#wrote this at 12 am

[jennydeathray]

Sprout Likes Cosmic Brownies a Little Too Much

not sure how to upload a fic on here, request from another netizen based on a series made by @/asslicker0420 on tt... first uploaded fic ever plz be nice but constructive feedback is appreciated

---

Even before Sprout and Cosmo started dating, their relationship wasn’t any secret. Though, they’re even more inseperable now that they’re openly romantic, and naturally, there are some who have a problem with that.

As per an invitation from Sprout, Cosmo went out with him and the other mains to grab some lunch. There wouldn’t be anything special about that typically, but it seemed like someone was fed up from the start.

Dandy was the self-appointed queen bee. Star of the show, leader of the group, and spoiled by his handler, giving him the biggest ego any toon would see. When he saw Cosmo walk in with Sprout, he debated screaming at him to leave, saying he wasn’t wanted there. However, he tried to keep his cool. Sprout was definitely no force to fuck with. It went without question that he knew how to fight, and fight is definitely what he would do for Cosmo even if it costed his life.

The group had went about their meals without any problem, aside from Dandy’s tense attitude for Cosmo seeping through each and every conversational topic. Subtle snarky comments and condescending giggles started to escape Dandy’s lips without control like reckless prisoners. It was too much to bear, and Sprout was slowly catching on.

Like two pots of hot water next to each other on a stove, the blood of each began to boil.

“Sprout, I’m just gonna head to the bathroom quick, do you mind moving?” Cosmo called out from next to his boyfriend, momentarily snapping him out of his anger.

Sprout nodded. “Not at all, babe,” he replied, standing from his seat and clearing the way for Cosmo like a chauffeur guiding a celebrity out of some fancy limousine.

As Cosmo made his way to the restrooms, Dandy gave him a nasty glance. He scoffed, crossing his arms and leaning back with nothing left but judgement.

The pots boiled over, and as his eyes caught onto Dandy’s petals, he whispered a quick “hell no” before lunging over the table and grabbing one with a grip stronger than a baseball player holding onto a bat.

Within mere seconds, Dandy was thrown to the restaurant floor with a loud, resounding thud. The poor flower couldn’t even gasp before Sprout was on top of him, not sparing any time before he started to wail on the stuck-up brat beneath him. To the others, they were watching a meteor shower hit the same area over and over, creating a crater so concave any land that was previously there was wiped out entirely.

Dandy started to do what he did best, which was whine and try to cower. He screamed as he made feeble attempts to cover his face, “What the fuck!? Get the hell off me! You’re fucking insane, holy shit!”

However, as tears started to form, his pleas and protests were drowned out by the sound of sobs accompanied each possible bone in his face breaking. Out came a petal, a tooth, and even a jaw hinge.

After Sprout initially deemed himself done, he took a step back, admiring his work. Dandy tried to get on his feet to throw a punch, but he wasn’t any match at all at that point. Sprout quickly took off his scarf, wrapping it around Dandy, tying him up like an unwanted Cristmas gift. As soon as he hit the ground, Sprout walked over his body, stomping him at the upper abdomen, causing him to toss his head to the side and throw up on the vinyl surface he was forced down against. Making his way to the flower’s head, Sprout kicked with the last of his might and chuckled as he heard the other’s skull crack, spitting on him as he finally went unconscious.

By the time everything was dealt with, Cosmo had come back from the restroom, and he sure did have a lot of questions as he looked at the shocked rest of the group, Shelly holding up her phone for recording, Sprout’s bruised, bloody, and worn knuckles, and Dandy’s body that could easily pass as a corpse.

“Um, are we going to leave without him?” Cosmo asked with worry. “What about your scarf, too? I thought I told you how I feel about you going around fighting people, anyway!”

Sprout hung his head and took Cosmo’s hand. Cosmo had told Sprout countless times that he could handle himself, but Sprout was an emotional man, and he felt those emotions very strongly.

As Cosmo continued to scold Sprout, the group headed out the restaurant, leaving Dandy on the floor for anyone to clean up, just not them. No one really cared, anyway.

[keyotos]

loved you every single day

summary ⎯ what is love for the xianzhou guys? that's basically it. very sappy and tender and sentimental.

includes ⎯ dan heng, blade, jing yuan

tana's words ⎯ hi...

dan heng

⎯ dan heng had a vague understanding of what love felt like. before the astral express, he never really knew what love really felt like due to memory loss. but he learned, eventually.

⎯ he found love when himiko always offered to make another coffee cup for him (this time, with the blend he enjoys). he found love whenever march/stelle would check on him during the late hours of the night, knowing he'd be buried in books. he found love whenever welt offered to shoulder the burdens of keeping watch during trailblazing missions.

⎯ but he has never felt love like this before. not with you anyway.

⎯ there was a sense of loyalty he had for you. of course, he was obviously also loyal to the crew, but it was different with you.

⎯ you made him want to follow you towards the end of the universe. you made him want to run with you into the light or whatever awaits the both of you later on. he was willing to do all of it.

⎯ why? a lame question to ask, he thinks. there are hundreds of reasons why, and he could list them easily. was your smile and the way it instantly warmed an entire room enough reason? or should he add onto the fact that you were practically made of stardust and cosmic radiance? that you have some kind of miraculous or even transcendental ability to string words so brilliantly that it manages to calm the harshest of voices down?

⎯ and love was scary for dan heng, at first. there were too many hindrances and difficulties in his life. for one, he could not let you get caught up in his past. he wouldn't: he would make sure of it. for two, he wasn't very used to love.

⎯ yeah, there was the express crew. but there was also you. dan heng thought that he would spend the rest of his life alone. he still has not settled into his room on the express because he reasoned that he'd stay until the archives until he was ready to leave. but you challenged all of that.

⎯ how is it that one person could make him want to stay by their side forever? how is it that you have such an enormous effect on him, yet you aren't even aware of it? every wall or barrier he's put up, you've always managed to erode it down. you allowed him to be vulnerable and you allowed him to be carefree. you allowed him to relax. to breathe.

⎯ loving you, was to breathe, for dan heng. you were the gasp of air that he needed while he was drowning beneath the waters. finally being able to decompress and unwind; he felt lighter around you. less stressed, less worried. less stoic. less somber.

⎯ he has never even thought of love like that before he had met you. but you changed him. and he is eternally grateful for that. eternally grateful for you. you are his home, his safe space, his sanctuary of security.

⎯ so he repays you often. he knows what kind of tea you drink and how to make it by heart. he makes a cup for you every morning. you have your own shelf in his archive. hell, you have your own damn space in there as well. there's an indent of you in every corner of every room.

⎯ or maybe, dan heng is so accustomed to you that he sees you in everything.

⎯ he lets you read from his shoulder. he has a shelf filled with all your favorite books from various worlds in his archives. he lets you sleep on his body rather than the flacid mattress on the ground, because he wants to keep you as comfortable as you've kept him. his fingers trace your body every night you stay with him, to ensure that you are safe and you are here, and he is home.

"are you sure you're comfortable like this?" you ask, situated on top of dan heng's body. you're partly afraid that you'll crush him with your entire body weight on him, and that his back would hurt after tonight, "wouldn't it just be smarter to crash in my room instead?"

his chest rises and falls underneath you, getting slower and slower as time goes by, "if you'd like. we can go."

you bite the inside of your lip in thought. it would be safer to do so, for both your and dan heng's safety. but, to be honest, you were very comfortable and tired. "is your back gonna be okay after this?"

"it'll be fine," he brushes off, "besides, you've been sleeping on me for the past few nights now. i can handle one more night."

"huh???"

blade (contains lore spoilers)

⎯ love was something blade has always lived without. as a child, with war and battles as a constant on his homeworld, there wasn't any room for affection or anything similar.

⎯ but then you came along, practically shaking his entire world. there you were, dragging him off to drink god awful mung bean soda. to force him to go outside on days where he was over-occupied with work. to let him enjoy something for once in a while. to let him rub his thumb over yours in the quiet hours of the night, forgetting about work and all other duties.

⎯ he had never thought that loving could be so easy until he met you. it seemed as though time would stop in his tracks whenever he saw you. blade thought it was a myth coming from romance novels (one he had heard from you, ironically enough), but it proved to be, in fact, real.

⎯ and everything was easy. up until everything wasn't. it was one thing, then the other. baiheng passed, jingliu was extremely distraught. it was wearying to see everything go so downhill, so fast. nobody was ever the same after that period.

⎯ yet even after all that, you still had the same look in your eye. you looked at blade the same way you looked at him all those years ago. so much has changed between the both of you, and you know that the both of you would never be able to return to the past.

⎯ though, even after all of that, some things remained the same. for example, the way you never failed to take his breath away. seeing you for the first time in years had him going through a plethora of feelings: distraught, appalled, and slightly less dejected.

⎯ but most importantly, there were still parts of the other's heart still beating for each other. even if you couldn't love him anymore, you still cared about him. you cared about him the same way you did all those years ago.

⎯ you went out of your way to find him. you went out of your way to offer him solace, even if it was for one last time. why? he didn't want to know, he didn't want to ask. he has a mission: he has to pursue it, always. nevertheless, he still found himself underneath the sun's rays, as it managed to follow him wherever, saying, "i'm here. even if you don't see me sometimes, i am still here."

⎯ and if you still cared... well, there was still hope, right?

he's leaning over a rail, looking over the xianzhou skies and the starskiffs racing by. he hasn't been back in ages. it feels... strange; it feels as if he's experiencing his first day all over again.

blade is so fascinated by the sight that he fails to hear your footsteps come closer, now reaching his side. he only hears you after you clear your throat. he's startled, for obvious reasons: but, when he sees you hold up a mung bean soda in surrender, he's surprised at how fast the panic dies down.

"aren't you going to arrest me?" he took a step back from you. you didn't move, but instead held out the drink.

"i could," you dragged out, checking your watch, "but... i'm not on duty," the corners of your lips turn up ever so slightly, like you were happy at the fact that you were having a drink with a criminal. you pull open the tab and take a sip, then offer it towards him.

he blankly stares at your hand. remembers the feeling of it in his. now, his mind is skewed. maybe even grotesque if he wanted to sound dreadful about it. but there are few happy memories he can recall, as well as the feelings during them, and it seems like you are recreating one of them currently. and oddly enough, there are no feelings of bitterness that follow him this time.

he takes and drinks the mung bean soda, and to his surprise, it’s not as bad as it was many years ago. maybe it was because your lips were on it, or maybe it’s because the once atrocious drink did get better. and when he looks up and is greeted by your curious face, he hopes that love is like that as well.

jing yuan

⎯ years ago, if you had asked jing yuan what love was, he'd say something benign: love is indescribable. a simple answer for a simple man in love. but oh, has time took its toll.

⎯ it isn't to say that love isn't indescribable. on some days, he finds it worrying that he may love you too much⎯that his willingness to give you the world was a bit concerning at times. others point it out, but jing yuan chooses to be blindsided. but he is always aware.

⎯ aware. jing yuan is nothing short of perceptive. he has been around for centuries. he has been there for wars, for battles, for decrees. and it sticks with him: forever. he does not simply forget, yet he is forced to stay in one place forever. immorality may be a blessing for others, but a curse for xianzhou natives.

⎯ he does not give himself a moment to fully relax. even if it seems that way a lot (the dozing general needs his power naps), he is always back to his duties.

⎯ however, it's different with you. with you, he has no burdens to shoulder. he has no secrets to keep from you. there is no wall of tension blocking between you. with you, everything is for grabs. his feelings, his emotions, his heart.

⎯ vulnerability. many look down at the vulnerable. and in jing yuan's line of work, the cost of vulnerability comes with a substantial price. his guard has to be up at all costs, because if not, there would be another catastrophe. his act as a lazy general is just a rouse, because there is so much that's weighing on him inside.

⎯ in a city that flies, jing yuan feels rooted by the weight of the luofu.

⎯ so imagine the amount of unconcern he feels when he's around you. the feeling of rocks suffocating him has subsided, and you are here to remove them. and one by one, he begins to feel lighter and lighter as you hull them off.

⎯ and you don't get tired. you're still here. you keep picking off the rocks, even the smallest ones. you relentlessly continue until everything is gone, and the only things left are just you and him.

⎯ by now, he understands what love is. it's when he knows how your fingers have ran through every crevice of his brain, every knot in his stomach, every knot in his soul. it's understanding. it's being able to shoulder the weight of the world with another. it's someone staying to help you get the rocks off of your body.

⎯ love is being met with soft touches instead of daggers. love is being met with mhms and reallys while retelling a story from this morning. love is being able to speak about the past, the truth of it all, and allowing the light to peek through instead of the darkness. that is what love is.

"and then, get this, i found him in the midst of a fight with blade," jing yuan throws his head on your shoulder exasperatedly, disregarding the fact that you were halfway through your novel.

"well, he was doing his job," you counter, looking back towards your lover.

"i know," he slides a hand across his face, "it's just tiring. and i don't want him to get hurt." like others, is the unspoken phrase here. it's on the tip of his tongue, you know it.

you place a bookmark in your book before shutting it. you finally turn your full attention towards jing yuan, "he's strong. you trained him."

"but," he sighs, "what if it's not enough?"

you decide the mood is a little too melancholic, so you decide to lighten the mood a little bit, "then i'll take over as general of the luofu," you grinned. jing yuan smiled as well: your smile was infectious, how could he not?

you ran a hand through his hair, "you are good enough. i hope you know that. you won't fail yanqing. he's tough and stubborn... he sadly gets that from you."

jing yuan chuckles, a real chuckle, and pulls you closer to him as you grab your book once again. he presses a chaste kiss to your temple as he reads along to the same words on a page as you.

yes, things will be okay, he thinks.

hi y'all! i have been sooo busy w sm stuff lately, like i've been preparing for college and i've been going to the gym and i've been doing sm. updates have been scarce except like the 3 alhaitham posts (i couldn't resist). but hopefully during these last few weeks of summer i can get my grind back on!!!

[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.

[atopvisenyashill]

i was thinking more about characters Performing Gender, but not necessarily Transgressing Gender. I wound up focusing on Ned and Sansa bc I feel like I understand them the most but-

Sansa as a hostage is imo the most obvious (bc it’s so well done) moment of someone clearly Performing Gender but not being transgressive in that performance. Which isn’t to say it’s not a complicated performance; it’s a fine line Sansa walks between weaponizing her gender to protect herself without seeming too fake. She’s trying to placate the Lannisters by playing the perfect, dedicated, air headed betrothed because it’s the only defense she has - if she outwardly rebels, she will be punished in a likely violent and/or sexual way (which isn’t even conjecture - when she says “or maybe he’ll give me yours” Joffrey has her struck with an armored hand). She’s not quite successful in being convincing but that’s because it’s a rather extreme situation; despite no one believing her, she does make herself seem meek and stupid enough that no one suspects she’s plotting to escape with Dontos until she’s well away from KL. The fact that she even has Dontos to confide in is because of Sansa’s relationship with gender! When she saves him, she covers her rebellious slip by playing up Joffrey’s intelligence & his role as King; she reaches for “tools” of her gender AND of ~proper manhood~ to save a life and herself from another beating. Her retreats into the godswood and silence are very much Sansa attempting to recharge from these draining interactions, the same way a knight would need to stop and eat and rest after a fight. She is fighting, constantly, by forcing herself to stay within the narrow confines of a specific type of gender performance as a way of shielding herself from harm.

Ned yelling at Cat is another big one, and I’ve seen the scene referred to as Ned using his patriarchal power to scare Cat, which is a great description. It feels like a Performance because Ned is putting on this terrifying Lord Stark mask in an attempt to get Catelyn to stop asking about Jon (and Lyanna). This is not how he usually acts with those he loves! When Ned is with His People, he is welcoming of questions, curiosity, emotion, even transgressive thought (to a point! the idea that Ned is a feminist because he lets Arya learn to fight is Not accurate but you can’t deny he allows significantly more flexibility wrt gender expression than most of the fathers we meet in this series. the bar is in hell tho). Yet when Cat asks him about Jon’s mother, Ned scares her so well she stops asking & still remembers the moment bitterly over a decade later. And if that snippet we see through Bran’s eyes of Ned praying that Cat will forgive him does come after she asks (like it’s suspected), it’s clear not only that this is a performance he’s putting on & weaponizing against Cat, it’s one he does not like using as a weapon against someone he is close to. After using the power his gender gives him to cause harm, he retreats to the godswood and silence to pray and rest, much like Sansa. A spiritual cleanse, the way a soldier may pray after battle, to reset and reconnect Being A Proper Man to Being A Kind Man.

I think there’s something interesting in that two of the characters most widely defined by how well they adhere to Westerosi gender norms both dislike feeling like they had to weaponize their gender. They are exhausted by the performance, because it’s a performance. This isn’t Sansa getting excited over tourneys, or Ned teaching his sons to fight; it’s toxic masculinity, it’s structural misogyny. It’s something they’re good at, excel at, and connected to something they enjoy but when it’s paired with violence, whether done by Ned or done to Sansa, it crosses over in their minds from an innate part of themselves (The Gender) to a performance necessary due to survival (The Gender Role). And that after these performances, both retreat to nature & god as a way of resting and cleansing from the experience.

[astrum99]

Do you think bugs fall in love?

Their small bodies host even tinier brains. Built to crawl through soil and rocks bigger than itself. Running on a simple software bouncing between eat, sleep, fight, flight, and copulate.

V1 is smarter than a bug. It must be. It’s a war machine, so it must be. Its programming is complex enough to fry several motherboards; the internals are heated from constant, unrelenting processing needs. If it updates its optical data intake to any greater degree than these rough, messy polygons, it’d surely perish from the overwhelming information.

V1 is built to kill first, survive second. To be fair, survival would ensure more killing, so it’d be more effective. Moving through the battlefield, culling lives, drawing blood. Perfectly aligned with its programmed objectives, then.

Gabriel is smarter than a bug. He must be. He’s an angel, so he must be. He’s one of the best soldiers in the heavenly realm. Armour and swords glistened with pride and justice. He sees all. He judges all. His loyalty and perfect track record have earned him a high rank within the order. Leaving behind the creaturely "it". His light burns hot and bright within his constitution.

Gabriel is built as a messenger of the Father, then a judge of Hell. To be fair, the role of a judge was assigned to him by the council, so he supposes that his placement can be summed up as the bearer of the divine authority to bring right to all other creatures. Perfectly aligned, then.

Bugs… Well, they’re the same. I suppose. Small beings. Running pre-programmed orders derived from centuries of evolution: eat, sleep, fight, flight, and copulate. No role. No responsibilities.

Bugs are built naturally and fully, unlike humankind; but formed and ready to go within seconds from their births, like machines and angels.

So. Do they live?

When the machine and the angel escape their chains, do they see themselves in bugs?

Bugs are born to live, temporarily, fleetingly, yet live nonetheless. Do they, then, deserve to live, freeing and meaninglessly. No role. No responsibilities.

So. Do bugs love?

Do they learn that they can go beyond their basic structures? Do they see their own reflection in each other’s compound eyes? Do they recognize each other’s bodies, scents, heat? Do they feel the desire for closeness?

To flutter wings like a dance of waltz. To brush antennae like butterfly kisses. To greet and caress and lie next to each other near their death.

To move through the sky in battle, in passion. To clash swords and fists and bullets. To greet and caress and lie next to each other near their death.

The same cells in the same blood coursing beneath the same suit of exoskeletons.

Machine, angel, bug. Boiled down to the barest essence of existence; crisp simplicity.

To live, to love.

[ohbo-ohno]

for ypur 1k game can i get a "lady of the house" + ghoap💋

1k game here - no more please!

you said lady so im assuming you meant ghoap x reader <3

2.5k of a kinda historical au ft. flirty stablehand johnny x kinda shy reader x very horny simon (cw for oral sex in a public place, though there's no audience except a few horses)

Your husband's staff seems to have no concept of propriety.

No, no, that's not fair to most of the servants. Your husband's stablehand has no concept of propriety.

You'd complain to Simon, but he's hardly around to find most days. While the two of you share a bedchamber, that's nearly the only time you see him. You're lucky to even share a meal with the man, these days. The housekeeper tells you he's holed up in his office more often than not, and that feels like a clear sign that he would rather not be bothered. You two aren't particularly close, so you're more than content to find other ways of amusing yourself.

You've spent most of your time since moving into the manor with your mare, a gift from husband on your wedding night. She's a lovely beast and you've found great joys on long rides with her, despite the persistent ache in your thighs recently.

But that stablehand... Johnny's too handsome for his own good and he knows it, more than willing to flirt with you even though his own master has a claim, and too skilled for you to really ignore.

You hate that you've become so endeared to him, but it's impossible to ignore his flirtatious remarks. You've been a bit starved for affection since your marriage, and Johnny really isn't bad company by any means.

In fact, as much as you know you shouldn't, you can't help but feel a bit excited as you venture down to the stables to go on your daily ride.

You're halfway there when you're joined by someone new, a large figure suddenly walking shoulder to shoulder with you. He nearly makes you jump out of you skin, but you calm a bit at the sight of your elusive husband.

"Oh!" You gasp, pressing a hand over your chest. "You nearly gave me a heart attack."

He inclines his head a bit, wrapping one hand around your elbow as you continue to walk. "My apologies. I thought I might join you on your ride today."

You're not sure how he knew where you'd be, but you take the new company in stride. "I'd enjoy that."

You're silent for the rest of the walk, not entirely comfortable in this veritable stranger's presence quite yet. Your spouse is an intimidating man, and you've hardly spent any time with him, so there's very little comfort to be found in his presence. What little time you have spent together has been in the bedroom and well... if you think of that for too long you'll go red in the face.

"Ah, the lady of the house!" Johnny calls as you enter the stables, stepping away from your mare. "You're late, my lady."

You giggle a bit at his tease. "My apologies, Johnny, I didn't realize you were on a schedule."

His smile grows and he leans against the gate to one of the stalls. "I simply have certain expectations of you, my lady - you're quite the creature of habit."

"You two have gotten close, then?" Your husband asks, and you're swiftly reminded of his presence. Your face flames at how easily you'd shown your friendship with Johnny off in front of a man you're meant to marry.

"I'm sorry," you demure, glancing up at Simon and feeling relief when you find him looking merely curious, not angry. "Johnny's- Mr. MacTavish has been helping me learn to take care of the mare you gifted me, and we've... developed a bit of a friendship in our afternoons spent together."

Simon hums, nodding to himself as his eyes flick between you and the stablehand. The only sign that Johnny is even the slightest bit fazed is the way he straightens up from where he was leaning, back straight and shoulders rolled back.

"No disrespect meant, sir," he apologizes. "Your wife is a lovely creature, I couldn't resist getting to know her a bit better."

"Yes, she is quite enchanting," Simon says quietly, guiding you a bit closer to Johnny. "You're unmarried, aren't you Johnny?"

He nods, and the two of you share a slightly confused look.

"And do you have any prospects?"

Johnny clears his throat, a tinge of red lighting up his cheeks. "No, sir."

Simon hums again, his thumb stroking over the crook of your elbow.

"Have you been taking care of my wife in my absence, Johnny?"

Now he really does blush, and you feel the same heat race through your own face.

"Only..." he clears his throat again, shifting his weight. "Only in ways entirely appropriate, sir, I promise."

"Oh, I don't doubt that. You're a good worker, a good boy, I can tell."

You're not entirely sure what's going on. The tone of voice Simon has adopted is near salacious, a tone you recognize from the few times the two of you have preformed your marital duties together. The tone sets your heart racing, a slightly uncomfortable awareness settling over you.

"Thank- thank you, sir."

"Do you know how to properly take care of a woman?"

"Simon, I'm not sure-" you try to interrupt, uncomfortable with the direction the conversation seemed to be heading.

"Hush, darling, I'm only asking the boy a question. Well, Johnny?"

Poor Johnny's face is as red as a tomato, and you'd tease him if you weren't sure you looked the same.

"Well, sir, I've... I've never had a woman of my own to take care of, but I try my best."

"Oh I'm sure you do."

Simon's contemplative look is a little concerning, so you tug on his hand just a bit. "I'd like to ride today, Simon, if you're ready?"

"In a moment," he dismisses, giving you a soft pat on the shoulder with his free hand. "Would you like to learn how to take care of a woman, Johnny?"

"Simon," you hiss, sure that he's not implying what you think he is.

He looks down at you with an innocent if slightly confused face. "What, darling? The boy needs to learn at some point."

"Not-" you clear your throat, glancing at a very confused looking Johnny from the corner of your eye. "Simon, not here."

"Oh, come off it," he scoffs, a soft smile tilting up his lips. "Is that truly your only complaint? The location? My dear, no one will see us this far out but the trees and the horses. Well," he glances over to the stablehand. "And our Johnny, of course."

"I'm sure he's familiar with how to... take care of a woman."

"I'm not," Johnny blurts, then clamps his lips shut tightly together. His blush spreads down to his neck, and you worry the poor thing might just explode.

"See? So, Johnny, would you like to learn how to care for a woman? I'm sure my lovely wife would be more than happy to introduce you to the pleasures."

Your blush doesn't calm, but looking at Johnny... the idea isn't entirely off-putting.

Johnny's about as handsome as a man can be, and if Simon has no compunctions to sharing a bit of your pleasure... well, you've always been a bit of a glutton.

Johnny seems about as unbothered by the idea as you are.

"Really, sir? You'd let me... you'd let her teach me?"

Simon laughs a little, stepping closer to Johnny and turning you so you're shoulder to shoulder with him. "Oh, I'll be doing the teaching, boy. She's just out practice doll, yes?"

That makes your breath hitch, the idea of being just a thing between the two handsome men a bit more pleasing than it should be.

"Now," Simon says, gripping you suddenly by the waist and lifting without warning. He sets you onto a wooden table, then spreads your legs. "Women's clothing can be quite annoying to work around, but the end result is more than worth it. Hold your skirts for us, love, thattagirl."

You're silent as you take the layers of clothing from your husband, afraid that if you speak you'll simply burst into flames. Exposing yourself to a man like this is difficult enough in the dark of your bedchamber, it feels near impossible in front of Johnny and in broad daylight.

But you can feel the way your center grows slick, so you obey your husband.

"Now, Johnny, kneel here, in front of me."

Johnny nearly scrambles to where Simon gestures, almost throwing himself to his knees in front of you. He's left between your thighs and Simon's legs, your husband almost stradling his back.

Simon laughs a bit. "Eager, are we?"

"Yes- yes, sir." Johnny pants a bit, staring up at you from the floor. He can't seem to decide whether he'd like to look at your undergarments or your face, eyes flicking between the two.

"Good lad," Simon brushes a hand over the back of Johnny's head, palming it. "Now, you'll have to take off her undergarments before anything else."

You shift a little in your spot as Johnny reaches up tentatively, eyebrows slightly furrowed. His hands brush over your bottom half for several long seconds, and you start to shift a little more, near whining.

"Hurry now, Johnny, you'll drive the poor thing mad."

He adopts an almost determined expression, and a moment later you hear a rip and feel a breeze against your most sensitive parts.

"Johnny!" You scold, leaning far enough forward to glare down at the man.

He flinches a little, sinking away. "I'm sorry, my lady. I didn't know how else to get them off!"

"You never destroy a woman's clothing like that! You're not off to a very good start so far."

You regret the words a bit when Johnny's face drops, his lip poking out in a slight pout.

Simon laughs, shifting to rub a hand over your bared knee. "Let up on him, darling, he's inexperienced. Besides, it's rather easy to make up for a few ripped seams."

You glare lightly at Simon, just to make sure he knows you're unamused, then lean back to relax against the wall. "Well, then you'd better get started."

Johnny looks up at Simon, neck craning back. "How...?"

Another rough chuckle from your husband, and he shoves Johnny forward by the back of the head until his face is buried between your thighs.

"Oh!" You yelp.

"With your mouth, Johnny. Trust me, it's far easier to learn to use your tongue like this than it is to learn how a lady likes her apologies."

You shoot an unimpressed look up to Simon, but it quickly melts off your face when you feel Johnny's lips and nose press to your center. He doesn't really do anything, just sort of stays there.

You shift again, try to press forward.

"Lick her, Johnny," Simon explains, putting a bit more pressure on the back of the stablehand's head. A moment later, there's a tentative brush across your folds.

You jolt a bit at the first tough, then relax into the second. Johnny's clumsy but confident, and you spread your legs a bit wider so he can fully explore you.

"Lift your skirts a bit further, love, I can't see," Simon instructs, leaning over so he's hovering directly above Johnny. You obey, and your husband hums as the view.

"Do you see the little bud at the top there, Johnny? Focus in on that, it's what gives women pleasure."

Johnny's evidently a quick study, as he focuses his attentions onto your clitoris as soon as the instructions are out of Simon's mouth. "Oh!" You gasp, back shooting up from the wall.

It takes him several long minutes to figure out what keeps you moaning in pleasure rather than whining in frustration, but once he does he keeps his tongue stroking in just the right way to make you go boneless.

"Attaboy, there you go," Ghost praises, stroking over the stripe of hair on Johnny's head. "Hear her moanin'? That means you're making' her feel good, so keep going."

He's a good listener, Johnny, and you're nearly brought to a peak with just his tongue alone.

"Add a finger now," Simon says.

Johnny pulls back just far enough for you to see his confusion. "A finger, sir?"

Simon huffs out a laugh, reaching down to grab Johnny's right wrist and pull it to your bared core. "Yes, Johnny, a finger. You put one or two into her hole to stretch her out enough to take you. Now, you won't be fucking my wife today, but the stretch will still feel good for her."

The way he talks about you like you're not even there combined with the sudden slow stretch of Johnny's fingers has you moaning. If you were even slightly more aware of anything but the two men in front of you, you'd worry about being heard. As it is, the attention returning to your clit keeps you suitably distracted.

Simon scoffs in front of you, tugging Johnny's hair a bit in reprimand. "You have to move the finger, boy, you can't just set it in there and do nothing. C'mon, push it in and out a bit."

"Yes, sir," Johnny pants, glancing up at you past all the skirts. "Sorry, my lady."

"That's- that's alright," you excuse, trying to keep your voice steady. Judging by the smirk on your husband's face, you're not particularly successful.

You let yourself float off in the pleasure for a bit, smiling gently at the cautious movements of Johnny's finger - he almost seems scared to hurt you, and you can't help but be endeared to the stablehand all over again.

"Look at that," Simon sighs, his hand moving further up on your thigh. "Hear how wet she is? Means she's ready for another finger. Go on, Johnny. Stretch her out some more."

The two fingers are enough to get you off - all that attention focused right on your clit and just enough of a stretch for you to feel. You come with quiet moans, shifting your hips forward into Johnny's lips as much as you can.

He doesn't slow or change his motions at all, and you ride the orgasm to completion happily. After, though, you can't help but whine at the overstiumlation.

"Alright, pull off now, Johnny. You hear those noises? Those mean she doesn't feel good anymore."

Johnny almost jerks away from you, glancing up at you with wide eyes. "I'm sorry, my lady," he quickly apologizes, rising up on his knees to get closer as you drop your skirts. "I didn't meant to hurt you."

You smile softly at him, reaching down to cup his cheek. "You didn't, Johnny, it's alright. Just a bit too much."

He nods as he leans into your hold, and the three of you rest in silence for a few moments.

Eventually Simon tugs you off of the table, pulling both you and Johnny into his arms for a half-hug. It's nice - your husband isn't too much of a fan of physical contact, so you relish in it when you can.

Johnny coughs a bit with a blush when you all three finally seperate. "So... when's my next lesson?"

You smirk as you loop arms with Simon, both of you sharing an amused glance.

"Come to our chambers anytime, Johnny," you offer, patting him on the chest before stepping away. "I'm sure my husband wouldn't mind giving a longer demonstration on how to fully pleasure a woman."

You leave a red-faced Johnny in the stables with tented pants, both you and Simon chuckling to yourselves as you head back to the manor.

[whyamihereat4am]

there's something so deeply enjoyable about shipping characters you know would loathe being shipped. Like, whether they have genuine hate for each other or are just offended anyone else would think they tolerate each other, they would definitely rip my head off for giggling maniacally while I draw them smooching in MS Paint like I'm pressing my Barbies' heads together- and not just because that's a generally uncomfortable thing to find, but because it's that person specifically. the knowledge that there is a wealth of erotica that involves them having biologically impossible children would inspire them to destroy the world. but they can't, because they're fictional. the fools. *cackles evilly and posts about who i think would be the bottom when they have hate sex*

[justanotherpersonsuniverse]

i love how the characters of dungeon meshi drive the story, and you never feel like one exists just for the plot. They exist as themes yes! But they’re feel so tangibly like people first. theyre ryuko kui's ocs who HAVE a story, not WITHIN a story. yknow??

[lloydfrontera]

male authors, writing m/m friendships: their bond will develop through hundreds of chapters, we will get to see each stage of their budding relationship, they'll constantly be in each other thoughts, their first instinct will always be to reach for the other, their first worry will always be the other's safety, they'll spend every minute of the day together, they'll be complete opposites and yet perfectly compliment each other, they will put everything they ever loved in risk just to keep the other safe, they will give their life without hesitation to save the other's, they will fight and argue and tease and joke around but they will always be at each other's side at the end of the day, they will plan to spend the rest of their lives together, sharing the happy moments and the hard times, the idea of being without the other being unthinkable, the thought of being always together coming naturally, as easy as breathing.

the same male authors, writing m/f romance: she'll like,, smile once at him and he'll start thinking of marrying her and having children with her idk

[butterflysonnets]

straight-passing bisexuals everlark and odesta

[tremendously-crazy]

"My love language is physical touch" "My love language is words of affirmation"

Nonsense.

My love for you transcends the physical world. Our fleshly bond speaks not for the love I harbor in my heart, nor does it adequately fulfill the wants of my spirit.

Words are easily bent and used for deceit. They are propelled by emotions, and emotions are notoriously fickle.

For those reasons, I shall not use physical tenderness or sweet declarations of love to show my endless devotion to you.

I will lend my time to you, which is far more valuable than my physical body or my words.

I will study your character and offer you gifts I know will lift your heart.

I will let my soul speak the words of love that do not reach my lips.

"My love language is receiving/giving gifts and quality time"

[whatsagirltoblogabout]

Opposite of an Intellectual

“The opposite of an intellectual… you really think you could do that, Caffrey?” Jones asked, reading through the cover description.

“Do what?” Neal responded, blinking at them in confusion. Instead of the overly innocent smile that would usually accompany a question like that from Neal, his face was just blank curiosity. It seemed that for once the con man wasn’t messing with them; he just hadn’t been paying attention. 

“Be the opposite of an intellectual,” Diana repeated for him with an incredulous chuckle. 

Neal’s brows furrowed lightly in confusion. ‘What’s an… intellectual?” he asked, seeming to struggle to recall the word. 

Diana scrutinized him, but despite all the years she had spent working with Neal Caffrey, she couldn’t find a single tell that he was lying. By all appearances, Neal Caffrey genuinely did not know the word ‘intellectual.’

“On second thought, that’s kinda scary,” Jones decided, taking an unconscious step backwards. “Please stop.” 

Neal finally broke, giving them a devious grin and a theatrical bow. Diana had to admit, seeing firsthand how convincingly Neal could become someone diametrically opposed to his actual self was a bit terrifying. The short demonstration had left her heart pounding and breathing slightly shallow. 

“Remember this the next time you doubt me,” Neal warned cheerfully, winking at them before sauntering away. Diana and Jones looked at each other once he was gone.

“That was scary, right?” Jones asked.

“Yeah,” Diana confirmed, “that was definitely scary.” 

Then an idea hit her. “I wanna see Peter’s reaction!”

[onyxsboxes]

Sometimes you think you're doing fine. Then you look at how you've behaved over the past weeks/months. And well, you were wrong.

[corvid-ghost]

so im not done with tbosas but ik how it goes, like i watched the movie and just kinda know what happens.

ik how Sejanus dies, and like does he get the bread crumbs from the district 2 thing. cause if he didnt

an afterlife fic where he dies and realizes he has no food for his journey, so he just kinda sits there for a few days in darkness (idk how im picturing the jouney is, dark, nothing but a strong gut feeling to guide where to go) waiting, hoping for food, but nothing comes. he eventually leaves and makes his way to where ever he is supposed to be going, and wherever he came from. when he gets there it took a lot and without food, he can barely stand. he looks up and there he is, district 2, back home (but like, afterlife).

there were so many people there, and once they saw who he was they made sure to stay clear of him, after a bit of confusion of him being there. but there was one person who stood out to him, the person stopped, a distance away, and didnt seem to know what to make of it, shocked and confused.

"Marcus?..." that seemed to snap them back to reality, and they just, walked away. Sejanus eventually found a tree to lean against, not knowing what else to do, no one wanted him there.

he seemed to stay there for awhile, maybe a couple days, before someone sat beside him, "why are you here?" Marcus, and some bread.

"Well, it seems I died."

"yeah, but how? You didnt seem to have food when you arrived. I mean even I did, I don't know how, but I did. I have a suspicion though." Marcus handed him the loaf as he asked the question.

"I wanted to help some people, and they killed me for it. No one either knew or cared enough to give me some bread."

The response seemingly answered his question. "Thank you, by the way, for the bread"

"ah, so you knew"

"as i said, i had my suspicions. Why here?"

" I'm here because this is my home"

"you gave that up a long time ago"

"i was 8. my father gave it up, i never wanted to move, wish i hadn't."

"I'm sorry things turned out this way for you"

"You're one to talk"

"Why'd you choose this tree?"

"What do you mean?"

"This tree, its not one here, its like it belonged somewhere else." he stood up and out reached him arm for Sejanus to grab so he could see the tree.

Almost as soon as he stood up he fell back to the ground, not because of the hunger, the bread was fine for now, but because he instantly knew this tree. The Hanging Tree.

Marcus treid to catch him as he fell, too late, but the effort was there. Sejanus answered before Marcus could ask more questions. "Its how I died. It's The Hanging Tree in district 12."

[atopvisenyashill]

Thoughts on the Alysanne is Maegor's daughter AU? I feel like it has some interesting potential, and it vastly recontextualizes different parts of Jaehaehae (I do not like him sjsjsjs) and Alysanne's relationship (such as Jaehaehae's treatment of their daughters) but I wanna hear what you think about it!

I’ve touched on this a bit before but since you actually want to hear my thoughts, allow me to present to you my Jaehaerys Is The Goddamn Worst, And Alysanne Annoys Me Too: An Essay lmao but my answer is basically “yeah all of what you just said.”

I think it makes Alysanne much more palatable (to me) as a character because as she stands, she just fixates on forcing her daughters through these fucked up marriages at too young an age bc it traumatized her to be married and pregnant at 15 too but she’d never admit that being a willing participant in her own kidnapping by her brother-husband was the single worst thing that ever happened to her, and because Alysanne doesn’t want to admit it (and Jaehaerys would never see it as wrong or a mistake) F&B really shies away from delving into the fact that Alysanne is as deranged of a mother as Cersei is. So as she stands, she’s very flat to me because she’s presented very flatly and inconsistently. She’s so in love with Jaehaerys, she’s maritally raped by Jaehaerys, she’s a loving and doting mother, she forces her daughters into marriages when they’re the same too young age she was, she accuses her teenage girls of being scheming whores then gets angry when her husband accuses their teenage girls of being scheming whores, and worst of all we are just told “Maegelle tells them to make up so they do” so we don’t know why Alysanne gets over all of this. What is the point of riding a dragon when you never use that dragon to protect your daughters from unwanted teen marriages? We’re just not given a good enough justification for why her behavior is so weird and frustrating towards her daughters.

Make her Maegor’s daughter though…most of her behavior as an adult makes more sense. Like a worse version of Rhaenyra’s childhood almost - a father desperate for a son, but lowkey obsessed with his daughter, who makes all his hang ups about his parents the problems of every woman around him, except Maegor is out here blood sacrificing and torturing and starting wars and forcing babies on wives he discards quickly and brutally. Then here comes Jaehaerys on a white horse green dragon to save her from the horror her life has become, and he loves her so much he runs away with her even though Alyssa says they shouldn’t marry because people won’t like it. And they have beautiful children, and a beautiful marriage, and build a beautiful kingdom.

Then her pregnancies start getting dangerous. Gaemon, then Valerion, die. Alysanne thinks of the shriveled up mutants she called brothers, if Maegor’s taint has passed to her. Her perfect husband ignores her no, and forces Gael on her. Alysanne remembers that he said nothing to Rogar when Alyssa died, merely wept. Then her daughters start to die. Daella, Alyssa, Viserra, all within a few years. Then Jaehaerys makes Saera watch as he murders her boyfriend, calls her a whore, and says Alysanne cannot follow Saera to Lys. Alysanne thinks of Maegor torturing the Harroways over Alys’ presumed infidelity. Jaehaerys says he’s sorry, and her daughter badgers her into forgiving him, and she remembers how she helped Jaehaerys badger Alyssa into forgiving Rogar. Not two years later, Jaehaerys passes over Rhaenys. Alysanne thinks of how she was never enough for her father, how she felt so superior to Rhaena banished to Dragonstone and resented by Aerea, yet there she is dragging Gael away from court because she can’t stand to be with Jaehaerys. How her father was surrounded by dead women and dead babies and how Jaehaerys is surrounded by his own dead daughters, but surely she did the right thing, surely Maegor was worse, surely the realm is better off? Is he right to pass over Rhaenys? Is she enabling a man just as monstrous as her father? She will never decide, because Maegelle will guilt her about keeping Gael isolated at Dragonstone, and Alysanne will do as she’s told, just like Rhaena, and Alyssa, and Jeyne, Elinor, Ceryse, Alys, and Tyanna, just like every one of her daughters.

I do get why Alysanne is Alyssa & Aenys’ and not Maegor’s. The weird Targ babies, the line not descending from Visenya, Jaehaerys and Alysanne being held up as the perfect Targaryen couple specifically because they are brother and sister and dragon riders. I do even think canon Alysanne is likely traumatized by her time as a hostage on Dragonstone, and the ensuing war, and the trauma bond that caused with Jaehaerys, and it makes her idolize Jaehaerys, and then he isolates her at Dragonstone so he can swiftly and safely marry, groom, and knock her up. It’s not like,,,, a fun time, and it’s enough to make anyone crazy and weird about their daughters, but I think having her father be Maegor makes Alysanne herself much deeper because it gives her, as the most beloved Targaryen queen, a blood tie to the most hated Targaryen king, and a marriage to the most beloved Targaryen king. It fits better with a lot of the themes of the main series (again, imo) - forcing the spotlight on the outsiders to see how the affect the story from behind the scenes. The fall of Aegon’s sons, and The Long Reign, not told from the PoV or to serve the PoV of any of the kings or princes, but of the queen that tied them all together.

[forcedhesitation]

I definitely do not have the time for a full essay's worth of commentary on the Casting of Frank Stone, but I definitely could give you that if I did. There is...a lot to take apart there. I am certainly...fascinated...by some of the writing & gameplay choices they made, to summarise my thoughts somewhat vaguely.

A few spoilery comments under the cut.

Like I said, I don't really have the time to offer extensive analysis (a full paper) of the game, but I do want to say a few things.

First and foremost: Do not purchase this game. In the words of Mr. Otzdarva himself: Go and watch someone play it instead. Your play through will be 95% the same as theirs. It is not worth your 50 dollars. If you still want it after you've viewed someone else's playthrough, that is your own right.

I honestly became annoyed with the writing much faster than Mr. Otzdarva did, and at first I thought it was because I was spoiled by BG3's infinitely better writing. But no, it's rather that he was being very patient. He finished with a rather negative opinion of the game, after thoroughly going through it to test just how much control you as the player really have.

I will be fair-- It is certainly a visually stunning game, as far as Supermassive titles go. Much better looking than The Devil in Me. The music is also incredible. And some of the voice acting was well done and added much needed life to otherwise bland characters.

But good grief is the writing utterly nonsensical!! Even if you respect the "a multiverse exists, so anything is possible" fact which is canon to Dead by Daylight itself, it still doesn't make any damned sense. I mean, is it ever explained why there is time travel involved? Or how it is even possible? Did they simply expect people to just assume that Augustine figured out time travel in a certain timeline? Does it have something to do with the Entity, since it can clearly traverse time? If so, why was Sam able to voluntarily time travel to Madi & elder Linda's timeline? Why and how the FUCK is Frank Stone first bound to the mill and then camera using what is clearly the same magic as the horologium, when we know the Entity has not yet been brought to that timeline??

And playing the "anything is possible" card would be fine to explain certain things, I will concede, but it really starts to feel meaningless when you realise just how many massive plot elements are never explained and that none of your choices really have any impact on the ending of the game. The story literally ends the same no matter what you do. And to be fair, I do not think it is a bad ending at all. Barring the corny "trial starting" sound that they jammed in at the last second, I thought the ending was one of the better parts of the game. It works great to make you feel hopeless, and like there is truly no escape from the Entity. I just feel that this format of a "your choices impact the outcome of the story" game was the incorrect format for the story they wanted to tell. Because it truly doesn't even matter if you get everyone killed, or you save everyone-- everything happens the same way and the world's fate is the same.

There are other things that bothered me, too. I thought having Frank Stone appear as this corny, glitchy spectral monster for most of the game was...a terrible choice, both design wise and writing wise. Now, I do not think killing him in the opening was necessarily a bad decision. I honestly thought it was a bold choice that functioned well to surprise the viewer and urge them to continue, so they might discover how the story plays out after the death of the titular character. But keeping him as this ghoulish creature, that honestly looked as though it were from some solo indie developer's first low budget horror game, was awful. He did not feel threatening whatsoever, just wildly out of place in a visual quality sense. I hate the final design much less, it is certainly much more threatening and much, much more gruesome, but it still does not make sense as to why he looks that way. The Entity still had not taken him, why did he appear as this inhuman monster before his entry into the Fog? They should have kept a more humanlike design until the very end of the game, when the Entity arrives. Then, a transformation sequence where the Entity mutates him should have been restricted to the ending where no one from the cast is seen in the Fog, so players at least get something different in that allegedly "unique" ending. After all, if a cast member does get taken, at least you get to see visions of what followed the 1980s storyline.

Also why did Augustine work alone when she is clearly part of the Black Vale? The excuse of "the cult didn't exist yet" doesn't work here, because she can time travel and is fully aware of the multiverse she exists in. Like... I thought elder Linda's mention of secret passages being for staff "so they are seen as little as possible" was foreshadowing for Augustine having fellow cultists aiding her, but it just went nowhere. Another thing that goes nowhere is the baby that Sam can save at the very beginning. Should the baby live or die has absolutely no impact whatsoever on the story, which feels like an enormous mistake to me. That baby should have grown up to be a character that the cast could have interacted with to gain...oh I don't know, some piece of important knowledge, or an item, that could then later change the fate of the cast. This way, the player's choices in the 1960s segment actually have an impact on later gameplay, rather than meaning absolutely nothing.

I'd also love to know why the hell elder Sam was sent alone to prevent this situation from occurring, when the Imperatti (I think they were called? The parents of the Pariahs, or something, right?) would have surely realised the gravity of this situation? Like, how does this make any sense? And this is far from the only moment that makes no sense at all.

Why do Jaime and Robert have almost no relevance whatsoever after the 1980s segment concludes? Robert is guaranteed survival of this segment, as that part of the game is written so that two characters always survive-- be that Linda and Robert, or Sam and Robert. As annoying as Stan was, I didn't hate him because he had great dialogue that pushed other characters to have different dialogue than what we were used to. But it felt scummy that Robert was just given this sad, offscreen death instead of being included in a lot more meaningful way.

Not going to lie, it reminded me of how in Stranger Things 4, Patrick was the one teenager whose trauma wasn't really explored or given the same respect as the others. It's like the writers went, "Guys, guys! It's okay! We still have the other Black guy! This makes our game Diverse, and therefore no one could possibly complain!" Meanwhile, we get an entire cutscene about Madi's nightmares, and elder Linda's movie career and associated trauma is talked about numerous times. But all we know about 2024 Robert is that Stan took advantage of him, and then he later died, utterly miserable. Also, Sam somehow knows about this and he and Stan know one another, despite this Sam being from a different timeline than elder Linda, Madi, and Stan himself.

And Jaime, poor sweet Jaime, he really just feels like he's there as someone they can conveniently kill to shock the player. The first chance he has to die results in a horrible, very graphic death (although not the most graphic in the game by a long shot) that I feel many players will encounter because they see it as reasonable to visit the curiosities shop first, and then to later attempt to save Chris (even though her fate is the same here, regardless of what you do). And even if you should keep Jaime alive through that first confrontation with the spectral Frank Stone, it's not as though his survival impacts following events. He can die again, when fleeing Frank with Bonnie and an injured Linda. Why they have Linda, who has a gaping hole in her shoulder, attempt to pull Jaime up the platform alone while HIS OLDER SISTER just WATCHES is beyond me. But writing his death, whether it be here, or earlier, to have no impact on Bonnie's fate, or any future events, is plain bad writing.

You cannot save Bonnie, no matter what you do. And this scene makes no sense. When Frank grabs Bonnie, Linda points the camera at him, which should work. There really isn't any reasonable explanation as to why this should not work, or should not even momentarily distract him (Which could have led to a different ending where Bonnie lives and Linda dies instead?), because in the storm drain, so much as yelling at Frank causes him to abandon whoever he's attacking to seek out the new target. I suppose, at the very least, 1980s Bonnie's death does serve some kind of purpose in the 2024 storyline, because it serves as foreshadowing for Madi's potential fate. But just like Robert, 2024 Bonnie is given a sad offscreen death and we never really learn about how she or Jaime survived that night at the mill.

And I will say, it just feels shitty from a player point of view, to make it so you cannot save certain characters. Like, I'm sorry, is that a canon event? Where is Mr. O'Hara? Because Madi must be a god-damned anomaly, being Bonnie's daughter!! And Chris- god- Chris who mysteriously travels through time...I really do hate this part of the story because understanding its purpose can only happen if you manage to get the secret ending where she goes through the projector screen and DOESN'T burn and die. Which would require you to not have taken the pocket mirror or given the "protective" amulet to her. This unlocks a secret ending where she goes back in time to the moment where she, Jaime, and Linda were inintially shooting in the mill, right before Sam interrupted them. I took this as the writers trying to show us that there would be one timeline in which Frank Stone is never released (not sure how he ever was in the first place, really), likely saving them from the Entity. But other than the player somehow luckily getting this ending, I really don't see the point of Chris' time travel, because she can also be sent immediately back in the horologium, which does nothing meaningful. And why does it have to be Chris? Why not write it so it could be her or Jaime, so that maybe the player's choice to have her and Jaime breakup or not actually has some kind of impact on the gameplay?

One of the worst things about the game though, and I cannot stress this enough, is how badly the references to DBD are integrated. I love a good reference-- it can serve to add a little playful flair to a moment, or even go so far as to have the viewer look at the piece from a different perspective they had not previously considered. Buuuut... this is only if the reference is done well. And, well, what this game does could hardly be described as tolerable, even. In was so heavy-handed, it felt almost as bad as product placement in a Michael Bay movie. Many of these "references" felt out of place to the degree that someone with no knowledge of DBD would be likely able to pick them out, because they heavily disrupt either the game's aesthetic or the gameplay itself! One generator was funny, and honestly expected, but THREE of those damn things? Clunky, corny, and honestly? Lazy.

Unfortunately, I feel those three adjectives describe how I feel about the game overall. I feel bad for the people who put hard work into making it, because there is potential there for something great. But it really felt as though they were pushed to release this game as quickly as possible, so BHVR could sell us a 50 dollar, five-to-six-hour advertisement for their next DLC chapter. Hard to think anything else, really, when completion of the game is followed by a a literal ad for it.

All I can say is-- I really hope we get 2024 Linda as a survivor. It seems more likely that it will be Madi, but it is possible we could have a two-survivor chapter (unless they specifically outlined in the roadmap that there are no upcoming 2-survivor chapters?).

Madi and 2024 Linda would be cool though. We have no older women as survivors, despite having more than one older man. I think it's about damn time. And I love the mother/daughter bond that can sort of develop between Madi and 2024 Linda in the game.