#...but i think he still cares about jon and martin) | Explore Tumblr Posts and Blogs

drownedbycoffee · 4 months

Text

THEY AREN'T THE FEARS ANYMORE!! THEY'RE DESIRES

(SPOILERS for TMA, and all of TMAGP episodes so far)

Okay, here me out

Tmagp1: Darla wants to hear Arthur's voice again. She even says: "I just couldn’t face the thought of the rest of my life never hearing him again, I had to try" and later on she even says: "But I had to know, so I went to the cemetery."

Tmagp1: RedCanary wants to know about the Magnus Institute. They want to know why it's listed under 'cleared' when there's no evidence of it. Hence why they go and explore it.

Tmagp2: Daria wants that absolute perfection. She wants to change who she is and get out of that dark place. When she talks about the thing that she felt was missing, she says, "... and that’s when I decide I need a tattoo. I had a couple already – just little things on my shin and my wrist – but I decided I needed something big. Something that really changed my look." She also mentions when talking about Ink5oul that "they just kept pressing me about my life, about why I wanted the ink" instead of asking what design she wanted. And when she got the tattoo she describes herself as now being, "Someone I wanted to know more about." Afterwards she even says how "For the first time ever [she] wanted to attempt a self-portrait. Something real and physical, [she] wanted to feel the brushes in my hands and the oil on [her] fingertips." I think a lot of her statement is about her desire and impulsive need for that perfection and that wholeness that she has been aspiring to for her whole life.

Tmagp3: Samuel wants to stay hidden. He wants and he "need[s] to get up, get out of here for treatment." He wants to get better and most of his delirious thoughts are the things that he wants, or feels like he needs. E.g. "I so much want to see it [the sun] again. This night seems endless. I want to be warm again. I am terribly afraid. Thank god for Maddie. I need to treat her better."; "I just need to rest."; "I need to be careful or we’ll drift apart." And then obviously as the narrative continues, Samuel wants to grow and 'put down roots'.

Tmagp4: The narrator wants to be revered and accepted into the Royal Court Orchestra of the Palatinate. He wants to show off and impress. The violin "was a creature with needs and purpose of its own. The needs were simple enough. Blood. Flesh." It has these needs and desires.

So far, I'm interpreting it to be that everything so far can be interpreted as a desire of sorts, varying in the strength and intensity of it. Obviously, fear is still a big part of it all, because if you want something so badly, aren't you afraid of it being stolen from you? Of it being out of your grasp? Of it being unachievable or impossible in some capacity? Of it being a lie?

Even Sam wants to find out more. He wants to know the why and the reason for things. Gwen wants Lena's job. Collin wants to fix all these bugs and keep Freddie running. Alice wants to just get on with it because she found out that wanting to know the 'why' of things is dangerous.

I think that somehow when the Web took all the Fears into a different universe, they morphed into something else. Or they changed to fit what was the most prevalent thing in that universe, because after all, everyone wants something, even if it's something small and inconsequential. Life and aspects of it has always been characterised by that desire for something. Like people wanting food, shelter, safety, love, warmth, happiness, etc. And I think since the Web was so intwined with Jon and Martin, it absorbed some of their emotions when it found its way into this new world, because after all Jon and Martin wanted to stop Jonah/Elias, to stop the apocalypse, to destroy the Panopticon, to be safe, and they wanted each other. I think the wanting and fear of things are really entwined in it all, though this could be absolute bullshit haha

3K notes · View notes

annabelle--cane · 5 months

Text

this is a difficult thing to have conversations about because it provokes really strong reactions in people for completely valid and understandable reasons, so please feel free to hit da bricks on this post whenever you want, but I do want to try and analyse the jonmartin slaps. we get three across 160, 169, and 172, and a line addressing it in 173, and then it never happens or comes up again. none of them come out of nowhere, and they mostly fly under the radar until 173 because they all broadly fit the "slapping someone out of a trance in an emergency" trope, but each of them slowly decreases in urgency.

the first time, the apocalypse starts up and martin comes back to find a passed out jon, can't wake him by making noise, and strikes him in a panic. this makes sense, this is a man who has entered a supernatural coma before and martin had no idea what was going on, so of course he'd jump to something desperate.

the second time, they're in a burning building, jude arrives while jon is still mid-statement, and when making noise doesn't work martin slaps him out of it. this makes sense, they were there for jude and if jon didn't come back to himself then she likely would have hurt them, though martin knew that her powers against them were limited.

the third time, jon is getting pulled into into a repeating statement instead of coming out on his own like usual, so martin speaks once or twice to try and get his attention, and then slaps him out of it. this... again, it makes sense, jon was getting trapped, but there was no immediate peril like before, martin just got freaked out and wanted to leave quickly. he seems to get that it was harsh because he apologizes for it, but they don't linger at all, martin just starts in on them having to leave immediately.

the last time it's mentioned is when they're on night street, during what is one of their most intense arguments. jon tries to talk about the suffering of the children there for longer than he needs to in order to make a point, martin cuts him off, and he pointedly says, "thank you for not hitting me this time." it never happens or is brought up again.

to our knowledge, jon doesn't say anything about the slapping until 173. he's not a guy who's known for speaking up when things upset him, he was amiably working with daisy within about a week of her trying to kill him, so it makes sense that he would just sit with this comparatively more minor thing. however, I do think it's relevant to note that, at this point in their relationship, martin will sometimes voice his feelings and boundaries (not listening to statements, not consenting to mind reading, worrying when jon expresses discomfort with his body), while jon doesn't. from the couple of times he does talk about his feelings this season, I think that tendency comes a few places: he has a hard time being aware of his emotions at all, he doesn't know how to evaluate his emotions' importance in comparison to others', he assumes his emotions are obvious and thus people already act with full knowledge of them, and the topic is just hard to make himself talk about. from what he says in 173, I think the slaps bothered him the entire time, but he made himself be fine with it until he was upset with martin for unrelated reasons and finally let it out.

as for martin's side, I do not think the slaps came from any kind of suppressed desire to hurt or wield power over jon. we've seen him when he's angry at jon, this isn't how he acts, he gets shouty and indignant but never violent. I'd even go as far as to say he doesn't do it in 173 because he's genuinely upset at jon and the situation they're in, and it would never occur to him to deliberately inflict pain on someone he cares about to assert control over them. the connecting line between all of them is fear from something that he wants jon to help him handle. the apocalypse starts, he is stuck inside one of his worst nightmares, and he's paranoid that the web took control of him. he's someone who is "always following, never leading" (170), and he gets tunnel vision when something scares him and his "leader" isn't there.

jon did need to be pulled out of all three of those situations, and words proved insufficient, and maybe a quick jolt of pain was the only thing that could have worked, but martin doesn't seem to consider what that would feel like from jon's pov. in my experience of relationships, if there's ever an unavoidable emergency where you do actually need to cross a line that you never would otherwise, you talk about it afterwards. you do a debrief where you say "I'm really sorry about that, I didn't see another way, I'll try and be better prepared next time." they do this for problems they have later on (177, 198), but martin doesn't do that here. jon's point-of-view just doesn't seem to occur to him. when jon expresses discomfort, he drops the tactic without a word; later, when he needs to anchor jon in the panopticon, he talks him through it before it can get too far. so, it's not about a lack of care for jon's feelings.

I think it comes down to a few things: a) his occasional tendency to treat people as a means to an ends and not think about their perspective. he's so glued to putting others first most of the time that when he stops, he can't find a middle ground and forgets that other people can have feelings about his actions. b) his problems with conceiving of himself as a person of any importance who is capable of doing anything, especially of doing harm. as a concept, "hurting jon" is the thing he would least like to do in the whole world, it is his nightmare scenario and literally the culminating moment of his tragedy. he finds it almost unthinkable, so the idea that he does it casually when he's scared doesn't cross his mind. one of his central worries at this point is that jon is now so powerful that he no longer needs martin, how could he hurt someone like that? he's not anywhere near a comparable level of importance, it's not like he has his own domain that he's not aware of because jon told him about it and he immediately rejected the information. he's powerless and could never bring himself to hurt the man he loves.

I just. think it's an interesting microcosm of some of the lows of their relationship. once the problem is discovered martin instantly takes the note and doesn't put it on jon to explain himself further or assuage his guilt, they are willing and able to adapt, but it still comes from some of their bedrock flaws. martin doesn't understand that he can hurt people, and jon has such an inflated understanding of his capacity to hurt people that it sabotages his self-worth and his ability to respond to pain and displeasure.

#tma #marina marvels at life

1K notes · View notes

toasterslime · 9 months

Text

I have so many thoughts about Jon and Daisy’s s4 relationship. I know the fandom is very “look guys they’re besties” or “Jon deserves better Daisy is horrid” and like honestly,,, I don’t think either of those things are accurate. I’m not trying to say them being friends is healthy or even plausible it’s just a really fucking interesting dynamic to look at.

You take a man who’s turning into a monster who NOBODY believes can be redeemed (like… outwardly. He doesn’t know Martin even still cares about him) and the literal embodiment of an irredeemable monster whose hunger for the hunt made up everything she was… and you put them together. Jon saved her life. Jon saved her life after she tried to kill him, after he could know things about her that would probably make most people want to vomit. Why? Because if there’s hope for her, maybe there’s hope for him. And he doesn’t see his life as worth anything any more. When he went into that coffin he didn’t know if he was going to come back out. And Daisy knows this. On some level, Daisy doesn’t believe she deserves this second chance either. That’s why she doesn’t give into the hunger like Jon does. Because she literally believes she deserves to starve. But she thinks Jon *can* be redeemed. She recognizes that she was wrong to treat him like a monster. The person who wanted so badly to kill him recognizes this. And tries in her own way to support him and cheer him up. I think about that sometimes and foam at the mouth.

#the magnus archives #tma #tma podcast #jonathan sims #the archivist #tma spoilers #tma season four #daisy tonner

1K notes · View notes

thefabulous-mostgroovy · 2 months

Text

Beautiful Boy

"You're sure you want to do this?" he asks, softening his voice. Jon nods.

"I... I think it'll be good for me."

That's all Martin needs to hear.

(art included!)

Jon/Martin, 1.7k words, rated Gen, read on AO3. this is for day 3 of @jonmartinweek for the prompt Hair Care!!

Martin truly thinks he's an absolute genius for using one of Jon's hair clips to keep the towel in place. Jon snickers a little at his chuffed face in the mirror, holding the other end of the towel up with his hands in front of him.

"Don't laugh," Martin tuts. "Or I'll give you a bad haircut.

"I don't know if a buzz cut is possible to mess up," Jon says. Even joking, he sounds a little nervous. His eyes dart from his own reflection to the scissors in Martin's hands, and back again. Martin plants a kiss in his hair.

"You're sure you want to do this?" he asks, softening his voice. Jon nods.

"I... I think it'll be good for me."

That's all Martin needs to hear.

They've gone over his decision a few times. First of all, the long hair has gotten a bit annoying. It blows in his face, especially in the Highland winds. It's a pain to maintain. But, mostly, it has too many negative memories attached. The only reason it's as long as it is, is he's been too tired and stressed and scared to go outside to get a proper haircut. He didn't grow it out, it got out of control. Just another thing he couldn't fix, couldn't get a handle on. Not to mention the fairly recent fear of strangers welding blade near his throat. Chopping it all off is about as good of a fresh start as Jon is going to get right now.

He remembers Jon's hair when they first met. It had been a bit long, even for how short he used to keep it. He kept it loosely pushed out of his face, but it fell in loose waves over his face whenever he was concentrating on anything else. Martin was never able to pay attention to the day's to-do's because he was always too busy watching Jon's hands run through his own hair, flipping it out of his face, the grey strands at his temples revealing themselves when he combed it back.

Despite his scruffy, ill-fitting suit jackets and trousers, his hair always fell perfectly with seemingly very little effort. Martin has curly hair himself, and he's never been one to get jealous over someone else's hair, but he really thought that's what he felt about Jon in the early days.

(It was not jealousy. He was just completely arse over kettle for his boss. But, can you blame him? Jon might be the prettiest man Martin has ever met.)

After Prentiss, Jon let his hair grow out a bit more. Well, let is a strong word. More like, he neglected in getting a haircut as his paranoia grew and grew. It reached his shoulders in just a few months, and Jon had taken up keeping it tied back in these large clips that's currently holding up the towel that will catch all that hair when Martin shears it off.

Martin remembers being quite surprised at how long his hair had gotten when he returned from his brief stint of running from the police. It was hanging in loose strings over his shoulders, like it hadn't been very well taken care of. Part of him had wanted to sit Jon down and detangle the nest residing on his head. Maybe give it a good wash.

The next time he saw Jon, it was with his hair in a braid. Or, an attempt at a braid. It was a bit more like a series of knots, a bit lopsided and kind of falling out. In his week-long shock at the fact that his boss was not, in fact, just a creepy middle aged man who was way too into administrative work, but an evil eldritch monster who is still way too into administrative work, he told Jon this. While he waited for Jon's tea to steep, he turned around and told him, 'Hey, your braid's a mess. Want me to fix it?'

To his everlasting surprise, Jon said yes.

With shaking hands and a beet red face, Martin had sat behind Jon on the couch, and carefully brushed Jon's hair through with his fingers. His hair looked healthy, like it had been recently washed, and smelled of coconut and bergamot. There was a lot more grey in it than when he first met Jon (but not as much as there is now).

Jon had sighed and closed his eyes, tilting his head back as Martin had brushed his hair back. He had wanted so badly to run his nails over his scalp, and he just barely restrained himself from doing so. His hair was soft under his hands, and it bounced back into shape when his fingers ran through the ends.

Actually putting the plait in was easy. Martin fell victim to being a girl's Gay Best Friend while he was still in high school, which is never all that great, but he did actually enjoy styling her hair. It came to him as muscle memory, twisting the three sections around each other, careful not to pull or tug by accident. He kept it fairly loose to not give Jon a tension headache, and the shape of his curls were still visible as they flowed into the braid.

After tying it off, Jon had gotten a bit stuttery and smiley, tucking the shorter strands that fell over his face behind his ears, and Martin had practically short circuited and fled the room.

Jon never got around to properly cutting his hair, even as it reached further and further down his back. After Daisy, he could never let anyone near him with a blade without falling into panic. So, he simply put up with the choppy cuts from cutting the dead ends off with a pair of kitchen scissors. It was good enough for him, apparently. And he never had to let any strangers near his neck.

Martin can't help but feel a little pride at the fact that Jon is allowing him to do this. Sure, he's screwing his eyes shut and bordering on holding his breath, but Jon is letting him do this in the first place.

"I'm gonna start now," Martin warns him. Jon hums and nods minutely, and Martin gathers some hair in his hands. He gives him another moment to change his mind, then makes the first cut.

He starts near his nape, moving along in as straight a line as he can manage. He cringes a little at the slope he creates—he somehow manages to cut a bar graph into Jon's ends—but it doesn't matter. He drops the cut strands into the bin below him, not bothering with the bits that stick to the towel. His hair goes from ending at his mid-back, to... whatever Martin has managed to make. It sits in an odd, blunt bob, just above his shoulders. When Martin sets the scissors down for a moment, stretching his hands, Jon's shoulder slump and relax, and reveals that Martin has actually cut much further than he thought.

"You look like Lord Farquaad," Martin snickers as Jon opens his eyes. They glow green for just a second, and Jon gasps in offence, then laughs.

"So mean to me," he bemoans. "Why must I face such treatment? Go to jail."

"If I go to jail, I can't do the rest of your hair, m'Lord." Martin picks the scissors back up, ready to cut more off before going with the razor. Jon closes his eyes again.

"I'll just visit you in jail," Jon says, seeming much more relaxed now that the first shock is over. "Give you a spoon to dig your way out."

"I'll Shawshank Redemption my way out of there," Martin promises as he cuts shorter and shorter. "Come back with scissors and a vengeance."

Jon laughs quietly. After another few minutes, Martin has gotten his hair into a rather shaggy short cut. It looks awful.

"Okay, I'm gonna plug in the razor, don't look at your hair."

"Why not?" Jon immediately opens his eyes and starts to laugh at the sight.

"Don't look!" Martin splutters, scandalised.

"I look like I got attacked by Edward Scissorhands!" Jon cackles, running a hand through the choppy sections.

"I'll fix it, just hold bloody still," Martin grumbles, face red. Even through the buzzing of the razor, he can hear and see Jon humming with giggles. He never could have guessed that Jon's favourite hobby, should they ever have actually started dating, would be winding Martin up at every opportunity.

He starts, again, at the neck and works his way up. His grey hair sits in patches through the black, buzzed hair. Martin wouldn't tell him, but it makes him look like a spotted cat. The hair falls into the towel above Jon's lap, onto the floor. Once Martin is done, and it looks a relatively even length, he turns the clippers off, and kisses the top of Jon's head.

"All finished," he says softly.

Jon opens his eyes and stares at the mirror. He runs a hand over his head, tilting it to the side a little. Martin, to busy his nervous hands, removes the hair clip from the towels and gathers it up with the pile of hair in it.

"Do..." Martin tries to act and sound casual. He does not. "Do you like it?"

"Yeah," Jon says, and finally smiles. There are pinprick tears in his eyes. "I do. I really do."

Martin kisses the top of his head again, running his hand over his hair. The short strands are still soft, but sliding his hand up the opposite direction leaves his palm a little scratchy. Jon doesn't stand, but he reaches up and pulls Martin down into a proper kiss.

"I love you," he whispers on Martin's lips.

"I love you, too," Martin whispers back. He brushes some of the stray hairs that somehow found their way onto Jon's jumper before he kisses him again.

That night, in bed, Martin strokes his hand back and forth over Jon's hair while he sleeps, tucked under Martin's chin. It feels nice. Different.

And Jon is still the prettiest man that Martin has ever met.

#tma #the magnus archives #jonmartin #jmart #jonmartin week 2024 #jmart fanfic #jmart fanart

279 notes · View notes

the-magpie-archives · 1 year

Text

The thing with Jon is that he is actually really funny! His delightfully dry and sarcastic sense of humor is pleasantly visible from the beginning, and it's gradual decline as pressure builds up is pointed. He never loses his humor though, and in so many cases the crisis enhances it.

It makes me consider his childhood. Jon's rejected, ignored and hushed pretty often but it scarcely stops his witty comments; is this the environment he grew up it? Its not uncommon for elderly people to have dry humor also, and the mask of academia goes hand in hand with sarcasm.

What's really fascinating about Jon's humor however, is how it changes during the apocalypse. When he no longer has to mantain a professional image or his integrity in any way his humor takes much more of a forefront. Of course, he's still under a tremendous amount of pressure so it would be ridiculous for him to be funny all of the time, but when the social stakes are lowered he's much more open.

We see it in many moments when he's with Martin, and even with Basira, Melanie, and Georgie. His jokes are a lot more honest, and he allows them to be simply funny instead of lacing them with intellectualism. For the first time him being professional, polite, and socially acceptable will do absolutely nothing to help him and he's able to let go.

Even in through the various moments of struggle in their journey Jon's able to be more relaxed, which in turn seems to create better outcomes; I'd say that this is because it's not his fault for once, but since he very clearly believes that it is, this reaction is likely as a result of the fact that it absolutely and categorically could not get any worse .

This, I think, is a reason Jon and Martin were able to get so far (and remain so engaging). Even in the darkest depths, the worst of the worst, their survival instincts and coping mechanisms compliment eachother greatly. Jon provides information, knowledge, and the light relief of a very good joke. Martin provides care, concern, and emotional critical thinking.

Their love for eachother was the glue that held together a very well suited team, and together their skills and even their flaws carried them forward.

#Just thinking about their personalities and how they change and adapt as they fall deeper in love 🥺#They care about eachother so much that they adapt who they are to suit eachother but they never have to let go of themselves to do it...#True love is not changing yourself but instead changing the way you apply yourself <3 #tma #the magnus archives #the magnus institute #jonathan sims #martin blackwood #jmart #jonmartin #the eyepocalypse #tma season 5 #Tma analysis

2K notes · View notes

gammija · 2 months

Text

now im also still thinking about tma dnd au.... mostly i agree with jonny&alex' assignments. Signing a contract to work in the Archives is really signing a pact with the Eye, so everyone there multiclasses in warlock, but only Jon really gains levels in it because of all the xp he gets by reading statements. Tim is a fighter, Sasha a 'real' wizard, Martin a bard who performs poetry instead of playing an instrument, says he studied at the College of Lore, but really he's self-taught and not even level 3 in bard.

Species though. i mostly drew Jon as a tiefling cause i wanted to give him horns but really, a tiefling would be preoccupied with whether or not he's turning into a monster. Sasha can just be human, and i think Tim is a half-elf, charismatic, easily fitting in with most crowds.

On the one hand i want Martin to be tall. but on the other. he just is a halfling. easily underestimated, typically caring, not very fast, not easily immobilized by fear, and, considering how little he gets hurt or wounded compared to tma's other characters, definitely a certain kind of lucky

#joos yaps #could also make jon a halfling and then we still can have tall(er) martin and s5 really is just lotr #tma #tma dnd au #tma s5 #martin keeps multiclassing for 1 or 2 levels in a new class #so he can do a lot - poorly.#jon is constantly out of spell-slots cause no one ever short rests. this is why he passes out all the time #they assign ranger to melanie but i think rogue does work as well. rlly high dmg with a dagger #if jons a tiefling melanie must of course also be a tiefling.#dont wanna make a cop an orc but i do want some orcs so georgie gets to be orc #basira is a dwarf. daisy an elf #playing against type #ok. enough talking. send post

125 notes · View notes

sarcasticscribbles · 8 months

Text

I made a curious cat and people been asking about my designs so I thought I would share it here too If you have any question too you can send it here or over on curious cat!

Under cut is a very long monologue about some design choices regarding my s1 gang, Gerry and some avatars!

S1: Jon, Martin, Sasha and Tim

Right off the bat I'll admit I had seen TMA fanart before, but I assumed it was a game from how consistent designs are (Jon and Martin); however when I started I avoided fanart (but I am not immune to TMA fanon designs). I'll explain S1 gang, they are my favourites. I find fcs helpful to keep them consistence.

Jon: I have a basic Jon design: short, brown man with long hair and glasses. Jon has a put together façade but, he wasn't qualified for the archivist position, and he doesn't know what he's doing. Therefore, I like him with longer hair he can't care for, therefore messy. It gets longer with the seasons and adding on all the marks he gains from the entities. I gave him half-moon, golden glasses with chains holding two eyes. I like to think it's a Beholding artefact, so Gertrude wore them before him. I used to have Dev Patel as a reference for him, but I've switched over to Riz Ahmed!

Martin: Very basic: fat man with fluffy hair and glasses. When I heard his voice, I thought of Harvey Guillén, who stayed a reference for Martin's body. I pictured him in a dorky attire; round glasses, ginger, comfy yet business appropriate clothing. I added eyes in the pattern of his jumper and added freckles. I've recently play around adding a beard, because I think he wants to look older than he is (re: CV; "I'm only 29!") but haven't found a style I like. I keep him fat throughout the series, instead of him losing weight s4.

Sasha: She has some canon traits: tall, long hair and glasses. I draw her hair up to stay out of her face. Contra Jon, I think she was more qualified for the archivist position, so Gertrude started preparing her for the role. She wears an eye necklace I draw Gertrude wearing that's in the same style as Jon's glasses. She has a matching bracelet with Tim and overall is one of my favourites. (notSasha): I took what was established and flipped it; short, short hair, no glasses. I imagine notthem could pass as cousins (since they still need traits to the victim's family?); no immediate resemblance but with a few traits of the original.

Tim: Canonically described as hot so I have my own bias. I started with general attractive traits: tall and fit. I think he puts a lot into his appearance. I use Keanu Reeves as a reference, and he works great for him. He’s a hair guy, gets it professionally cut and owns expensive products, skincare routine and dresses in fitted clothing. His standard is a shirt with an eye pattern. He takes pride in his appearance, so S2’s worm scars troubled him. He stops shaving to let it heal properly but they never go away. He never liked looking at them and they are a cruel reminder of the past (however, one scar splits his eyebrow to x2 bisexuality). S3 he stopped caring about putting in effort, the stubble grew into a beard and his clothes aren't fitted. He loses muscles, gains weight, and isn’t who he was in S1.

Gerard Keay

I had just assumed Eric was hispanic (for some reason) and then I connected that he's Gerry's dad, and apparently I headcanon him half hispanic lol

But it was why I wanted to draw the Mama family portrait to play with genetics. Letting his dad be rather tall, tan with dark curly hair and Mary be ginger with paler skin; Gerry's pale, ginger with curly hair as a child. He grew up looking like Mary and started altering his appearance to be more like his dad; dyed dark hair and taking some of Eric's clothing (I also gave both a beauty mark under their eye he'll highlight despite wearing make up). Alternative scenes and goths tend to straighten their hair but I let Gerry have naturally wavy to still resemble his dad more. I tried to give him trad goth make up, mainly looking at Siouxsie Sioux in the late 70s. And a fun bonus to have his hair often cover one eye because, The Eye

Gerry cared for his dad, even if he died when he was a toddler (if I remember correctly). Gerry's chosen name is the nickname Eric referred to him as, which is also where my trans headcanon comes in (afab). I haven't thought it out fully, or how that reflects on other characters since everyone else calls him Gerard but I think there's some symbolising there having a chosen name relating back to Eric

(some) Avatars

Oliver Banks: "the Egyptians believed the most significant thing you could do in your life was die,"; I take inspiration from Ancient Egypt for my Oliver design! He wears an Ankh around his neck, but I want to look into more about Egyptian death symbolism (he has a cross too, but I'll probably remove it for future designs). I've also taken some inspiration from Nordic mythology, with Hel (Hela In English? Loki's daughter (not Marvel) ) as half his face is beautiful, and the other is a corpse (skull). I don't wanna mix too many cultures just for the sake of it, but it was a really fun design decision. And he's goth. Bonus death aligned I next time I draw Georgie I'll draw inspiration from the Death's-head hawkmoth

The Distortions: Michael's 60s and Helen's 80s inspired, no reason, just vibes. I like to think of Michael as a spiral while Helen's a twist, if that makes sense, I've been meaning to draw them together to demonstrate, but I'll include a doodle of it

Jane Prentiss: I looked into a lot of paganism, and fell into a rabbit hole. She's described as a modern witch, so I wanted a subtle alternative look with a shaved side and gauges. One of her breasts are exposed because (boobs) in old pagan traditions a lot of rituals were performed nude, to be closer to nature. A lot of pagan art has a very strong feminine force, I want for Prentiss. She has one eye, but I'll probably remove the other too, I've seen a lot of people do for more holes

Nikola Orsinov: Drag king. Because we need more of those. I love drag so Nikola's has a mix of both male and female attributes since he's just trying to imitate a human. Their design is also inspired The Toy Soldier in the mechanisms (haven't listened? To it but a lot of people pointed me to that designing Nikola!) that's also her actor Jessica Law! I put all my gender into Nikola lol, and when I can sneak an IT reference in I will

Breekon and Hope: Wario and Waluigi

Annabelle Cane: She's described having web keeping her skull together, but for some reason I imagined it to be down her neck. So I pictured her head occasionally falling off and being restored by a web. So I gave her both lol. Her vintage style is old, goth Hollywood glam to me and I love looking at reference for her

Bonus Agnes: I haven't drawn her fully, but I wanna take inspiration from Scandinavian culture, think Midsommar (both the movie and the tradition) and maybe Norse paganism. I love Agnes story and how it's only told by other people, and her relationship with Gertrude is so interesting!

#tma #the magnus archives #mag #jonathan sims #martin blackwood #tim stoker #sasha james #gerry keay #gerard keay #oliver banks #jane prentiss #nikola orsinov #the distortion #michael shelley #helen richardsson #agnes montague #annabelle cane #breekon and hope

190 notes · View notes

screeching-painter-witch · 2 years

Text

martim desolation power couple

#it's a need #tma #the magnus archives #i love jmart as much as the next person and probably even more but tim and martin would be so good as a desolation duo #they both seem like opposites because tim is more confident and outgoing and martin is shy and anxious and sensitive #but tim is just as emotional and sensitive as martin he just shows it in different ways #and another thing they have in common is their anger #they are both deeply angry due to trauma and they probably hate themselves and feel constantly guilty on some level #tim because of danny (and then sasha) and martin because he's been made to feel worthless his entire life #but they both have so much anger and bitterness in them but they choose to be kind regardless #until they reach their breaking point and become self-destructive #that shared trauma and those emotions connect them not only to each other bc they could understand each other if they had more time to...#... become closer #but those things also connect them very strongly to the desolation #look at them in the s3 finale #martin burns statements and risks his life #and tim activates the detonator and sacrifices himself to destroy/stop the stranger (and to save his friends bc he might resent jon...#(and avenge danny and sasha)#...but i think he still cares about jon and martin)#also they deserve to set fire to things and fight the eye and the spider #also also gerry and jon deserve desolation bfs #yes im turning this into jongerrymartim i refuse to shut up about any of the characters in this ship #many interesting dynamics /pos

10 notes · View notes

thevoidcannotbefilled · 11 months

Text

I really don't like love at first sight Jmart or even, early season 1 canon compliant crushes. I think Martin got an early crush and Jon started to tolerate/care about him after Martin got back after Prentiss, but I don't think they really understood each other for awhile. Which to me, is part of the reason I really like their dynamic

Idk I keep thinking of the moment where Jon gets back to the archives in season 3. Most people focus on Martin making sure Jon's okay. Making moments where he takes care of Jon's wounds.

I keep thinking of the part where Martin apologizes for reading the statements. Where Jon is surprised, says it's not a problem. Critically, in context, Martin basically believes that Jon cares more about the statements than Martin's wellbeing.

It just. It's so tragic. At this point we understand that Jon is becoming more and more of a monster because of the statements. Martin knows something is up with the Institute but not enough to be able to ward Melanie away from the job. In regards to their relationship, they obviously both care a lot about each other but neither know how to show it. They are not to the point of communicating that care except in ways that are not direct.

This moment shows just how far they have to go in both how much they can communicate but also, just how much the other knows they care about the other. Their roles as boss and assistant are still there, parodies of that dynamic but still there nonetheless, and their previous interactions haunt them.

As much as I adore the concept of a pre-Unknowing kiss, canonically I'm glad it didn't happen. S3 Jmart cannot communicate beyond their previous dynamic no matter how flimsy it may be. Jon keeps it up as a way to protect them while Martin keeps it up as to keep the peace. Perhaps if one of them broke it, Jon may not have gone to the Unknowing. After all, Jon in s5 was willing to give up on his plan to destroy the world to destroy the fears for Martin, I wouldn't doubt he'd do the same in season 3 with enough insistence.

But they didn't. They both waited for things to get "better". For a "good" moment that would never come. For a change to happen that would make a romance more convenient, an end.

But there is no end to the fears. Their unfair nature are a quintessential part of their universe and there is no moment where love could be convenient. It happens in spite of the fears.

The messy nature of Jon and Martin are part of why I adore their dynamic. While the fluffy versions of romance is nice sometimes, I find the depth of them so much more tragic in nature. Not only because they could have had a better ending but also that ending did not happen because the lack of response on their end.

Jonmartin to be is a tragedy of what if. What if Jon was nicer. What if Jon didn't suspect Martin. What if Martin had the courage to tell Jon how he felt. What if Jon told Martin he loved him before the Unknowing. What if they ran away together. What if, what if, what if-

But they didn't. They waited for something more ideal.... until the end of the world and there was no chance for a happily ever after ever again.

#tma #the magnus archives #jonmartin #tma meta

280 notes · View notes

lizard-queen-izzy · 3 months

Text

I'm actually not done thinking about it so here you guys get more thoughts.

Tma season 2 finale spoilers ahead.

Tim knew something was wrong when Jon apologized for everything. He knew Jon was going to do something stupid. He knew because he knew Jon meant that apology. And that meant he didn't think he was surviving whatever he was about to do. Because as desperately as Tim wanted and apology from him, he didn't want it to be the last words he heard from Jon.

He was willing to march back in to the Institute, with or without Martin to find out what Jon was going to do. He had no way of knowing what would happen when he did, and he still did it. And he brought a fucking the recorder to get it on tape. To make sure there was a record.

I've said it before, the beginning of season 2 from Tim's perspective is devastating, but having finished it now? It really only does get worse. Because Jon doesn't get better, but neither does Tim.

Their fight at the end of MAG 65 is such a parallel to their first conversation in the beginning of MAG 33! They're talking over eachother, they're muttering, they're cutting eachother off, they're yelling. They're yelling at eachother! Their calm back and forth is gone. Their patience with eachother is gone. It's all replaced with anger. At the situation, at the Institute, at eachother.

What starts as Tim coming in to ask Jon where he put something so quickly dissolves into bitterness. Tim being fed up with Jon's suspicious behavior, and Jon being tired of Tim's attitude. Jon tries to brush it off, tries to shove it back under the rug but Tim's exhausted. So he blows up. He's pissed, rightfully so, because Jon is still trying to find a way to blame someone in the Archives for Gertrude. To blame him.

He's grasping at straws, trying so desperately to twist the narrative to make it someone's fault. To pin the blame on someone so he can then get justice? He's rambling, he's spiraling, and Tim can't take it so he tells him to shut up. He stops him, cuts his explanation short. And tells him, point blank, to stop talking. He's sick of it, he's sick of Jon. Sick of his former friend blaming everyone around him for things they didn't do. Sick of him blaming him for it.

And Jon tries to start again, and Tim tells him to stop, to listen for once. He tells him he was happy in the Research department, and ever since Jon brought him to the Archives with him everything has been falling apart. And no one has his back.

"Elias doesn't care, Martin just wants a tea party, and Sahsa - ugh - and you! - you're treating me like I'm somehow to blame for it all, like I didn't suffer the worst right alongside you!"

Tim suffered. He suffered what Jon did, they were the most affected by the worms together. They are both irreparably damaged by the Jane Prentiss attack, mentally and physically. And Tim knows no one but Jon will get it the way he needs to be understood. He can't talk to anyone else. And Jon has made it impossible to talk to him either. Because instead of talking about it, instead of healing and working to move past it, Jon let it consume him all over. Let it swallow him whole and make him into a paranoid mess. And he's facing zero real consequences for his actions.

Jon was stalking Tim. Spying on and taking pictures of his flat. He was going through 'Sasha's desk. He was watching Martin. And all Elias did was stage one intervention style talk and then nothing. He just got to spiral even further, keep spying, keep replaying that damn CCTV video footage on a loop. Keep staring at Tim like he's the enemy.

And then they have a moment of common ground. A moment where they're both on the same page. When they realize they can't leave. And just when Tim thinks they're making progress, Jon tells him he can't trust him. Not just that, he won't trust Tim. And all they can do is, what? Keep working? In a building that won't let them go? Where everyday there's another disaster lurking around the corner? Where any of them could all be next? That's the only option?

And it is. And so he leaves. He goes back to work. Because he has to do something, and this is the only option.

And that's why he goes back in after Jon. Because if he can't leave, he's going to do something. He's going to find answers, even if it goes horribly. Because everything is already horrible.

And no matter what. No matter how mad he is at Jon. No matter how betrayed he feels. He still cares so deeply for him, and he needs to know what he's doing. Because he can't lose anyone else.

#the magnus archives #tma #jon sims #jonathan sims #jonsims/timstoker #jontim #tim stoker #timothy stoker #tma season 2 #tma thoughts #theyre in my brain #theyre so so messy and SAD #if you see me plotting a fic of them #mind your business

73 notes · View notes