunching your eyes to try focus, you wince at what you can make out.

No bullet holes on any of the crates, all six bottles still standing.

You're beginning to sorely regret asking for shooting practice when it only seems like a surefire way to prove yourself a fool. And in front of Arthur no less.

Arthur who—well, you'd be lying if you said you weren't fond for.

Quick to boil, your frustration wells, an itch behind your eyes. You drop your arms, lowering your gaze to the ground with another sigh.

"How you do this every damn day is a miracle to me."

You force a half-hearted laugh into your words. It's better than letting him hear that wallowing, pitiful feeling you can feel rising up your throat.

"It's jus' lots 'n lots of practice," Arthur says gently, his voice somewhere behind you.

Christ knows his intense, watchful gaze isn't helping you either.

You can't help but feel it burning into your back every time you raise the pistol—and every time you fail miserably.

Your frustration rises again and you finally lift your head, turning back to the cowboy.

"I'm sorry, Arthur," You say sincerely. "I— this was a mistake." You begin to hold the pistol out in your outstretched hand, grip lax.

You don't get very far before he's stepping in closer, his hand reaching up to yours and pressing your fingers to close around the grip again.

"C'mon now," He rasps. "Yer not just gonna give up 'cos it's hard, are ya?"

Skin against skin is enough to draw your heart up your throat, rabbiting fast and all too revealing. You pointedly ignore the spike in your pulse and let him manoeuvre you, his hand moving up to nudge your shoulder. You face the targets.

Six bottles in the distance glint tauntingly beneath the afternoon sun, as if teasing you for your failure.

"Arthur," You sigh dejectedly.

It's kind of him to keep offering encouragement but you only need ten minutes of this to realise it's a severely lost cause. "It's not use, I'm awful—"

"Hush," Arthur cuts you off, voice gruff this time. "You ain't no such thing. Just—"

He hovers just behind you, the heat of his body blazing against your back. With a quiet hum, his fingertips square out your angled shoulders, fixing your stance. They trail down to minutely adjust the twist of your hips, pressing one further forward gently.

The sun seems to burn brighter suddenly. You fight to keep your face forward and pray Arthur can't heart the traitorous inhale you give at his touch.

"'Kay. Shoot again." He murmurs lowly, his hands retreating but staying close. "Lemme watch closer this time."

You're not brave enough to tell him that you're even less likely to hit the target with his close proximity.

Instead, you just follow his instruction, raising the pistol to the bottles once more. Slowing your breath as much as your racing heart will allow, you squint.

"Wait," Arthur's voice interrupts.

You falter, suddenly unsure. Moving out from behind you, his hand comes up to push the gun down, barrel facing the dirt.

Standing close, he tilts his head up, his eyes assessing you intently from beneath the brim of his hat. It's as though he's looking at a puzzle he can't quite figure out.

After a moment, his eyes cast out to the shooting range he's set up for you. You get a stolen glimpse of his chiselled jaw before he's stepping forward, broad shouldered, with one hand resting on his gun belt.

Turning to face you, he takes a few wide steps back, then halts, raising his hand.

"How many fingers?"

Brows raised, you will yourself not to scoff. "You bein’ serious?"

Arthur doesn't move, only his head tilting forward an inch, the brim of his hat dipping lower. He smiles wryly. "Humour me."

Dropping your arms, you let the gun swing idly to your side. With a shrug, you focus on his hand.

"Two."

Arthur nods. He turns and paces back til he's in line with the bottles this time. It's far enough from you that the details of him begin to blur out, but you can still see his figure just fine.

"And now?" He calls out, voice raised to reach you over the distance.

Your careless shrug from before is nowhere to be found. A sudden sheepishness crawls up within you as you quickly try to strain your gaze.

God, is he even holding up a hand at all?

You don't get a moment to guess before he's approaching you once more, his features getting sharper as he draws closer. You can see his smile, a rare sight. He seems to have solved his puzzle.

"What was that for?" You question curiously.

"It ain't yer aim, that's for damn sure," Arthur says, coming to a stop before you.

His blue eyes assess you once more, before he extends his hand out for the pistol at your side. You hand it over wordlessly, waiting for his explanation. A dragonfly swoops by you with a loud hum.

"It's yer eyes." He says, holstering the pistol without a glance.

You blink, confused at the implication. You're sure if there was something wrong with your eyes, you'd know about it at your grown age.

Your confusion must be clear on your face because Arthur continues, resting his hands on his gun belt casually.

He nods to you. "Not all bad. 'Betcha can see just fine up close. But in the distance, not so much."

"Oh," The word escapes in a soft breath.

It hadn't really been something you had considered—that your poor performance shooting was due to that blurriness surrounding the targets. That it was due to anything other than you being utter shit at shooting.

Turning your stare out to the bottles again, you blink and squint, as if to check. You realise he may just be talking truth.

"Lord, I think you might be right." You admit, a relieved laugh colouring your tone. The frustration you felt from earlier drains rapidly, taking with it your souring mood.

A different part of you deflates at the knowledge you'll never get better at shooting. Cursed vision. You wrinkle your nose in distaste, pushing down your bitterness.

Arthur gestures to the horses with one hand, lesson clearly over.

The pair of you begin to meander back towards your horses hitched in the treeline. Side by side, it doesn't escape you the nearness you're inclined to, drawn to him, a flower facing the sun.

The leather of his jacket brushes your bare arm. You think you must be suffering sunburn, considering how your skin seems to burn in response.

Eyes flashing in his direction, you think you see a hint of colour on Arthur’s face.

He’s tilts his head, his features covered by the brim of his hat, so you can't be sure. You chalk it up to a wishful imagination.

Always unknowable. Maybe it's his private nature that's part of what allures you to the man.

Pushing forward, you approach your mare, Dragon, with a gentle greeting. You're rewarded with the butting of her muzzle against your palm, a smile curling onto your lips instinctively.

“Y'know, chances are, you're not nearly as awful as ya think.” Arthur says, his tone softer than usual—perhaps sensing your blue mood.

Despite talking to you, he keeps his gaze steadfast on his own horse, Hypatia. He dotes on her with a loving pat, hands usually meant for violence, now gentle.

After a moment, he says. “I’ll see what I can do fer you at the general store.”

Pleasant surprise curls up in your stomach in a sharp bloom.

“Arthur,” You say with a smile, sounding a bit awed. He does look up at you this time, blue eyes bright from beneath the edge of his hat. “That’s very kind but, well, you needn’t do that—“

"I ain't makin' you any promises," He cuts your rambling response off. "I'll just have a look. That alright?"

Feeling your face glow warmly, you force yourself to meet his strong gaze. "Alright."

Then after a moment, you say, "I guess I'll allow it."

Arthur guffaws lightly at that. He pushes up on strong legs to mount Hypatia in one fluid motion, one he's done countless times before. You watch, pretending you aren't staring at the powerful flex of his thighs as he settles into the saddle.

Christ alive. It takes effort to avert your eyes, stepping up to sling yourself into your own saddle.

“If she allows it…” Arthur repeats, almost incredulously, his head tilted toward you. There’s a tug on his lips, like he’s holding back his smile, even as he shakes his head at you.

A laugh titters out of you and you nudge Dragon forward, if only so he can't see the grin on your lips.

And if you spend the ride to camp lingering on the feeling of his hands covering your own hands, adjusting the twist of your waist?

Well, that was your own damn business.

—

After your shooting lesson, Arthur leaves camp for four days.

Some bounty given to him by the sheriff in Valentine that he was tracking up into the mountains — at least that’s what he’d said as he bid you a polite goodbye, early in the morning light, the day after your lesson.

You’d murmured your drowsy goodbye over your coffee cup, eyes barely open — making Arthur snort quietly — and then watched intently, your sleepy gaze softened, as he disappeared between the trees on Hypatia.

Perhaps you’d been too spoiled with his company in these last couple weeks.

He hadn’t taken any longer jobs, always back at camp for the evening, with a tip of his hat to you. Always prepared to lend a helping hand or to escort you and the girls into Valentine. You'd almost call yourselves friends. The familiarity of his presence was something you'd gotten used to.

It was one of the good reasons you found yourself particular afflicted with him — Arthur Morgan was far kinder than he ever gave himself credit for.

And far nicer to look at than he seemed to think so too.

To say you’re a bit put off by not having your usual pretty-boy cowboy to provide somewhere nice to rest your eyes wouldn’t be a lie.

“Someone’s head in the clouds.”

The jeering words from Karen pair with a playful nudge to your shoulder.

Distracted, the dish in your hands slips and lands back in the water-filled basin with a splosh. Narrowing your eyes at Karen, you fish it out and resume your abandoned scrubbing.

“Ain’t sure what you’re talking ‘bout,” You hum, nonchalant as you can manage.

Liar. You’d definitely been casting your gaze towards the trail that leads into camp and slipped away into a daydream, sweet as the cowboy’s eyes you were imagining. Surely he wouldn't be away much longer, right?

“Mmhm,” Karen says, telling you exactly how much she believed you.

At her side, Mary-Beth smothers a giggle in her palm. Clearly your attempts at subtlety are wholly ineffective.

Despite your intent glances as you work your way through the remaining chores of the day, none prove to be fruitful. The sun lazes across the sky and sinks toward the horizon and even then, Arthur is absent.

Your lovesickness abates with a sigh. The outlaw could be gone for weeks at a time, you knew that. If it was a shorter trip, he'd be back already. Tonight, you depart from around the campfire earlier than usual, heading back to your shared tent with Mary-Beth.

It’s with an absentminded hum that you potter around, straightening out the space as the sunlight dwindles. You had worked hard today and it’s filled your bones with a weariness ready for sleep.

An oil lamp burns on the crate acting as your bedside table, casting a mellow, amber colour through the tent. The idle sounds of the wildlife of Horseshoe Overlook fill the background, mixing with the crackle of the campfire.

Maybe you should journal a bit, before bed. Eyes narrowed, you scan your cot for the little book you keep nearby—you had used it just last night.

Coming up blank, you huff and crouch to your knees to hunt for it. Countless times you’ve fallen asleep with it in your hand and found it gone in the morning. It worms its way down the edge of the tent with a mission to escape you, you swear.

Peering beneath your cot, the red leather of the book gleams back at you. You smile and reach out, having to duck a little further to reach it, giving a victorious little aha! when you close your fingers around it.

Shifting back, you sit on your heels, right as someone clears their throat behind you.

Spooked and not unlike a deer, you startle with a violent jump. Whipping around, pulse jumping, your panic recedes as you narrow your eyes at the cause of your panic.

“Christ, Arthur,” you seethe at him. You put a hand over your racing heart to calm it. “You damn near scared the mickey out of me.”

“My apologies, miss,” Arthur says, tipping his hat. He sounds sincere but even so, you catch the glimmer of amusement on his lips. “Weren’t my intention.”

He’s lingering at the entrance of your tent, not quite entering. His big hands rest of his gun belt, hovering somewhere between casual and proper.

How Arthur manages both is a mystery to you; every bit at home amongst the rough of tumble of camp, yet ever-so polite to you.

He treats you like a gentlemen treats a proper lady; though both of you are neither.

Pushing to your feet, you let your journal drop atop your cot. Then you regret it, wishing you had something to occupy your hands. The all too familiar buzz of nerves that come with being sweet on someone makes you prone to fidgeting.

You brush down your skirts just to do something. “And just what was your intention?”

Amusement abiding, a different expression skitters across Arthur's face. He raises one hand to scratch the back of his neck.

“Gotcha somethin',” He murmurs, dragging his hand forward, across his beard. Rather hastily, he stuffs his hand into his satchel.

He digs for a moment and then pulls his hand out, extending it out. Something shiny glints in the low light of the tent, resting in his big palm.

You step forward and squint for a moment, realising with a jolt of unexpected delight that it’s a pair of round spectacles.

An infectious smile tugs the corner of your lips up, your eyes brighter upon seeing the gift he’s brought you. Your hand reaches out, then halts in mid-air, glancing back up at him.

“May I?”

“‘Course. They’re for you.” Arthur grunts, feigning nonchalance even as he beckons you to take them from him.

Smile turning to a grin, you pluck them out his hand, stepping closer as you do. You turn them over in delicately, drinking in the details greedily. They’re finely made.

With an ebb of guilt, you realise they must’ve cost him a fortune. If he paid for them, that is.

“Took me all the way out past Emerald Ranch to find a fella who did them.”

Gaze snapping up, the ebb of guilt grows. He hadn’t just got them for you, he’d gone out of his way to find a spectacle maker specifically.

There’s a silver lining to the guilt — the feeling sprinkled through your chest like gunpowder, kicking up sparks. He certainly had to be keeping you in mind, to some capacity, to do such a thing for you.

The thought of being more than a passing thought in Arthur’s mind is enough to set the gunpowder alight. Your chest glows brightly like a firework.

“What happened to just having a nosy in the general store, hm?” You ask.

“Well, now,” Arthur begins, giving a hesitant cough as if it’ll cover the sincerity of his actions. He tilts his head down, the brim of his hat covering his eyes, as he always did when he felt too seen.

After a pause, he says lowly, “I know how much you wanted to shoot.”

“That’s... mighty kind of you, Mister Morgan.” You say, hoping your voice doesn’t betray the racing of your treacherous heart. “Though, I’d hate for you to go to all this trouble if they don’t even work right with my eyes.”

Holding the pair of spectacles up, you unfold the arms and peer through the lenses. They’re certainly magnifying something—Arthur looking further away in the one lens you peer through. It’s almost like a funhouse mirror. The smile on your face widens, cheeks nearly aching.

“That don’t matter,” Arthur says. He pats his satchel gently. “If those don’t work, I got three more pairs in here.”

“Three?” You lower the glasses, bewilderment colouring your voice.

“Where the devil did you get so many?”

“Turns out, folk rich enough to take the stagecoach can usually afford ‘em.” Arthur chuckles.

Somehow the image of Arthur out there, picking through the loot box, then demanding folk hand over their eyewear is enough to inspire a laugh out of you.

You stifle your laughter behind your hand, endeared even more when he opens his satchel to prove it, a shy smile on his lips.

Sure enough, he draws three more pairs out. Even the thickness of the glass even varies from pair to pair — god, who knew one could be so thoughtful whilst robbing?

“You know, that might be the most sweet thing anyone’s ever done for me.”

The words come out softer than intended, your affections surely obvious.

You don’t risk a glance up at Arthur’s face, too fearful your feelings are written over your own, plain to see. In doing so, you miss the dusting of pink across his own cheeks.

Arthur clears his throat, sending a single prayer for strength to a god who’s surely abandoned him. The way you sound, he’d almost believe you’re sweet on him.

“Cmon, then,” He says, adding a touch more gruff to his voice. “Better try them on after all the damn time I spent hunting them down.”

You roll your eyes at his faux annoyance. There’s no real heat to his words.

Tilting your face down, you bring the pair up to tuck over your ears hesitantly. The world around you shifts as the lenses settle. Your sight is sufficiently more blurry than it was a second ago.

“Woah.” You murmur, looking up just to check.

Arthur’s figure swims before you, entirely out of focus. You blink, unbeknownst of the way the glasses magnify your eyes to a comically large size. It makes Arthur's smile grow, teeth peeking out, knowing for sure you can’t see for shit.

“Not those.” He says decidedly and when you slide them off, he’s already holding out the second pair, arms unfolded this time.

You mutter a quiet thank-you, feeling warmth creep your neck at the simple, polite motion.

This pair, when you slide them on, has a rather different effect. Instead of the blurriness alike to being underwater, the entire world sharpens.

You inhale at the difference. The sounds of the campfires and people around you dims and you blink rapidly, eyes jumping from detail to detail. There's something new to notice in every corner.

Head dipped down, you can pick out the individual blades of grass underfoot. The stitching on the hem your dress, the same as on the sleeves, you can see properly now. As in, see the stitches.

You swish you dress, watching, entranced.

Arthur’s comment during shooting practice may have been wrong —saying there was nothing wrong with your vision up close — because suddenly everything seems so much more. Maybe you’ve been blinder than you think.

Swinging your head round, you survey the inside of your tent with a renewed interest.

The fraying hole in your blanket, scribbled words in your opened journal, the splinters in your wooden crate bedside table — things you normally need to see up close, clearer than ever.

“I take it those ones are workin’ just fine.” Arthur says amusedly, having watched your wide-eyed and wandering gaze.

At the sound of his raspy voice, your head jerks up — and then your heart lurches forward with a hiccup, nearly tripping over itself.

Arthur is… He’s… Holy heaven, has he always been that handsome?

A dozen new details spring out at you, little secrets you've been missing. You can see the crook in his nose from being broken too many times. A scar you’ve never noticed on the edge of his chin, given away by the small patch in his beard.

He has freckles, dozens of little ones, from all his time spent under the baking sun. They gather at the edges of his eyes, blending into the crows feet. You can trace the cupid's bow of his lips.

It occurs to you that you should totally, definitely say something. You’ve been silent too long, just taking in the lines of his face, awed, but your throat has dried up.

Lord above, he’s pretty.

How are you expected to continue your day with the knowledge that Arthur Morgan might be the prettiest man you’ve ever laid eyes on?

Lord, if you’d been fond of him before, you’re surely smitten with him now.

Arthur shifts uncomfortably under the attention, taking your prolonged silence for the worst. His already jittered nerves fry under your stare and he ducks his head to hide himself from you.

“Probably can see what an ugly bastard I am, now you can see proper.” He huffs offhandedly, scratching at his beard and keeping his gaze low.

It hadn’t occurred to him, this downside of fetching this gift for you. You’ll see him clearly now — flaws and all.

“What?”

You sound a mixture of bewildered and crestfallen and it draws Arthur’s gaze up.

Your eyebrows have knit together in the middle and you take another step, bringing you closer together still.

Arthur forces himself to keep breathing, even as his nerves flutter. It’s an awful lot like one of Mary-Beth’s books, where she talks about romantics getting butterflies.

It feels more like a hive of bumblebees, Arthur thinks, trying to shove the feeling down. ‘Sides, the two of you weren’t romantics. You didn’t see him that way.

“Not in the slightest.” You say, eyes never leaving his face.

Arthur isn’t sure what your expression means but even as the attention makes him shift, something within him more selfish preens. Having your undivided attention when he’s surely unworthy of it has him standing a little taller, chest puffing out more.

“Say, has anyone ever told you that you have…” Your voice trails off, your words soft as the dawn’s first rays of light. Arthur forces himself to meet your eye again. “A little bit of green in your eyes?”

This time, you don’t miss the flush of colour that creeps up Arthur’s neck.

He clears his throat, breaking your stare so he can rub the back of his neck; a futile attempt to cover his nervousness.

How in the hell else is he supposed to react to you all but waxing poetic about his eyes? You, enigmatic and more beautiful than a mayflower in the spring?

He’d wanted your attention, getting you the glasses, but now he has it, he’s melting beneath it like butter in the sun. He's a grown man for heaven's sake. How is it that you can make him nervous like nothing before?

“No, er, can’t say they have.” He says, stealing a glimpse back at you.

God, Arthur was a fool. You look even more beautiful in the spectacles. He’ll surely embarrass himself with his besotted stare, unable to curb his fondness for you.

There’s something new in your expression too. Your smile turned more feline, as if you’ve clued in to something he hasn’t.

His hands fall to clutch his gun belt, prepared to retreat and perhaps spend his evening drowning himself in the river to escape the mortification of feelings. He's giving himself away — and if he isn't, the heat colouring his cheeks sure is.

“Right, well,” He nods, clearing his throat once more. “If they workin’ jus’ fine, I’ll leave ya be.”

“Will you let me thank you first?” You ask tentatively.

Arthur doesn’t know what that means but he nods nonetheless. He tries to keep himself from fidgeting, his hands flexing on his belt all the while. Blue eyes dart from you, to the ground, then back to you.

You only need another half-step to get close enough to do what you wish. Pressing up onto your toes to reach, you bestow a gentle kiss onto Arthur's cheek, just above the scruff.

It takes a great deal of courage to keep your eyes steady, heart in your throat, as you sink back down onto flat feet. You don't relent your closeness.

For one long moment, you drink in the politely stunned expression on his face. This close, you can smell the scent of cigarettes and woodsmoke on his clothes. It makes your head spin. Makes your heart tremble. Your lips still sear from the kiss.

Though your heart threatens to bruise your ribs with how hard its beating in your chest, you refuse to regret your boldness.

Besides, as Arthur seems to grapple with what's just happened, his smile and blush return in equal measure.

"...Why'd you think she left dinner so early? She's probably—oh!"

Mary-Beth's voice cuts through the charged air.

Snapped from your tender reverie, you tear your eyes from Arthur and take a timid step back. You're well aware it's too late and both Mary-Beth and Tilly had seen the nearness you had been sharing with Arthur. You'll be hounded about it tonight, no doubt.

"Sorry, didn't realise we were interrupting." Tilly finds her voice before Mary-Beth does, the latter spluttering her agreements. Before they can retreat, Arthur cuts in.

"Weren't—" His voice comes out rougher than usual and he clears his throat, hat tipped down. "—interrupting nothin'. Don't worry bout it, I was just leavin'."

He takes a few steps back and then pauses, heaving a heavy breath as if he was gathering his strength. Still lingering just beyond the entrance of your tent, you wait with baited breath.

Arthur's eyes dance over to the other girls. If you could be bold, hell, so could he. He finds your gaze.

"Shootin' tomorrow? You 'n' me?" He asks, voice low.

If you didn't know him so well, you might miss the slight apprehension in his tone. As if you'd say no.

You have to sink your teeth into your bottom lip to try contain you smile. Your fervent nod betrays your excitement anyway.

Arthur smiles then, more brazenly than you've seen before, before he bids you a goodnight with a final tip of his hat.

—

The crates where targets once stood are now gloriously empty, the six shattered glass bottles banished to a life in the dirt.

You stand, pistol still smoking in your grip, and grin triumphantly. The sun glints off the delicate frames of your new spectacles. Your vision is clear and your aim is true.

Hovering just behind you, as he had some days ago, Arthur hums his contentment. "'Atta girl."

You turn, looking over your shoulder at him, and in an instant, your smile in reflected back. More reserved than your own, but entirely for you. Arthur nudges you to look forward with a gentle hand, gesturing to something out in the field.

"See if you can hit just the edge of the crate next. We might make a gunslinger of you yet."

You huff, leaning back an inch to feel more of his warmth. Arthur smiles to himself, well aware of your tactics.

His hands drop to your hips, twisting them in a minute adjustment they don't need, just to hear the slight stagger in your breath.

"Why, Mister Morgan," Your voice is threaded with humour, exactly the colour of sunlight. "I'd nearly think you're just making excuses to put your hands on me."

With a low hum, Arthur lets his hands drag up an inch to rest on your waist. Your skin is warm, as is your smile. He can pretend the hot buzz of the day threatens make his knees buckle, though he knows it's entirely your effect.

"Maybe. That a crime?"

"Even if it were," You say, gaze slicing back to meet his. The taunt of a smile on your pretty mouth rivals all the beauty Arthur's ever seen. "Thank heavens you're an outlaw."

—

i get the privilege of bugging @illyrianbitch @wildfloweroutlaw with this new fic <3 heheh thanks for the hype that lead to this actually getting finished n posted !!

[stealingyourbones]

Never will I stop with the steadfast notion that folks in the DPXDC fandom should interact with at least some form of canon DC media.

There are comics, tv shows, radio dramas both old and new, podcasts, movies, magazines, so much shit that intentionally avoiding the media is simply preventing yourself from spawning new ideas and gaining a new appreciation for a fandom that you’re already in.

The Superman Radio Show has episodes 11 minutes long. A lot of the TV shows don’t have episodes that surpass 30 minutes and most are nearly fully clipped on the official DC YouTube channel. The amount of fan made motion comics is astounding. The amount of fanmade animations is equally as incredible.

[crazy-ache]

I’ve been interacting with new fanfic writers and also been seeing some folks share the fact that they care about hits, bookmarks, and comments on their work as if they’re embarrassed by that fact.

I’m just here to say you shouldn’t ever ever ever feel that way.

Writing, in this case fanfiction writing, can be a very lonely journey at times. If you’re brave enough to post online, there’s nothing wrong with wanting to receive validation. Because when you don’t, I think that’s the equivalent of playing or singing a song and nobody claps once you’re done. Imagine the Olympics or local sports arena or little league game with empty stands. Not a single soul cheering at the end of a concert. Nobody shows up to the art gallery. Nobody eats the baked goods you made with love at the party. All of those scenarios undoubtedly hurt.

Yes, you did it for yourself. Because you love this passion of yours. Because you’re working on your skills. Because you’re proving something to yourself.

But there’s a reason so many of humanity’s passions happen in front of a crowd.

Art is meant to be seen, music is meant to be heard, and yes, fanfiction is meant to be read.

We all want to know our art made an echo.

And yes, we all want to know somebody clapped for us. It validates us, it encourages us, it motivates us to keep going when we’re burnt out. It’s also just plain fun. All of these apply to world class musicians or athletes. For fan fiction writers, the audience cheering is as simple as a hit or a comment. It’s someone engaging with our work in a positive manner. So if you’re feeling that way and you feel bad about it—remember you’re human. And your passion and hobby is just as worthy of receiving audience reception as anybody else.

Fanfiction is a communal space, not just a solitary act. Give love back. Engage wherever and whenever you can. Open yourself to viewing this as a two way dialogue with other writers and readers. Give yourself grace and compassion when you’re disappointed. And when it’s your turn—don’t forget to clap.

[crabsnpersimmons]

New 'Do, Same You now on Ao3!!

it's here! my silly hairdresser AU that sparked from my silly page of doodles is now a fic!! i hope you'll give it a read!

In the mood for something new? Come on in for a new hairdo! Day or night, dusk or dawn, Find what you're looking for at the Shooting Star Salon!

EDIT: they're handing out coupons for the salon! 20% off all services! Not valid with other offers. Valid until end of January 2025. (some of them are drawn in crayon by Clip himself 🖍️)

[tenderjock]

The end was soon To Bethlehem, it slouched And then, must've caught a good look at you

[dennisboobs]

:) i certainly have no issue dressing in drag :)

^guy who has no issue dressing in drag btw

glenn said that dennis' drag name is victoria von hemen btw

(Source)

[bugsandboos]

reading everyone’s thoughts on the london special and marinette’s actions have given me a serious case of deja vu in relation to the s5 finale, here’s why

a very very VERY common reaction from the fandom i saw to the finale was “why are the writers letting gabriel get away with being a hero why isn’t he being held accountable horrible finale horrible writing i hate this show etc etc etc”

before i share my thoughts on this for like the thousandth time i just wanna mention i DID cry during the finale, partly because i was in shock and also because i HATED it. but now i genuinely believe it was one of if not the smartest thing the ml writers have ever conjured up and i just. fucking love it. (point is: i understand disliking it. that was me at some point, until i began to consider the implications of the ���ending”)

similarly, a reaction i’ve seen to the london special (mainly from ml salters) is “why would the writers let marinette lie to the world when it’s so clearly morally wrong she’s such a horrible person she needs to be held accountable blah blah blah”

something both the s5 finale and the london special share is that THE ACTIONS THAT TAKE PLACE IN BOTH. ARE NOT MEANT. TO SIT WELL WITH THE AUDIENCE

NO writer on ml is trying to convince a fan that “gabriel was actually a hero because he made one selfless decision (that wasn’t even that selfless?????)”. NO writer on ml is trying to convince a fan that “marinette is completely right for hiding the truth about gabriel from not only adrien but also the whole world!!!!!! no one should ever find out!!!”

the entire point of the finale and special is to make the viewer uncomfortable, as we watch marinette sit with her questionable choices, watch adrien refer to his father as a hero and watch their class throw a party. none of this is supposed to make us feel at peace with the way this arc has concluded.

what people seem to be missing is that even if the s1-s5 arc has ended, the s6 arc is just beginning, CENTERED AROUND THE CHOICES THAT HAVE MADE US AS THE AUDIENCE FEEL SO UNCOMFORTABLE!! you’re completely ignoring the way the plot is set up if you think the writers are going to neglect gabriel’s storyline, because it is far from over.

i think it’s also important to mention that neither marinette nor adrien are at peace with what’s happened (even if that was implied during the s5 finale—the london special has provided us with this new information on their emotional statuses). marinette is clearly being eaten alive by guilt, seeking confirmation throughout the entire special that protecting adrien from the truth was the morally correct decision. adrien was obviously affected by his father’s death (contrasting the idea that he just “threw a party” without any emotional backlash), and will undoubtedly learn to grapple with his conflicting feelings on gabriel’s character throughout s6 (he sacrificed himself??? but he abused me??? but he saved ladybug and nathalie????? but he apparently assisted monarch?????)

POINT IS

no one is meant to be satisfied with the way things are in the miraculous universe at the moment. you aren’t supposed to want the truth about what really went down during recreation to stay hidden. if you feel uncomfortable with the current situation our main characters are in, GOOD! please stop the discrediting the writers, because your discomfort means they have done their job well.

[madbard]

While listening to Epic, I noticed an interesting pattern with how antagonists are portrayed, and how Odysseus’ interactions with them are coded.

In Epic, the monsters Odysseus faces are rarely fighting for their own sake. Polyphemus attacks Odysseus’ crew to avenge his sheep, and Poseidon destroys his ships as revenge for his son’s suffering. Similarly, Circe only threatens Odysseus to protect her nymphs. Odysseus does not kill any of these enemies, and while he is occasionally criticized for letting them go free, the overall implication is that he did the right thing by sparing them.

Then we hit the Thunder Saga, and Odysseus begins his arc as a ‘monster’ by killing the sirens. His actions here are brutal, and whether or not they are justified is, I think, up to the listener. However, it’s significant that the sirens are the first foes Odysseus faces on his journey who aren’t either defending or avenging what they love. They attack unprovoked, and while Odysseus’ method of execution is gory, he is never punished for it by other characters within the narrative. Apollo is the only one to protest, and even he is swayed easily when Athena says (among other things) that the sirens were “trying to do him worse.” The sirens attacked first, and while Odysseus’ response was ‘monstrous,’ his crew obeyed his commands and he was not challenged or ostracized for giving said commands. He is only treated as a monster when he yields to Scylla, who also attacked without provocation.

Thus, in Epic, the monsters fighting to protect or avenge their loved ones are protected by the very story - killing them may be more convenient, but it isn’t the answer. However, the monsters who attack without provocation, for their own amusement or satisfaction, do not receive such respect. Killing them is acceptable, and cooperating with them is monstrous.

By this logic, Odysseus is justified in his actions, however atrocious. He attacks to protect his family, and therefore deserves mercy.

The suitors, on the other hand…

[a-pigeons-soliloquy]

been reading non-hannibal fanfic for the first time in like 2 years and have come to the tragic realisation that the hannibal fandom has ruined me when it comes to fic quality

like my standards are so ridiculously high now. the bar is on the moon

you've all ruined me. RUINED ME I SAY

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[wingsofhcpe]

actually there's a huge difference between queerbaiting/"Hey guys look how gay these two are haha they're definitely gonna end up together, give us views uwu oh- never mind oops they're going to superhell" and "Hey it's 2004-2012 and there's no way we can get away with having our protags/main couple be two gay men but we really want to show these two are soulmates so we'll do it through subtext and underlying messages and by literally telling you over and over again their relationship is the most stable and important in the entire show, and the ending will imply they lived and died together", and it's insane that some of yall don't see how these two are not the same fucking thing.

[caustinen]

clegan drabble — chance encounter, first meeting, modern au

By the third time the guy makes his way over to the bar, Gale has to really work on not throwing his Coke bottle to the liquor shelf and start breaking stuff.

”Seriously man, are you sure we don’t-” ”No, we have not met before,” he responds as politely as he can through his teeth, “and no, I do not need company. And no, I will not go home with you. Excuse me.”

The guy’s drunken gaze falls to his lips as he talks, making Gale suspect he has not heard a single word he has said all night despite repeating himself over and over. The glassy eyes eventually turn back to his, and the man licks his lips as his expression morphs into a what he surely thinks is a seductive smirk.

”Come on, baby. Humor me a bit. Let my buy you a drink.” Gale exhales in frustration. The ick he gets from this man is ridiculous. ”I told you already, I don’t need a drink, I’d really just like to-”

He stops abruptly when the man takes a tight hold of his bicep. ”Hey, could you-” ”This hard-to-get act is getting old now, gorgeous.” ”I’m not-” The grip gets tighter, another hand reaches for his thigh, and Gale is about to get violent despite not wanting to get in trouble at their frequent spot when-

”Hi Buck, there you are! I’m real sorry I left you here all by yourself for so long, the queue to the toilet was insane.” A pleasant, carefree voice comes up from behind him. He turns to find a gorgeous smile on a gorgeous face he doesn’t recognize. The man’s smile is tense on a futher look, though, and his eyes are questioning as he lays a careful hand on Gale’s shoulder, clearly ready to pull back immediately if he gets any indication that the action is unwanted.

Gale exhales quietly again before covering the hand now on his shoulder with his own, immediately catching on. ”It’s okay.” It’s easy to slide away from the icky man’s grasp now, his surprise making him loosen his hold on Gale. Gale tries to avoid looking at him and accidentally leans closer towards the other man, his aura calming despite towering over Gale’s propotions in every direction. The man doesn’t seem to mind, still smiling from under his curls. ”Ready to go home, doll?”

Gale nods immediately. The drunk dude has been looking between them for a bit before his eyes land on the taller man. ”I’m real sorry mate, I didn’t realize he was-” The man’s face changes immediately when he looks away from Gale to the other guy, the youthful happiness turning into coldness that makes him look mature and strick. ”Yeah, whatever. Go home, sober up and learn some fucking manners, you fucking jackass.” With that, he’s gently leading Gale to the door.

He doesn’t let go until they are out of the other guy’s view, but he does drop his hand immediately as the door closes behind them. It’s probably the chill of the autumn evening and not the departure of the solid body against him that’s making Gale feel cold suddenly but it’s still unpleasent. ”Sorry,” the man says almost frantically, ”I didn’t mean to intrude but you were looking pretty miserable before he even showed up and when he got his hands on you-” The man sighs and shakes his head. ”Didn’t look like you were happy with it, somehow, so I just wanted to check on you. No clue where the fake boyfriend thing came from though, I’m so sorry if I-”

”Don’t be,” Gale says firmly, and the man immediately relaxes again, ”I don’t know why I froze like that, it was nice someone else de-escalated it like that. My friend went to argue with his boyfriend on the phone like 30 minutes ago and never showed up again so I was pretty pissed anyway.” The man nods, and the warmth Gale feels under his intense gaze shouldn’t feel this exciting, surely.

”Well then…” The guy lifts his arm and scratches the back of his neck, ”I don’t wanna take more of you’re time, I hope you’re oka-” Gale doesn’t think, in an unusual manner to him, when he interrupts him. ”I, eh, actually… I’d love to thank you somehow? Maybe buy you some late night dinner?” The man’s face lights up again, and Gale feels silly in a way he doesn’t often do.

”I’d love that. I’ll go tell my friends I’m leaving and meet you up here after?” ”Sounds good.” They stare at each other for a beat despite the words, and Gale swears he’s not blushing when he sticks his hand out jerkily. ”Gale Cleven.” The man smirks, his eyes turning to lines as it overcomes his face. ”John Egan,” he introduces himself as he reaches to shake his hand, ”but you can call me Bucky.”

[stealingyourbones]

Out of all of the people The Ghost King Phantom expected to relate to, it definitely wasn’t the scrawny red headed photographer of the Daily Planet. Jimmy Olsen has gotten so many temporary superpowers over his time being Superman’s friend. Hell, he once gained a 4th dimensional being’s reality warping abilities when he was given said dimensional being’s powers during a fight. Sure there’s a dozen or so heroes with the same amount of powers he has, but none as suddenly granted to them as a all powerful god that can relate to a teenager.

[necrotic-nephilim]

@sasheneskywalker i love when you enable me to ramble about things because oh my god do i have thoughts.

so recently, i made a post discussing the phenomena of DC x DP and DC x MLB crossovers and why they exist and part of that post was discussing how largely speaking, at least half, if not more of the Batfamily fandom doesn't read the comics. if they interact with canon DC material, it's adaptations that are their own sequestered universes and oftentimes not remotely comic accurate or seeking to be. the most obvious example is the Young Justice cartoon. i'm adding a cut to this post because it just got so long i'm so sorry.

a lot of times, when people are discussing the "why" of this oversaturation of fanon-only fandom, they blame Wayne Family Adventures. and i think, to a point, i agree WFA is responsible for a boom in this fandom. but as someone who's been in the fandom long before we had WFA, to me it's the other way around. WFA was DC's way of meeting the demand for this easy-to-get-into, easy-to-consume content about the Batfamily that predicates itself on the comics just enough to be vaguely the same characters, but has a more sitcom, slice-of-life sort of vibe so DC could profit off of this section of the fanbase that otherwise wasn't consuming its primary material. and well, it's definitely worked. not only that, but i have a weird theory that the decline in the MCU also led to the rise in the Batfamily fandom. when you consider the fan content that made the MCU popular within fandom, it's that 2012 "they all live in Avengers Tower and Thor is eating poptarts and Clint is in the vents and there are movie nights every Friday" sort of vibe. those were the fics that were a hallmark of the fandom. and as the MCU has strayed from well... quality content in general, but specifically well-thought-out crossover content where characters can have their own arcs but also exist in a wider story where they clearly care about each other, that fandom was sort of homeless. so where do you go, if you like a superhero found family where you can have villains for angst but also stick them all in one big family-like home for silly crack and have a plethora of options for gay ships? well. you go to the Batfamily. if you write a crack/fluff Batfamily genfic with silly vibes and low stakes instead of say, a fic about a very specific comic issue even if it's a popular comic, you're *going* to get more traction for the former. because the fanbase largely just isn't reading the comics.

and i feel... complicated about this. because on one hand, Don't Like Don't Read has been a tenet of my fandom experience. i'm very pro-fandom and that includes fandom content i don't like. and to an extent, i do think this sort of should apply to Batfamily fanon. i enjoy having my moments with other comic purists, giggling over exceptionally painful OOC headcanons or even facepalming in pain over some content but it is on me to not interact with that content. you don't make fandom a better place by being hostile to fans who engage with canon in ways you don't approve of. and frankly? we as comic readers are not going to get non-comic fans to read the comics by being asshats to them. no one is going to want to pick up any comic if we get a superiority complex about it. and also, i feel like we're all lying to ourselves a little bit insisting comics are so, so easy to get into. they're not. we can just all agree, they're really not. i've been single-handedly helping my sister get into comics, specifically Wonder Woman and no matter how simple i make it, i watch her get frustrated trying to understand what pre-Crisis and post-Crisis and New-52 and Flashpoint and all these things mean and what a retcon vs a reboot is and what a Crisis Event is and what the hell Diana's current backstory even *is*. sure, you can give someone a beginner list of comics to start with and slowly dip their toes in the water but sooner or later, *something* is going to confuse them. comics as a medium straight up aren't going to be everyone's cup of tea. and if someone *just* wants to read silly fluffy fanfiction about the Batfamily, i can't entirely begrudge them for not wanting to take the hours and hours out of their day to understand this medium. it's not an accessible medium to get into. "read this and this, but this run is out of print and this run wasn't collected in trades at all but also make sure you read that event in order and this is a good comic but the backstory in it is retconned and you *have* to read this it's so important but it's also really bad because the author kind of sucks" sounds. ridiculous for someone who like. just wants to read some stuff about Nightwing. sometimes, we all make reading comics sort of sound like a chore, not a hobby.

so my point is, i do extend some grace to Batfamily fanon for existing. i think my biggest gripe is, as i said in my other post, misuse of tags (if you're not creating content about comics, maybe you don't need the comics fandom tag on Ao3, just the all media types umbrella tag) and my far bigger gripe: when panels are taken out of context to support fanon only headcanons. if i could impart *anything* onto the Batfamily fandom as a comic fan it'd be this: if you haven't *read* the comic, don't spread the panel. if you don't even know what comic it's *from*, don't spread the panel. it's fine to use comic panels to discuss your headcanons, but so often i see someone spreading a comic panel from a comic they haven't read, and when asked where it's from, they can't source it. a silly example that comes to mind is a post going around, taking a panel where Dick, in his internal monologue goes "here comes the sun. do do do do." and the post is claiming it's from him getting buried alive. when that panel comes from Nightwing (1996) #140, and he gets buried alive in Nightwing (1996) #127, two completely different moments frankensteined together. if you're going to not read the comics, that's completely fine, but unless you're sure of the source and the context, panels shouldn't be spread around. i'm sick of this specifically happening to Red Robin (2009), with ppl claiming Tim has totally killed people because he blew up some of Ra's' bases, when those panels within context, make it clear he gave everyone time to escape. and in a later arc in that very comic, Tim grapples with the idea of murdering Captain Boomerang, and *specifically chooses not to*, because he doesn't agree with murder, even against the person who has hurt him the most. if you'd like to write fanfiction where Tim is pro-murder and has done some sketch things, i'm totally on board and would probably like to read it. but there's no need to pretend it's canon from a few panels you saw out of context.

beyond that, i think it's not *entirely* correct to say that fanon is harmless. whenever i see very WFA-positive posts, they often default to the argument that WFA is fun and silly, and comic fans are killjoys for not liking it. which. i think is complicated because the issue is, WFA and fanon don't exist in a vacuum. if you like WFA power to you, i don't think it's the worst thing ever, but i do think it's degrading to these characters because honestly? they feel incompetent in the webtoon. it's one thing if WFA was solely a slice-of-life sort of deal, just having silly episodes where Bruce is taking on a PTA mom or they're all fighting for the last cookie. but when WFA attempts to take on more serious plots with these characters, it *fundamentally* falls flat in understanding them. i get it, Bruce comforting Jason having a panic attack because a noise reminded him of the crowbar felt cute in a microcosm, but i'm so serious when i say that storyline destroyed how like. half of this fandom understands Jason Todd's relationship to his trauma. it doesn't understand how he reacts when he's triggered, what coping mechanisms he seeks out, and how he would handle Bruce comforting him. even if i can believe for a brief moment Jason *would* be triggered by something like that, him running and trying to hide and then getting a hug from Bruce to make it okay is just. painful. WFA needs everything to be wrapped up in a nice, neat little bow. so even when it starts to tackle interesting concepts, it makes them fall flat with its need to be soft, low stakes, hurt/comfort. there was a two-parter episode that dealt with the complicated mutual hatred/jealousy between Tim and Damian that *almost* really interested me because for once, it felt like the webtoon wanted to explore canon messy dynamics. but of course, it had to be fixed with one conversation and a hug. you don't mend the *years* of issues these characters have like that. WFA isn't in character because these characters are hyperbole cartoonified versions of themselves to fit within the medium and be a cute happy family.

because that right there, is the crux of it. the Batfamily fanon seeks to simplify the Batfamily and force them into a nuclear family. there are so many fantastic posts on here discussing how the nuclear family-ification of the Batfam is eroding decades worth of complex histories so i won't go too far into that. but what i will say is that there's this need, in the Batfamily fandom, for the Batfamily to exist as a unit. they are a *family*. (honestly i think calling it the Batfamily is a misnomer and has been for years but we're in too deep now.) they exist to each other first, and any teams or friends they have come secondary to this family unit. you can *specifically* see this demonstrated in what headcanons are becoming popular these days. i have an entire lengthy meta in my drafts about how i *loathe* the "the Batfamily meets the Justice League" genre of fanfic because it makes no *sense*. in order to have this genre of fic exist, you must operate under the assumption that no one in the League, or adjacent to the League, knows the Batfamily exists and are thus utterly shocked to discover Batman has kids. and to make *that* work, you have to strip *every single Batfamily member* of such important dynamics and friendships so you can lock them all in Gotham for their whole lives. Dick can't have the Titans, Tim can't have Young Justice, Duke & Cass can't have the Outsiders, Jason can't have the Outlaws, Damian can't have the Supersons, Babs can't have the Birds of Prey, and so on. because if they had these relationships, they would be known to the League. the Batfamily fandom doesn't care about this, it's just "silly fanfiction", it's not trying to be serious. but how can you say you like Dick Grayson as a character if you don't understand the Titans *are* his family? at some points of his life, moreso than the Batfamily even is. it is constantly repeated to us in most comics with Dick how much the Titans mean to him. he *needs* them to be who he is. the same extends to every other Batfamily member, most of which have been full League members at this point. but in fanon, that doesn't matter. the Batfamily are a sequestered unit first, and all of those side relationships are secondary and easy to toss away, if it makes your fanfic work better.

and because they have to be a unit first, you have these forced relationships that dump years of actual canon material for the sake of making them get along. the Batfamily fandom has its favorites and well. it's no secret it's usually the boys. Jason and Tim by *far* stand out as fandom faves so, their dynamic is a heavily explored one. it does matter that in canon they don't tend to get along and especially don't see each other as family. what matters is that you can push dynamics onto them. and so fanon gets all twisted up about which Robin Tim actually idolized as a kid (Dick) and what member of the Batfamily is pro-murder but still an older sibling figure to him and looks out for him (Helena, or if you want the dynamic of once tried to harm Tim but they've reconciled, Jean-Paul) in favor of who's the most popular. Dick, Jason, Tim, and Damian are always going to be the standouts for popularity, but it's specifically Jason and Tim who are getting fanonized the most. and that's because really, we don't have much canon content of Tim that *isn't* the comics. for Dick you've got Young Justice (tv), for Damian you've got the DCAMU, for Jason you've sort of got the Under The Red Hood movie, but Tim sort of lingers in this limbo. (yes, he's in Young Justce (tv) and Titans (live action) but in neither is he the main character nor given much depth) so, he gets a *lot* projected onto him and has become fanonized. and even with Jason's animated movies, you don't see him interact with Tim, so people build it from the ground up how they want to see it, disregarding of canon comics. i think it's what makes him so popular in the first place- he's malleable into whatever you want or need him to be.

and of course, the fanon ignores other characters in the Batfamily it doesn't know about. i feel like you could create a tier list of Batfamily characters by their popularity, going from the fandom main characters: Tim, Jason, Bruce, Alfred, Dick, Damian. to the underrated: Steph, Duke, Babs, Cass. to the forgotten about unless they're convenient for a story: Kate, the Foxes, Helena Wayne, Carrie, Selina, Harper Row, Maps, Minhkhoa Khan. to the absolutely unknown: Helena Bertinelli, Jean-Paul Valley, Onyx Adams, the Clovers, Julia Pennyworth. it's not lost on me that the ignored characters tend to be women and people of color. which is both a canon and fanon problem, DC will continue adding interesting characters to the Batfamily, play with them for a few years, then drop them to default to the "Batboys" again. and it's a vicious cycle of the fandom only caring about the "Batboys", and thus people entering the fandom via fanon osmosis won't have content about the other characters, therefore, they won't be interested in those characters enough to create it, and it's just this ouroboros consuming itself, no matter how much canon content we have of these other characters. and it's ridiculous just how large the Batfamily is becoming because of this, which is why i'm a pre-Flashpoint fan, because then the Batfamily was contained enough to actually feel like a family with every character having nuances relationships with each other, but i digress because those thoughts could be their own post.

and the thing about fanon is it doesn't exist in a vacuum. DC has started turning the comics to accommodate for what fans are asking for, because fans will beg and beg for content they're not going to consume. Tim Drake: Robin had Tim as a coffee drinker because that's the fanon accepted headcanon. and the resolution of the recent Gotham War arc was for Bruce to buy this new manor for everyone to move in and call him. nevermind that most of these characters have their own homes and have zero reason to be moving in with Bruce. Tim had his marina in Tim Drake: Robin, Dick has Bludhaven, Cass and Steph have their little side of town in Batgirls (2022), and so on. these characters are being forced together as a unit, as one big happy family living together, to appease what non-comic fans want and it's damaging comic relationships. Robin: Knight Terrors saw Jason and Tim team up and working together, which i've seen varying opinions on but i personally despised. their interactions made zero sense for any of their canon history, but it appeases them being this close sibling relationship that fanon acts like they are. also the fears they faced in their respective knight terrors didn't make sense for either character and *only* worked as a moment of bringing them together so they could reassure each other and have this weird dreamscape bonding moment. the canon is bending itself to the will of fanon rather than building on the pre-existing complex relationships. Tim barely even gets along with his most important team in Dark Crisis: Young Justice because it seems the only important relationships the Batfamily can have is with each other. and when we do see them outside of the Batfamily, it only seems to be to relive the glory days like with World's Finest: Teen Titans, instead of developing them as they currently exist. this isn't recent in the comics, it feels like you can trace it back to the New-52, but it does feel a *lot* worse over the recent years. WFA is fine when it exists in its own bubble, but the simple truth is, DC content never exists on its own. the adaptations will reflect back onto the comics. (the damage the Young Justice cartoon has done to some characters should honestly be studied) and so it does frustrate me a bit when fanon-only or adaptation-only fans act like we're being nothing but killjoys for being frustrated with this. since they don't read the comics, they don't see how the comics are suffering as a result of this.

people argue about what's out of character for the comics they don't even read. i'm sorry, but "bad dad Bruce" is consistently canon. that man is just kind of shitty. when you take someone who has the drive he has, who has this need for the Mission first, who needs a teenager in spandex next to him to keep him off the ledge, that guy is sort of going to be a shitty father figure. he just is. not on purpose or with malice, but when you compare him to any other dad in a big DC family, he sure takes the cake. it's why characters like Oliver Queen tend to *really* fucking hate Bruce for how he treats his kids. Bruce loves fiercely, but he doesn't do well with putting that love first. and his love is a controlling one, he is very particular about controlling how others in the Batfamily are "allowed" to operate. it's what drives the wedge between him and Dick, it's why Steph is never a true daughter to him. (besides the reason of her needing to be a love interest to Tim first, anyway-) i've never understood the massive outcry of people reacting to Bruce kinda being shitty in comics they're not reading. there are some moments that get ridiculously OOC with how cartoonishly evil he is (the whole Gotham War arc and that... complicated mess with Jason) but largely if you want sitcom loving nuclear father Bruce, you have to accept that is a fanon thing, not a canon one. the Batfamily being a nuclear family in *general* is fanon. most of the "Batkids" don't actually see Bruce in a particularly fatherly light and begging for moments where he calls them his kids or they call him dad outside of incredibly specific circumstances is just OOC.

it's getting harder and harder to exist peacefully in this fandom it feels like, if you don't comply to the standard fanon has set. i'm happy people are having fun with their blorbos, even if in ways i dislike, but that "harmless fandom fun" does ripple it's way back to canon, eventually. so i end up pretty tangled with my feelings because are fans at fault for DC making these poor decisions? probably not, but it certainly feels like an unfortunate cause-and-effect situation whether at the end of the day, nobody is happy. and of course, i know some fanon-only fans are striving to be more canon accurate and care about canon dynamics more than others, but for them it's always going to be an uphill battle with the above-mentioned out-of-context panels thrown around and ever-pervasive fanon overtaking anything that's truly seeking to be canon compliant. so really, it sometimes feels like we're all losing.

[crabsnpersimmons]

✂️ New 'Do, Same You Chapter 2 is up on Ao3!!

Your first day continues! Your new coworkers show you around and help you get ready.