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your-name-is-jim · 9 months

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What a Kirk/Spock shipper sees in a Kirk/Female-Love-Interest story [PART 2/2]

Part 1 <- Please read Part 1 first. Part 2 won't make sense otherwise!

This panel is absolutely AMAZING and you all deserved to see it :D

So, what were we talking about? Oh, yeah, Laura just proposed.

As you can see, Jim is panicking not sure what to answer, so the first thing he does is calling his two best friends. There are so many things going on here; I'll try to mention everything I care about!

"Starfleet is getting a lot better at partners of equal rank working together."

This is an important part of this comic: apparently, in this story Starfleet isn't encouraging relationships between officers with a different rank. I know it's sort of implied in canon too, but it's not always clear if it's actually against regulations or if it's fine when the ranks are close.

As a K/S shipper, this detail just gives me an in-universe reason why Jim and Spock aren't considering dating each other in this story: a commander can't probably have a relationship with a captain. I mean, we already know from canon TOS that Jim avoids relationships with the members of his crew, so this just adds a layer to a potential forbidden love story between them. Yeah, I know this isn't what this comic is trying to do, but what can I say? Fans don't stop shipping something just because they learn it's not allowed in-universe… if anything, they can find it more exciting! :D

"We could teach at the Academy. Mind you, she laughed at that idea."

Oh, wait. Jim actually talked to Laura about their possible future together! It looks like he's thinking about them as teachers at Starfleet Academy. Hmm… this sounds familiar:

2277 — Accepts appointment to Academy faculty, moves into San Francisco apartment

This is from Kirk's biography in Star Trek official website. Between The Motion Picture and The Wrath of Khan, Jim accepts a job at the Academy. We see it at the start of the second movie, after Saavik takes the Kobayashi Maru test.

Wait, who's the other teacher here? :D

Okay, okay, in that era Jim is an admiral and Spock is a captain, so their ranks are still different, but except for that… They both teach at the Academy. And it's literally what Jim proposed to his love interest Laura in the comic! With my Kirk/Spock goggles on, what I read in that panel is "If Laura and I got married, we could both do this thing that I'm totally going to do with Spock in the future." LOL

Did the comic creators notice the parallel? Probably not. However, we K/S shippers have special skills for finding accidental implications about our ship everywhere, so here it is :)

"Your thoughts, please, Mr. Spock."

I said I had a lot to say about that single panel, so of course I can't skip the last line! A human woman has just proposed to Jim, and what does Jim do? He asks for Spock's opinion. This says a lot about Jim and Spock's friendship, and it's very sweet on Jim's part, but it also makes me think about Jim's love life. What about Jim and Laura's romantic feelings for each other? Does Jim want to spend the rest of his life with her? Perhaps the reason they don't talk about it (not even with Bones!) is that it's implied that Jim loves her and she loves him, even if they never say it. However, I still think it's interesting that Jim's discussion on the matter is mostly "logical".

Anyway, I swear I won't post every single panel of this comic, but Spock's reply is an absolute gem you all must see:

"I AM SOMETHING OF AN EXPERT ON THE SUBJECT OF JAMES T. KIRK."

(dkjflsdjlkdjglk brb losing my mind again)

Ahem. Okay, Spock. Noted. Also, wow, nice make up. Did I say that the art in this comic is great? Good.

"I believe someone of equal status would offer you the best possible chance of happiness."

Maybe I'm reading too much into it, but I find interesting his use of "equal status" instead of the more specific "equal rank". Status makes me think less of their official position in Starfleet, and more of how two people actually see each other. It's not just about Laura and Jim being both captains; it's about them seeing each other as equals.

Anyway, Jim jokes about Bones and Spock finally agreeing about something, and the conversation continues.

Jim's best friends are both encouraging him to marry Laura. In this panel, I zoomed in on Bones because his words are especially interesting. Based on everything we've seen so far, it looks like having a romantic partner when you're in Starfleet is a pain in the ass in general in this comic; however, Bones is pointing out that for the first time, Jim has someone who really understands. Of course, that's because she's a Starfleet captain too.

About Spock, I won't share the entire conversation, but I just want to say that as a K/S shipper who likes to think Spock is secretly in love with Jim in this era, I find his dialogue where he's supporting Jim's relationship with Laura totally reasonable. It's important to remember that this comic takes place close to the end of the five-year mission. We know that Spock is going to run away after that, trying to erase all his emotions in Gol. So, in this specific part of his story, I find pretty in character that he'd tell Jim to find happiness with someone else. That's what he'd do, regardless of his own feelings.

So, Jim knows his two best friends think he should say "yes" to Laura. What happens next?

During a mission, Jim meets his ex Carol Marcus. She is surprised to find out that Jim is considering settling down. This is not completely related to this analysis, so I won't post it, but I found interesting that Carol knows about every single woman Jim dated before he became captain (the only one she doesn't name is Ruth), and she even says "And that woman in 1930, what was her name?" Just… how the hell does she know? LMAO

At least Jim hasn't told her about Miramanee and Rayna (well, technically he doesn't even remember the latter), but seriously, Carol does know a lot about Jim's private life, even if it's clear she doesn't want her or their son to be part of it. (Not really related to this plot, but in case you're confused about the timeline: David is a child in this era; however, he doesn't appear in this story.)

Anyway, this is what she eventually tells him:

So, I like to think that Carol is genuinely trying to help Jim here, because the spiteful ex girlfriend is another thing I don't really want to see in 2020. I want to think that the creators meant well; however, what happens in the story is that, despite Jim not seeing himself outside the captain's chair, and despite his best friends telling him to marry the captain that is just like him… Jim keeps thinking about Carol's words.

He knows from Starfleet that he's going to be promoted to admiral the moment he reaches Earth. What is interesting here is that Jim could refuse the promotion and be a captain with Laura. This is definitely a different situation from everything else I've seen before. It's obvious to anyone who has watched TOS movies that Jim is not happy as an admiral. He didn't really want to be one. He doesn't want to be one in this comic series either (you can see it explored in Star Trek: Year Five main story). However, thanks to The Motion Picture, we also know that he will accept promotion at the end of his five-year mission. This isn't a canon divergence story: the writers can't really change any major event, so they have to work with what canon offers.

What I find interesting is that in this 2020 comic, Jim finds himself in the opposite situation he is in Gene Roddenberry's The Motion Picture novelization from 1979. In Roddenberry's novel, it's mentioned briefly that Jim starts a relationship on Earth with a vice-admiral, a woman that was basically asked to use her charm to keep Jim grounded. Jim could refuse promotion, but he finds himself lost, without his ship, without Spock, and eventually without Bones. So he tries to convince himself that a life as an admiral with a perfect woman by his side will be good for him (it will not; Jim himself will realize a year later that his lover was an "Enterprise-surrogate").

Now, I understand trying to write something fresher and more modern in this Valentine's Day special, but I confess that I find a little hard to believe that Jim would accept a promotion as admiral if the alternative was keeping both a starship AND a wife. Also, let's not forget that Spock and Bones are both telling him to choose the married captain life. So, while I totally get from a writer's point of view that if you can't change canon, you have to work with what you have, I'm also not sure that Carol reminding Jim that he's always wanted to challenge himself is enough to make him doubt everything.

I guess I can sort of see that as part of a bigger problem: Jim knows he can't be a captain for life; during his first date with Laura, as we saw in Part 1 of my analysis, he talks about it.

"I've been thinking lately about whether I could ever stop being a Starfleet captain. Whether I could ever want to. A friend of mine talks about 'infinite diversity'. That applies to the Federation, too. But here I am, only built for one thing."

So, Jim knows he has probably avoided the subject for too long. Carol is forcing him to think about it. And, more implicitly, we could say Spock and his IDIC philosophy are also making him think, even if it's not what Spock would have expected. After all, Spock told Jim to marry Laura (in the comic), and he'll tell him that being a starship captain is his "first, best destiny" (in The Wrath of Khan).

Anyway, Jim eventually decides to meet Laura and talk to her about his personal concerns. First of all, we find out that the two of them haven't called each other for six weeks. Laura is still waiting for Jim's answer, and she didn't want to call him. If you ask me, their lack of communication is yet another a big clue that perhaps getting married is not a great idea.

Well, now Jim is at least trying to talk to her.

Aaand that's how she breaks up with him.

I'm not sure how to feel about this. I mean, in a sense, Jim doesn't say "I decided to be an admiral instead of marrying you", but Laura definitely sees it that way. I think he was genuinely looking for help, but that just proves that Laura isn't the right person for him. Why marrying someone you can't communicate with? They are such a great team as captains, but it looks like that doesn't apply to their relationship. I pointed out other clues in the previous parts, and now we got this. It's interesting to see that Jim in this comic can have a normal conversation about his future with Spock, Bones, and even Carol Marcus, but not with the person he's supposed to build a future with. Unless something changes between them, it can't work out.

Anyway, this isn't the end.

A year later, when Jim is an admiral on Earth, there's a sudden emergency. A miniature black hole appears out of the deep structure of the universe (don't blame me for the science, I'm literally quoting the comic LOL) and it's attracted to Earth gravity. Short story: they're all going to die, but fortunately the Drake (Laura's ship) can cause an anti-matter implosion that will shunt the black hole outside their reality. Unfortunately, that also means the Drake will have to go inside the black hole. Laura evacuates her crew and asks Admiral Kirk to give her the order to proceed. Reluctantly, Jim tells her that he knows she'll do it, and he gives the order.

Now, please appreciate The Motion Picture aesthetic:

Okay, I know I could have chosen a panel with Jim and Laura, since this is literally their love story, but I did say this analysis was going to be biased, so here is Laura with her two closest friends instead; they would never let her risk her life alone! <3 They are very obviously meant to be a parallel to what Spock and Bones are to Jim, which is very cute to see. Now, Laura, listen to me: I know the three of you have different ranks, but you may die in a few seconds… And I just think that the few times your friends appear in this comic, you have a lot of chemistry with them, sooo maybe you should forget about Jim and just smooch one of them, or both… just saying :)

Ahem. Anyway, after Laura and her girlfriends disappear into the void, there's another timeskip. This time it's 15 years.

Oh, damn.

I said in the premise of this analysis that one of the reasons I decided to read this comic despite shipping Kirk/Spock is that, in my headcanon, Kirk and Spock get together after The Motion Picture. Until this point, this comic hasn't really gone against my headcanon. I can genuinely believe that Jim had another girlfriend during his five-year mission; it's not a big deal. Unfortunately for me, this comic has its last part taking place around The Final Frontier era. Dammit.

Well, it's just one comic. I read until this point; it'd be illogical not to read until the end, right? Nah, it's not logic. It's human curiosity. I know I won't like it, but I still want to see it.

Also, if there's something that I really don't want to see in modern media anymore, is female characters dying just to make male characters suffer. I can accept that in TOS show because it was made in the 1960s, but even TOS movies got better about it! Characters like Saavik and Gillian can have their own lives without having to die for a man's pain. It's not a coincidence that the writers had to kill Spock to make Jim suffer. Without digressing too much, I just wanted to say that K/S bias aside, I went into this comic hoping to read something different from another dead woman for Jim. I'm very glad that, at least about this, the comic creators didn't disappoint me!

So, in this story, it's been 15 years since Laura's disappearance (actually, it should be more, but I'll try not to nitpick, despite being the trekkies' favorite hobby :D). Anyway, the one with the whales The Voyage Home happened, and Jim is not an admiral anymore. He's happy to have a starship again, but he hasn't stopped questioning his life decisions.

We can also see that, 15 years later, he's reading the book Laura liked.

HOLD IT! WAIT WAIT WAIT! ARE YOU KIDDING ME?? ARE YOU FUCKING KIDDING ME??? WHAT THE--

*inhales deeply*

(Friendly reminder to myself that what is obvious to me may not be obvious to everyone else, so I need to explain. Fine. I'll try.)

The screenshots I posted are from The Wrath of Khan, right after Spock's funeral. What Jim is doing there is reading the end of the book that Spock gave him for his birthday. He's mourning Spock.

In the comic panel, Jim has a new pair of glasses, because it takes place a little later in the timeline. But, except for that…

It's the same scene.

The same fucking scene.

I mean, come on! I can't even post the "they're the same picture" meme, because it's not funny if they're literally the same picture! Even the bookmark is the same!

The comic creators literally took a canon scene about Jim reading Spock's book after Spock is gone, and they redrew it with Jim reading Laura's book after Laura is gone. In a Valentine's Day special. Where Laura is Jim's love interest. They made a romantic scene with Jim and a woman that was originally about Jim and Spock.

(Brb, I'm going to chew a pillow until I calm down.)

So. Well. If you wondered why I thought there was something about Kirk/Spock in this comic… you have your answer. Perhaps the artist didn't think anything about it. I certainly do.

And I guess someone could say, "But Jim is still reading Laura's book 15 years later! That's true love!" Why yes, he's not reading Spock's book 15 years later, because he didn't stay without Spock for 15 years; he risked everything and lost all the most important things in his life to save Spock's soul.

Anyway, back to the comic. Starfleet receives a signal from the edge of Federation space. It's the Drake. Laura and her friends are alive.

Jim and Laura have a reunion after a long separation. Since they're both captains now, Jim thinks they are given a second chance.

Oh, whoops.

It's her turn now. It looks like being away for 15 years has changed her (as you can expect, honestly), and she's now glad to become an admiral. In this comic, that means Jim can't marry her. So, this is how the story ends:

So. Um.

This isn't a bad ending, but I also wouldn't exactly call it a happy ending. It's certainly not a happily ever after story. I'd call it open, maybe hopeful? Honestly, pretty much what I'd expect from a love story between an original character and Jim, so I can't say the writing is disappointing about that.

On the other hand, I can't personally imagine middle-aged Jim being so eager to start a romance again with someone he hasn't seen in 15 years who broke up with him 16 years ago. Perhaps he felt guilty about Laura's disappearance because if he had married her, they would have been part of a colonization fleet somewhere else and the incident wouldn't have happened the same way? Maybe. Personally, I would have found more believable an ending where Jim asks her to have dinner together or go for a walk, and then something romantic happening as they get to know each other again. But I can see why the creators wanted to bring up the marriage proposal again, just to close the circle. The comic is just 32 pages, so they did what they could.

"Unless there's someone else." "Not so much. I've been really busy."

Busy with what? Oh, right: Spock's death, Spock's body on Genesis, Spock's rebirth on Vulcan, the time travel (okay, that one wasn't 100% Spock-related), Spock's brother… Honestly, just say there's been a lot of Spock in your life, Jim, because that's the truth :)

On a more serious note, I guess that dialogue could mean that Jim has someone, but "he's been too busy" to do anything serious with them. However, as a K/S monoshipper I don't really like the idea of Jim being in an open relationship with Spock, so Jim's character in the entire scene in the end is just a big NOPE for me. Sorry.

That said, I found very interesting that in a few panels they show very clearly the "captain" rank on Jim and Laura's shoulders, to point out that it's the same. They can't be together forever, but they can have fun for a few days as captains. Because of that, I went back to the start of the last timeskip, just to check out something:

Fascinating.

This is a pretty detailed panel, where you can see the ranks on the shoulders of Jim's friends; the colors of their pins are also pretty good, close to the ones in the movies… except for Spock's.

Oh, please. Did you really expect me not to pay attention to this? :)

Captain Kirk and Captain Spock.

And unlike Laura, this is what they are until the end! The end of a very long life! Generations? What's Generations? Spock will eventually become an ambassador, but that's just a different job. How did Spock himself put it earlier in this comic?

"I am something of an expert on the subject of James T. Kirk. And I believe someone of equal status would offer you the best possible chance of happiness."

Did the comic creators just play themselves? I don't know, I'm quoting their own story here! LOL

And what about Jim's words from the same scene? :D

"Starfleet is getting a lot better at partners of equal rank working together."

Partners. Of equal rank. Working together.

That's literally what Kirk and Spock are since the end of The Voyage Home! Without an expiration date!

The comic creators made a big deal in their universe about relationships being better between two captains, and how good Jim and Laura may have been for each other if they had married as captains; and now they can't have their happily ever after because Laura is going to be an admiral… But even if the comic tries to hide it, we know there is a captain in Jim's life. And to make things better, Jim lost his admiral rank to bring him back. Listen, I'm a huge Old Married Kirk/Spock fan, so there's no way anything can make me forget that in the last TOS movies they're both captains. And there's no way I can forget that Jim risked his entire career (and everything else!) for Spock, and that's literally why he's not an admiral anymore.

This is almost ironic in this Valentine's Day comic. If it hadn't been for Spock, Jim would have still been an admiral, and he could have married Laura. Whoops. Too bad.

Speaking of admirals, I didn't notice it at first, but there's also something about this line Laura says in the last panel I posted…

"And don't you dare 'Admiral' me."

Ah, yes, a typical thing you tell someone you're planning to have sex with. Right, Laura? Agreed :)

Honestly, at this point I should just stop checking this comic, because I wonder if I'd just end up finding a Kirk/Spock version of every Kirk/Laura Rhone line LOL

By the way, I have other thoughts to share now that the story is over, but there's one more thing first. Do you remember the last panels of the comic? Middle-aged Jim and Laura kiss; END.

Okay. After that, the comic has a picture of the cover, with Jim and Laura kissing when they're younger.

And then it has this:

dklsfjlskjflskjlksjlkdlkgjdlfgsnfjekniuwanf LISTEN, HOW--

Just how am I even supposed to say anything that makes sense about this…??? I'm just… I can't…

Okay. So. We're talking about a Valentine's Day comic. It makes sense for it to include a cute Valentine card. I also get that Spock's iconic line has become so mainstream that it can be quoted out of context. And you can make parodies.

But… But… A Star Trek TOS fan can't really forget the original context of "I have been and always shall be your friend"? Someone could just not think about it, I guess… But, well, I know that at least I can't forget that this is literally Spock's line to Jim rewritten in a romantic Valentine's Day version. I can't possibly NOT think about it!

And I know it's very possible that the people who worked on the comic story weren't even aware of this extra, but the fact that I'm seeing this after reading about Jim Kirk's romance without happily ever after… Jim kisses a woman he can't stay with forever, and then there's Spock's "I have been and always shall be your Valentine". It's just so fucking funny. I can't. If I was feeling a little down after seeing middle-aged Jim wanting to marry Laura, now I'm laughing again. Thanks, Spock's silly Valentine card. I needed it! :D

Anyway, what did I say about this comic taking things originally created for Kirk and Spock's relationship and making them romantic when they're not about them? I can believe that sometimes it's a coincidence, but this card? Please… In a sense, this is the perfect ending.

---

Conclusions.

I started this comic with a question: in 2020, how do you write a story about TOS Kirk falling in love? I wanted to see this attempt. Overall, I think the creators did what they could. Laura is different from every other woman in Jim's life; they didn't kill her off, and they also didn't force a happy ending. I think they did a good job with the canon limitations they had, especially in 32 pages.

Do I believe that Laura could have been a good match for Jim in different circumstances?

As a temporary girlfriend? Yes.

As a lifelong partner? No.

Of course, I'm aware my answer is biased, but I can try to be a little more "logical" about it.

First of all, I think that the comic itself supports my interpretation: of course, like in every story, different people are going to see different things; however, as I already pointed out, Jim and Laura never say that they love each other, and before the marriage proposal their relationship is pretty casual.

In The Original Series, Jim isn't lucky when it comes to romance because the women he falls in love with can't really understand his nature as a space explorer. Sometimes they can, like in Carol's case, and that's why they break up with him. Laura is the opposite, because she's just like Jim. But here is the thing: I think Laura is too much like him.

What would have happened if Jim had accepted to marry her at the end of the five-year mission? They would have been both captains. On different ships, though. Sure, they could have been part of the same colonization fleet, as Jim says in the comic, and maybe it would have worked for a while. However, would they really have seen each other as much as Jim needs?

I don't know about Laura, but we see multiple times in canon that behind his mask as a starship captain, Jim is definitely more lonely than what someone may think.

First of all, don't get me wrong: in these screenshots from The Naked Time, Jim is single, so of course his attraction to Janice Rand is related to that. It's not the same situation he'd be in if he were married to Laura. Early in the series, he has thoughts about his yeoman exactly because he doesn't have anyone else. Contrary to his fame as a womanizer, TOS Jim in canon always has one woman at a time in his mind, never more.

So, why am I sharing those lines? To show that when Jim is always inside the Enterprise, he does feel lonely. He needs a romantic partner's physical touch. However, we also know that Jim does not want a relationship with one of his subordinates, so Janice Rand and the rest of his crew are off limits.

Laura is good for him because she's part of Starfleet, and not a subordinate. But is that really enough? From what I've seen in the comic, no. At the end of the day, it looks to me that Jim and Laura don't really know how to plan a future together. Perhaps it's because they're so similar, but they don't really think of themselves as a couple, especially Laura. There's Captain James T. Kirk and Captain Laura Rhone; they both love their ships, so they should get married? That's not how it works.

Their relationship is casual. Jim doesn't want to define it. Are they friends with benefits? Are they in an open relationship? Either way, when Laura decides to marry him, she asks around if Jim has someone else, and only after that she asks him. Jim, on the other hand, doesn't talk to her for six weeks after her proposal. He talks to Spock and Bones immediately, but not to her. He even talks to Carol first.

Then, when Jim finally tries to talk to her about his problems, she doesn't listen. Their lack of communication is the cause of their break up.

16 years later, what we see is even worse. It's obvious that Laura has just different priorities. Maybe it's because of what happened to her lost in space, but I'm not sure. If they had married at the end of the five-year mission, would have Laura always refused a promotion to admiral? Would she have tried to get a promotion with Jim? Based on what we see in this comic, it doesn't look likely to me.

Now, as I said, different people are going to see different things, so I'm sure that someone really invested in this romance can imagine that Jim and Laura are really meant to be, and they can get their happy ending after their retirement, or in other ways. However, I admit that Jim and Laura's huge communication issues make hard to me to picture a long happy relationship between them. They should both try to get better, but in those 32 pages there was no hint towards that direction.

There's another thing that makes really hard to find any love interest for Jim as a plausible "happily ever after" option: the stakes. I know that it's just a single comic, so the creators had to focus on a few things; however, I couldn't help but notice that Jim and Laura never really save each other from dangerous situations. They work together as a team, and Jim watches Laura disappearing into the void, but does he do anything about it? Does he try to reach her inside her ship before she disappears into the black hole? Does he try to bring her back from the void? No, he doesn't.

In TOS show and movies, Jim Kirk risks so much for his crew and his ship that a Star Trek fan can't believe that a new woman is the love of his life, unless Jim is willing to do for her everything he does for his friends. And honestly, after The Search for Spock… how can he even come close to do that?

And it's not just about Jim's actions. There's his language too. At the start of the third movie, Jim refers to Spock as "the noblest part of myself". What could he say about a love interest that is as deep as this?

Let's be honest here: the reason it's so hard to write a story about Jim Kirk's true love is that the real love story for him has already been written. You may not see it romantically, but Kirk and Spock's story is absolutely a love story. And when a character has someone he loves so deeply, it's not easy to convince the audience that he could have someone new to love as deeply. In Jim's case, the combination of his personality and his canon life makes it almost impossible.

Anyway, before I end up not so accidentally turning this analysis into a complete Kirk/Spock ship manifesto, I'm just going to mention one silly thing about the Valentine's Day comic. Please, don't take it too seriously, I'm half-joking :)

So, there are two kiss scenes in the story: one when Jim and Laura start to spend a lot of free time together, and one in the last panel. Well, I can't believe Jim isn't holding Laura's shoulders when he kisses her! That's just the basis of the way Jim kisses women! D:

Different Star Trek characters kiss in different ways; it fits their personalities. And because the rest of my TOS posts are probably too gay for these gifs, I'm dropping them as references here:

Sorry, but if Jim Kirk doesn't grab someone's shoulders before a kiss, it just kills my immersion! :P

Okay, a little more seriously: Jim doesn't always kiss women the same way; however, his "shoulder grab" is common enough that you definitely notice it if you pay attention. Because of that, I think it would have been nice to include it in the Valentine's Day comic.

After reading this comic, what kind of person would I consider perfect for Jim?

Well, my answer is obvious. However, I'll try to elaborate.

First of all, this story definitely convinced me even more that Jim can only be really happy with another Starfleet officer (or at least someone who's been deeply involved with Starfleet). He also needs someone who understands him as a space explorer, without trying to keep him grounded. And someone very smart, of course. These are all traits Laura has. But they're just the basis.

I don't think Jim needs someone in command of their own ship as a lifelong partner. As I said before, I can't really imagine it working out. Another starship captain would have their own goals and their own ambitions; that doesn't mean Jim shouldn't marry someone with specific plans for their own career, but I think these plans should keep the two of them close, not on different ships. Jim needs his partner physically at his side; if he could be happy in a long-distance relationship, I believe we would have seen at least one working out in canon. But it's never the case. Working on different starships from the same fleet would be a little better, but in my opinion not enough, unless it's for a short period of time.

And there's also the matter of his partner's personality. Jim is a natural leader; that's why he's so good at his job. I don't think he needs a similar kind of leader as romantic partner. This is just my personal opinion, but I believe they would just fight about everything they disagree about. I think he needs someone calmer in his life, not someone who'd encourage emotional outbursts.

More importantly, he absolutely needs someone he can communicate with. If he can't talk to his partner about everything important, they're not the right person for him. That doesn't mean they can't have disagreements or miscommunication issues, of course, but they shouldn't happen all the time, and Jim and his partner should be able to talk about them and make up.

In conclusion: someone at his side on his ship, smart, calm, trustworthy :)

Now, I know what some of you are thinking about: what about the "no relationships with subordinates" personal rule Jim has? How can Jim be in a relationship with Spock (or anyone else on the Enterprise) if he's everyone's superior officer? Well, first of all, I already said that after The Voyage Home, Jim and Spock are both captains. And before that… I think that Spock in the comic phrased it the right way. Jim can find his happiness with someone of "equal status". I think it's pretty clear, in my opinion, that Janice Rand and Spock aren't the same kind of subordinates to Jim. Just think about it: which members of the Enterprise call their captain "Jim"? Bones, Spock and (occasionally) Scotty. These are the three people I believe are "equals" in private to Jim, no matter their ranks when they're on duty. Because of that, a relationship between Jim and Spock could work pretty well.

By the way, another thing the Valentine's Day comic made me think about is that in TOS movies, Jim sort of does with Spock pretty much everything he does with Laura in this story. Not the same way, of course, but does it matter? Spock is his own person, he's not Jim's copy. That doesn't mean he can't indulge Jim, have fun himself… and try to stop Jim from doing dangerous things "for fun", as an old spouse would :)

Okay, perhaps throwing each other into the water doesn't count as dancing, but it's so much better :D

In conclusion, this is the way I can read the Valentine's Day comic as a Kirk/Spock shipper:

Jim mentions Spock on his first date with a woman.

Jim questions his life choices as he thinks about Spock and IDIC philosophy.

Jim does with Laura everything we see him doing in TOS show, except for playing chess (just the thing he does with Spock).

Jim says Laura and him are a good team in Starfleet because they had a lot of sex (is that true about other people he works well with??)

There haven't been many ladies or gentlemen in Jim's life because he's busy (not because he's not into men, apparently).

"Starfleet is getting a lot better at partners of equal rank working together." Good for your future with Spock, Jim!

If Jim and Laura got married, they could both teach at Starfleet Academy, something Jim is totally going to do with Spock someday.

Mister "I am something of an expert on the subject of James T. Kirk" Spock.

Also, Mister "I believe someone of equal status would offer you the best possible chance of happiness" Spock, which is actual foreshadowing of his own future status with Jim.

Hey, look at Jim reading a book that reminds him of his lost love! I wonder where I've seen LITERALLY THE SAME PICTURE???

"Don't 'Admiral' me". This is totally not similar to what Jim tells Spock in The Voyage Home, of course.

Hey, we're both captains now! Just for a few days, but isn't that great? I wonder if anyone else is a captain now, and forever? :D

"I have been and always shall be your Valentine". Totally not a Kirk/Spock line, I don't know what you're talking about! :)

Okay, okay, that's all.

As a Kirk/Spock shipper, I won't deny that I'm a little jealous of this Valentine's Day special comic, because I wish we could get something with amazing art like this where Jim is in love with Spock. On the other hand, Star Trek: Year Five comic series has a few scenes about Jim & Spock's friendship that I really liked. Platonic, sure, but good enough for my K/S goggles!

Thank you so much for reading this post until the end! I hope you enjoyed my analysis! Live long and prosper!

#star trek analysis #star trek: year five #star trek: year five valentine's day special #star trek comics #james t. kirk #laura rhone #spirk #star trek tos #star trek the original series #k/s #kirk x spock #space husbands #my gifs

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devilmen-collector · 2 months

Text

Solomon/MC - the Pope of Hell

C/W: religious theme, spoilers of the main story up to chapter 5 of the main story.

Note: calling Solomon "Pope of Hell" doesn't mean his dynamic and relationship with the devils are exactly the same with the relationship between the Pope and other Catholics. The same applies in the case of MC, who is Solomon's successor.

To begin, after reading the main story, I started to notice some interesting similarities between the Pope and Solomon, enough to make me write this post from the sentiment of my religious heart.

I. The Keys

Christ Giving the Keys to Saint Peter, fresco, Pietro Perugino, 1481-82.

Thou art Peter, and upon this rock I will build my church; and the gates of hell shall not prevail against it. And I will give to thee the keys of the kingdom of heaven. And whatsoever thou shalt bind upon earth, it shall be bound also in heaven: and whatsoever thou shalt loose upon earth, it shall be loosed also in heaven. Matthew 16:18-19 DRB

So we have Christ giving Peter the keys to the kingdom of Heaven. From this very Scripture verses comes the well-known symbol of the Papacy, two crossed keys, one gold and another silver, under the triple tiara. The silver key symbolizes the power "to bind and loose" on earth, while the golden key symbolizes the power "to bind and loose" on Heaven.

Now returning to the lore we are given in the game. It's mentioned that Solomon had 2 "Keys". One Lesser Key he left in Hell, and one Greater Key crafted by God.

Chapter 4, Stage 29 - the Holy Grail of God that Betrayed God

So I began to make a connection between the two images. The Lesser Key with St. Peter's silver key, which symbolizes papal power and authority on earth, which is lesser than Heaven; and the Greater Key with the golden key, which symbolizes papal power and authority on Heaven, which is the greater of the two.

Yes, the devils did mention a "third Key". However, they were only making a hypothesis on Solomon's disappearance. And given the likely reality that Solomon is physical deceased after his disappearance, the third Key probably doesn't exist and there are only two Keys. The fact that there are two key currencies in-game solidifies this theory, at least for now.

Story 4-29

II. The Power to Crown the Emperor

In the game, we know that at the end, MC has to choose one devil among the Seven Deadly Sins and 72 nobles and makes him the "Emperor of Hell", "the king of kings", "the Final Temptation" who will rule all of Hell.

"With your own hands" make me thing MC has to literally put a crown on the head of the devil whom they chose. But that's just my personal theory.

Chapter 1, Story 45 - the Contract is Broken

Now return to history, in the Medieval Age, kings were crowned by a bishop/archbishop of a prominent see in his country on their Coronation Day. However, there's one monarch who has to be crowned by the Pope. That's the Holy Roman Emperor.

Before being crowned by the Pope, the Emperor could not style himself as "Emperor", but only a "king", the exact title being "King of the Romans". Only after the Pope put the imperial crown on their head did the Emperor call himself "Holy Roman Emperor". This remained the case until 1508 when Pope Julius II permitted Maximilian I to use the title "Emperor Elect" with coronation by the hands of the Pope. Before that, like his predecessors before coronation, Maximilian I was only styled "King of the Romans". Even Napoleon knew that and had to get the Pope to officiate his coronation as the Emperor of the French, even though he raised the crown on his head himself.

The difference lies in the fact that unlike the Emperor of Hell, who will rule all the 7 nations of Hell, the Holy Roman Emperor in real life didn't have the power to rule other independent kingdoms in Europe, like France or England. However, being the Emperor, he was the most prominent Catholic monarch across Europe. Still, I believe I have proved the similarity here: Pope crowned an Emperor, MC will also crown one.

III. Tongue

The third similarity I see lies in the traditional way of how Catholics received Holy Communion (or the Eucharist), which is receiving on the tongue. And to do that in a correct way, Catholics need to kneel down and stick the tongue out a little bit.

Maybe it's just me but when I saw the CGs where MC break the contracts with the devils. I immediately thought of this image because I saw some similarities.

To have their contracts broken, the devils also kneel down and stick their tongues out. And if they stick their tongues out to break the contracts, could it be possible that when they first made contracts with Solomon, they also knelt down and stuck their tongues out to receive the pattern, just similar to how Catholics receive the Eucharist in the traditional way?

IV. Relationships with two powerful sides

In the fourth century, the Roman Empire converted to Christianity and gradually abandoning paganism. The Byzantine Empire was the successor of this great empire. The Byzantine Empire was Christian throughout its history. However, on more than one occasions, this empire showed disrespect and even violence to the Pope, the Head of the Christian Church, whom they were supposed to protect and honor. One Pope, St. Silverius was even murdered by the Byzantine conspiracy. Slowly, the Pope knew he couldn't trust or rely on the Byzantine anymore, so he sought help from the Frankish, whose king was Charlemagne, and Charlemagne's successor was the Holy Roman Emperor.

In a similar way, we have the powerful angels hating Solomon for gaining God's favor. They even tried to kill all of his descendants, including MC. As God's messengers and servants, they should have been the ones to protect Solomon and his descendants, but they did the contrary. Now to survive, MC has to rely on the other powerful faction, the devils.

So,

Solomon and MC mirror St. Peter/the Pope/Papacy

Angels mirrors the unfaithful Byzantine Empire

Devils mirror the Frankish/Holy Roman Empire and other Western European kingdoms, by allusion

Another point is that just like the historical relationship between the Pope with the Holy Roman Empire and other Western kingdoms, the relationship between MC and the devils is not always smooth and well. Mammon once thought he was MC's owner at first, just like how kings and Emperors of the West thought they could keep the Papacy under their control, or Leviathan and his Hades nobles kidnapping and trying to kill MC, just like how the Pope was a prisoner and had his life endangered by a particular Western kingdom for a long time and on more than one occasions.

Well, that's all to my ramble (possibly being delulu like Sitri) but thank you for reading it all to the end :3

#what in “hell” is bad?#prettybusy what in “hell” is bad?#what in hell is bad #whb #whb solomon #whb theory #whb mc

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puhpandas · 4 months

Text

Between The Lines

(7,832 words)

Tony thinks that there's something about Freddy and Bonnie that make them seem closer and different than the other Glamrocks. It takes him a while to realize that there isn't on the outside like he thought, and that maybe, he just sees himself and Gregory in them. And that a certain drawing Gregory has given to him might tell him that Gregory had the same idea.

Greg and Ellis had looked like kids in a candy shop when theyd entered the West Arcade for the first time since the Pizzaplex reopened.

Just like all the banners strung about have advertised, theres brand new arcades and games to try out around the place. The place is fuller, not only due to the sheer amount of guests, especially because of the return of Bonnie, but also because of all of the new cabinets taking up space.

Tony had been content just following his friends as they floundered over what game to play first. They had such big smiles on their faces while wandering around... itd been nice seeing them like that. Tony knows Gregory has been having trouble lately. The whole GGY thing takes a toll on him, even after it's been over for months. He's not much different, but... Greg definitely has it worse. Tony's just glad he's loosening up for this.

Even Tony, who hadn't ever really cared for arcade games, can notice just how many new games have been added to the Faz-Cade. Every step brings his attention to a new cabinet here, another one there, all with new themes and art he's never seen before.

Despite how much he likes to be aware of everything around him, he usually can only focus on one thing at a time. His friends voices are only background noise to him while he gazes at all of the new sights in the Faz-Cade. They're saying something about grinding for points and scores, but Tony cant focus when he's just admiring some particularly cool art.

Subconsciously, his body stops along with his friends when they suddenly quit walking to admire some other cabinet. He startles at the change, and goes to open his mouth, a question already on his tongue.

But he never gets it out. His head doesnt turn, and his eyes catch onto a certain arcade game to their right that's angled directly for the cabinet art to be staring right at him.

The bright and contrasting colors of the two characters in the drawing are all he needs to see to recognize them at first glance.

It's a drawing of Freddy and Bonnie; the colors bright and art angled to look dynamic on the curve of the games' outer shape. Its brand new art, Tony's sure of it. Theres been multiple of Bonnie across the Plex so far since he's returned.

He would know.

Freddy and Bonnie... Tony doesnt know why, but he just cant stop looking at the art of them on the cabinet. They're shoulder to shoulder, bodies leaned onto each other and looking at eachother from the corner of their eyes. Not their instruments or who would be the viewer... eachother.

Its like they're in their own little world, Tony thinks. He doesn't know why he thinks that. He's never noticed a difference before. Is there even one? Has there ever been this kind of closeness in promotional art with characters like Roxy and Monty or Chica and Freddy?

Maybe he should get another opinion. He tilts his head, never taking his eyes off of the art on the cabinet over. "Hey, guys? Does this art of Freddy and Bonnie look--"

"Midnight Motorist!" He's cut off mid sentence by Ellis' exclamation. Ellis takes off from his side, and it finally tears Tony's eyes off of the drawing of Freddy and Bonnie. He races to a cabinet a few over and is bouncing in place looking it over. "I cant believe this is one of the new ones they added!"

Gregory is the next to leave his side after that, heading to join Ellis at the cabinet and blabbering on about something himself. But Tony finds it hard to listen when his mind is still stuck on the brand new official Freddy and Bonnie art for some reason.

He shakes it off, leaving it for another time. He knows sometimes his curiosity can take over his brain in the middle of something sometimes. He just... doesn't understand what there is to be curious about this time. It doesn't eat away at him like curiosity does to him every time, though. This time doesnt feel the same.

He shakes it off again, this time shaking his head physically for good measure. Later. He thinks. He leaves the cabinet and joins his friends by Midnight Motorist, and begins to catch their conversation.

"Do you think we can get the first high scores on it?" Greg is asking when Tony gets there. Theres a kind of rare wicked grin on his face. "Just imagine. Setting an example for everyone else before they can even try themselves."

Ellis huffs a laugh, and eyes Tony when he stands beside Greg. "Hey," Ellis grins. "Wanna watch me set the first high score ever on Midnight Motorist?"

Tony smiles, eyeing the completely empty Best Players screen. "Sure."

To Tony's suprise, Gregory let's Ellis play first and waits his turn until he's done. Ellis steps up to the cabinet, and Tony is content watching Ellis get to know the game and his steadily racking points.

The two of them have formed a little huddle around Ellis' shoulder. His shoulder. For some reason, Tony and Gregory arent on each side like they should be. Theyve decided to squish into the left side of the cabinet and watch from there.

Why? Tony's thinking. Theres a weird feeling in his stomach that he cant identify. Why didnt they split up? They're shoulder to shoulder and theyre pressed so close together Tony is hyper aware of Greg's presence.

He feels his voice reverberate through his own arm and it makes Tony's cheeks burn and his thoughts scramble to come up with a reason.

He cant find one, he realizes. The chimes and music of the game in front of him kind of fade into the background while he tries to think about it more. His brain runs at a million miles an hour, and hes half aware of the thoughts in his head and half aware of how his heart is hammering in his chest at the same time.

Its confusing to him why he cares so much. Why this one little simple action has made his thoughts run so wild.

But while searching for why he and Greg are so close instead of far apart, for some reason, in response, his mind conjures up the art of Freddy and Bonnie.

"Yeah!" Greg cheers beside him, and Tony startles slightly, his thoughts coming to an abrupt halt as he comes back down to earth. His voice is right in his ear and Tony doesnt know what the weird feeling in his stomach is. "You got this, Ellis!"

He breathes out, deep but quiet and slow. He tries not to be obvious, but after the past few months, he shouldn't be suprised when Greg somehow notices.

He twists his neck over to look Tony's way, and Tony makes himself look back. Theres concern swimming in Gregory's eyes that Tony's so familiar with from over the past few months. When Tony would be struggling with the GGY incident and Greg would try his hardest to help him.

"Hey," Gregory asks, voice hushed and soft. Despite the loud button presses and the music coming from the cabinet just besides them, Gregory's voice reaches him so clearly. "are you okay?"

Tony doesnt respond immediately. He just stares, and ignores the twinge in his neck from how hes leaning his head back from the proximity. For some reason, he flounders for words.

"Uh, yeah." He says after a second, offering a smile. "I'm, uh, okay, Greg. Don't worry about me."

Gregory doesn't respond immediately, just looking at him a bit longer. Despite the inches of height Tony has on Gregory, his presence just feels bigger. Tony dares to flick his eyes, and deep blue meets gold.

Another moment of silence passes, and it feels like it drags on forever. Then, Greg nods. "Kay." He says, then turns back to the cabinet screen.

And that's that.

The feeling in his stomach doesnt go away, and along with the exchange neither do the thoughts. He tries to focus on Ellis' high score and having a good time with his friends, but he keeps being aware of his arm pressed against Greg's and the way that hes so close to him.

He doesnt know what's going on. He doesn't have anything to think about it that isnt jumbled and incomprehensible, so he tries to leave it for another day. He takes a breath, calming himself and the storm thats going on inside of him that's leaving him wondering and confused, and watches the car move back and forth on the road on the screen in front of him.

During it all, flashes of blue and orange keep appearing in his minds eye.

If theres one thing Tony had missed since getting Gregory back, its seeing Greg enjoy his art.

He'd never taken it too seriously, just drawn the Glamrocks and himself and his friends a few times, and always just for fun. But that's the point, isnt it? Tony... Tony may take his writing seriously, but that doesnt mean Greg would have to take his art seriously. That's something Tony's learned the past few months.

That you should appreciate chilling and having fun while it happens. GGY wasnt something easy to come back from. It wasnt easy to have seemingly recovered very fast from his attack and gone back to school while still grappling with what happened. Especially after it'd only taken a day or two for the real Greg to show up at his house and tell him what really happened.

The point is, Greg hasnt really touched a pencil and paper in a while. At least... not that Tony's seen.

He understands. He really does. Even Tony hadn't touched writing for a little while after... everything happened. He needed time to process everything, and writing was just never something he'd wanted to do, despite it being something he has fun with.

Greg just needed time, is all. But even Tony couldnt stay away from writing forever. He's picked it back up relatively recently. He just wishes Gregory would do.

Which is why when he goes over to Greg's house; a small apartment where he lives with Vanessa, Tony immediately is drawn to the sight of colorful paper and pencils on Greg's desk.

And on one page, two very distinct colorful characters standing next to eachother peeking under a couple other papers.

"You're drawing again." Tony says with a smile when he walks over to Greg's desk.

Gregory doesnt respond respond right away. It gives more time to Tony to just admire some of the newest art Greg's drawn obviously recently. Theres some of himself, some of people he knows, like Vanessa and even him and Ellis, one of a girl he doesnt recognize, and lots of Freddy.

But Tony's eyes keep being drawn to the orange and blue peeking out from under the more recent papers, and his right arm twitches, wanting to reach for the paper and pull it out to look at it.

It's a strange urge, one that doesn't feel quite like curiosity but has no other name Tony could put to it. It gets the better of him, and before Greg can utter a word from behind him, Tony reaches out and pulls on the corner to slip it out from under the others.

"Wait!" Greg yells from behind him. It's a little loud, and when Tony turns around, he looks a little sheepish, along with something else Tony doesnt have time to put a finger on. "Uh, which one is that?"

Tony raises a brow, but he let's his eyes fall back on the drawing of Freddy and Bonnie. He holds it out to Greg, trying to smile. "Uh, this one."

Gregory doesnt say anything, just walking up to his side and looking at the drawing himself. Theres an expression Tony cant place on Greg's face, and he cant help but feel like hes maybe done something wrong.

"I'm sorry," Tony blurts out, lowering the drawing. His brows furrow as he turns to look at Gregory. "should I have, uh, should I have not looked at your drawings without asking?"

Immediately, Gregory's shaking his head, waving a hand. "Uh. No. You're fine." He says slowly, and he's glancing at his desk and the corkboard hung above it with old and new drawings hung on it.

"I display them myself. Its..." Greg trails off, looking deep in thought for only a split second before he says, "it's... okay for you to see them."

Tony's quiet for a second, but his heads nodding and hes blinking shortly after. "Okay, good."

"Here." Greg says, coming up to him with a new small smile on his face; usually, all of Greg's smiles are small, so Tony can notice when ones real or not. This one... it's real, but also a little... nervous? Theres an undertone to it that Tony cant place, but any thoughts he could have had about it wash way when Greg's standing next to him again, bringing up the page in his hand he'd held out of sight back in view with a gentle hand. "You can see it."

Tony holds the page like its porcelain glass, his grip gentle and careful. Greg has the other side, and the paper is longways; meaning Greg's pressed against his shoulder again.

It... theres that weird feeling, again. But Tony doesnt really pay it any mind right now. He just admires the drawing Greg's offered him to see and takes in all the details.

In the soft sunlight of Gregory's window, it gives him plenty good view to see the art. Its good. Its really good. Tony knows Greg is a good artist, but... this is better than he thought it would be. Tony takes in the details, the line strokes and the color choices and even the little blocks signature in the corner of the page. He smiles instinctively.

"Its... good." He mumbles, voice quiet, but earnest. The drawing is of Freddy and Bonnie, colors bright and popping like they were on the arcade cabinet back at the Faz-Cade. This reminds him of then, Tony realizes. The drawing is similar, and... it gives him that same feeling. That same wonder if theres something else there between Freddy and Bonnie.

They're standing beside eachother, and the pose isnt as dynamic at the cabinets was. They're facing forward, but looking at eachother. They have one arm on each instrument, but the others that are in-between eachother just... hang limply. It makes Tony's brows furrow. It doesn't fit with the pose Greg was going for.

This whole time, Tony realizes, Greg had been watching his reaction. He suddenly becomes aware of Gregory looking at him and how hes holding the other side of the page and how their shoulders are pressed together. How their hands are hanging limply next to eachother. His fingers twitch and burn, and so does his face.

"You like it?" Greg is asking, and Tony tries to ignore that exact same strange feeling in his stomach he's been having to answer him. His mouth feels heavy and locked shut, and he stammers.

"Ye-Yeah!" He manages, managing to keep looking away from Greg's eyes and at the drawing in front of him. He smiles, and it's real when he says, "Its-- Its great, Greg. Its amazing."

But then Gregory is silent for a second too long, and Tony dares to glance over. It's the exact same time Gregory switches his gaze to the drawing and shifts his body.

Greg takes his hand off of the page, pushing it gently with both towards Tony's chest. Theres a smile that stretches wide across his cheeks when he says, "Its yours."

Immediately, Tony sputters. "What? But--" He gapes. "Yo-You dont have to do that--"

"Its fine." Greg cuts him off, smiling at him. Tony finds himself going quiet and staring. "I... uh... I drew it for you in the first place."

Tony gapes, unfurling the paper from his chest with a gentle grip. He takes another look at it, feeling something warm bloom in his chest. His fingers shake and tremble as he holds the paper in-between his fingers. Just, admiring it again. The orange and blue of Freddy and Bonnie.

"You did?" Tony asks, softer than silk. It's barely above a whisper.

Greg nods in front of him, smile still on his face. It dissolves into a small chuckle. "Dont act so suprised."

Tony shakes his head, whipping his head up. "I'm not!" He says, but his eyes find the drawing again quickly after. It's like hes unable to look away. The drawing... it feels different now, knowing it was made for him. "Its-- its just... really cool, Greg. I love it. I really do."

Gregory goes silent again, this time for longer than a second or two. Tony glances up, and barely catches a blank stare from Greg for a split second, like he'd been thinking about something. It's gone in an instant, and Gregory's smiling at him again, looking at him with yellow-gold eyes that seem to be shining in the light from his window.

"I'm..." He trails off. "I'm glad."

"I'll treasure it." Tony promises, holding the page closer to his face. Theres even highlights in their eyes as they look at eachother in the drawing. "I promise. I wont let anything happen to it, either."

This time, Tony looks up just in time to see Gregory smile softly, and say "I know."

Despite Bonnie being Tony's favorite, he's never actually gotten to meet him face to face.

He would be lying if he said he had liked him before his disappearance. It sounds bad, but... Tony hadnt ever cared much for the animatronic characters. It was Bonnie's sudden vanishing that caused Tony to gain interest in Fazbears brand and characters and history and why they would retire him if they meant to. And so abruptly at that.

But... after reading up and seeing all of the history and different iterations of the characters and their merch and art and brand and evolution... he maybe got a little interested.

It goes deeper than a childish interest in the animal characters, though. He... he doesn't know how to explain it. He just feels connected to Bonnie, somehow. It's not like Freddy and Gregory. They... they have something else. But it... it feels like Tony sees more in him than the other glamrock characters. To an extent, Freddy as well. But Freddy has what he has with Gregory, and Tony doesnt feel that connection with him like he does Bonnie.

Which is why he'd been excited when Bonnie had returned in the re-opening. The bowling alley has been flipped and remodeled and the art replaced and updated since hes come back, and the place is pretty packed usually, now. Bonnie performs on his stage sometimes, and will come out and mingle with guests rarely, but Tony's never gotten a chance to talk to him.

Of course, he should have known Gregory wouldnt let it stay that way for long. Not with how he still travels across the Plex behind closed doors sometimes to see the Glamrocks often.

Which is how Greg had gotten Tony into Bonnie's greenroom in-between his schedule later in the day, when not a lot of people are at Bonnie Bowl.

Of course, Greg had always known, but... his sudden action was definitely influenced by how Tony's been talking about it, recently. How he wants to be able to talk to Bonnie alone one on one. How he's always wanted to.

Its just... Tony's been looking at the drawing Greg made him a lot lately. And it keeps reminding him over and over of how it feels like theres... more to Freddy and Bonnie. Theyve been paired together since the very beginning. It feels like theres something else intangible with them that there isnt with the other characters.

They have history. Theyve always gone together, like yin and yang. Fire and ice. Red and blue.

He's... he's just always felt a connection with Bonnie.

It doesnt feel like meeting a celebrity, when Gregory ushers him with a smile into Bonnie's greenroom and shuts the curtain behind him. He doesnt feel starstruck, or like he wants an autograph. He just wants to talk to Bonnie.

Bonnie's sitting at his mirror when Tony inches in, feeling strangely nervous and anxious and fiddling with the Bonnie keychain on his backpack. Bonnies ear twitches, the one with the earring, and then hes swiveling his chair to face him.

"Ah! You must be Tony, then." Bonnie says with a smile. Tony just stays quiet when Bonnie gets up and heads over to him, his mind running wild with what exactly it is he wants to say. "Yeah, Fred and Greg told me about ya. Said you wanted to meet me. That I'm your favorite?"

Tony nods, meeting Bonnie's eyes. "Yeah, that's right."

"Well then, its nice to meet you, Tony." Bonnie says happily, holding out a hand for Tony to shake. Tony releases the keychain and takes it without another word, shaking it politely.

It's only then that Bonnie quirks a brow at him, his ears drooping a bit. Theres a small stretch of silence where nobody says anything, and Tony feels self conscious, the nerves rising up even more.

Bonnie's kneeling down to be eye level. His ears aren't pointed straight up anymore, they're more relaxed. Bonnie looks at him, looking... concerned? Curious? And he sets a hand on his shoulder.

"Alright, now." Bonnie finally says, and Tony glances back at the curtain, than at Bonnie. Bonnie fixes him with a look that's inviting and warm. "What's on your mind, Striker? I may have just met you, but Greg has told me all about ya. He told me you had questions for me and would be bombarding me with them."

Tony's shoulders droop a little more, and he feels the nerves ebb away ever so slightly when Bonnie is nothing but warm and inviting. Once again, Tony doesnt feel like hes meeting a big star. He feels like hes having a conversation with... someone he looks up to. Someone he came to ask a question.

"But you arent." Bonnie points out, not unkindly. When Tony frowns, Bonnie smiles kindly.

"You dont have to be nervous, Striker." Bonnie tells him, his voice quiet and encouraging. "Theres plenty of kids that come to us to ask us things."

"Things that..." Bonnie trails off. "they just need a little friendly advice for that they may not want to tell anyone else."

He says the end pointedly, just enough emphasis to bring it to Tony's attention. It feels so childish. It really does. It makes Tony bristle to think about, that hes a kid who needs advice, and that Bonnie already knows that. That Bonnie is using tactics he uses on young children on him. But... that's what he came for, didnt he?

It sticks out to him, though. And Tony's aware that Bonnie's tactic worked. 'Things they may not want to tell anyone else.' aka, things that Tony had wondered about in bed and at school and at the Faz-Cade when he'd think about the cabinet art or Gregorys drawing. When... when he'd felt like there was something else.

To Freddy and Bonnie. To what appears on the outside. To what there may be on the inside. To the colors orange and blue.

He opens his mouth, not quite speaking yet, and Bonnie's waiting patiently. Hes looking at him encouragingly, and Tony sighs, letting the words spill out. The big question that he's mulled over for months.

Tony takes one last glance around him, not exactly knowing why but feeling like he needs to. It feels personal, or taboo somehow. Like this needs to be kept under wraps and only for his and Bonnie's ears to hear. He grabs at his keychain again, fidgeting with it.

"Bonnie..." He manages eventually, feelings and thoughts that feel disconnected racing through his mind. The keychain gives his hands something to do, but it doesnt help much with his nerves. "Are you and Freddy... uh..."

He stammers over his words, feeling nerves fry his stomach. This is hard to say, for some reason. It feels scary. Bonnie waits, though. Still ever patient, but his head does tilt in curiosity, a quirk to his brow.

Tony opens his mouth, taking a second to continue. "Well... I just..." He trails off, and Bonnie is still looking at him. Theres a moment where Tony says nothing, and Bonnie just meets his eyes and nods, smiling.

Its okay it feels like he's saying. Tony breathes out again, and pushes past the wall he'd been hitting. "Are you two together?"

Bonnie jerks a bit, barely noticeable, but Tony had been searching for any kind of reaction, small or not. Tony watches how Bonnie's face twists in suprise for a moment, and Tony's eyes widen, his shoulders hitching up.

"I just--" He stammers, and averts his eyes when Bonnie keeps staring at him. "I notice sometimes that your promotional art has you two... uh, closer. Than the others."

Its agonizing, watching Bonnie mull over his words. His eyes twitch and look down, and it's clear he's deep in thought. Tony feels his ears burn. He feels embarrassed. It all feels scary. Why? Why does it feel like he's spilling all his deepest darkest secrets?

Tony watches carefully, holding his breath as Bonnie says nothing. He's taking his time, thinking deeply, and Tony watches Bonnie's eyes flick towards the curtain. The curtain Gregory'd promised him he'd wait for him behind.

They widen, ever so slightly, and Bonnie's eyes then look towards Tony's hands, and the keychain hes flipping between his fingers.

Bonnie stares for just a moment longer, and then he clears his throat a bit, and Tony releases the tightness in his chest when Bonnie finally responds.

"Well, Striker..." Bonnie says, voice hushed and quiet, like he's telling a secret. "Just between you and me, Freddy and I do have something going on that... may not particularly be apart of the brand characterization of us."

Tony's eyes widen. Something shoots through his chest, some sort of burning blooming feeling, and he just stares at Bonnie speechless.

There had been something going on between the lines. There had been. Just like he'd thought. Did... Does that mean that the closeness, the undertones that Tony had felt just had to be between them had been there all along? That he really was right.

But... Bonnie had said that last part with the same emphasis he'd used before, and it only just now clicks.

Tony feels something he cant place. It feels crushing, scary, like... somethings caught up to him. Like he was somehow wrong all along. Wrong about Freddy and Bonnie? Wrong about something he never ever knew why he latched onto in the first place?

"So..." He begins uncertainly, shoulders feeling heavy. He realizes he hasnt blinked this whole time, and releases the tight breath he'd been holding. His eyes flick up to Bonnie's. "The promotional art isn't any different?"

Bonnie's ears droop, and he shakes his head. Tony just looks away.

"No, buddy." Bonnie replies. He shakes him a bit, just enough to get his attention, and Tony makes himself look back at Bonnie.

He looks knowing, somehow. It makes Tony bristle. He looks like he just figured it out. But what is there to figure out? Why is Bonnie looking at him with sympathy?

Bonnie doesnt say something like Tony had been expecting him to, though. He just stands to his full height, herding Tony by his shoulders gently to go down the hallway and stand just at the mouth of the curtain. They dont go through, but stay tucked in the shadows. Tony frowns, confused.

"Might there be a reason why you saw a difference with us in the first place?" Bonnie asks, a whisper. He nudges him, and Tony, despite the confusion and how his question begins to weigh on him, joins him in peering through the gap in the curtain.

Tony's not really sure why Bonnie's brought him over here; it's just Gregory and Freddy on the other side, and Tony cant help but feel a little bit of impatient-ness mix with the confusion inside of him, because Bonnie obviously knows something that Tony doesnt and its killing him.

But any remarks over it he bites down, and he tries to decipher the reasoning himself. There obviously is one, after all.

Tony just watches, looking for whatever Bonnie may be getting at. Gregory's faced half away from the curtain, talking to Freddy about something, and he doesnt notice Tony's observing him. Tony watches Gregory's face; theres a smile that goes as wide as to crinkle the corner of his eyes, and it dissolves into laughter soon after. He looks amused, like the funniest joke in the world was just told, and Freddy laughs heartily next to him.

Theres that weird feeling in his chest that been eating away at him again. The one he always gets around Greg and if he gets to looking at the drawing he gave him. The one of Freddy and Bonnie. Or if he remembers the cabinet art.

Tony just watches. He watches and is aware that Gregory barely ever smiles like that and that it makes his eyes sparkle, and it's like the gold in them shimmers even more. How it curves around his cheeks and even after it dissipates a bit, the contentment is still there. He watches him speak and how it flashes his teeth and his home-cut, shaggy hair kinda falls over his face like a curtain and he has to brush it out of the way with a hand. Theres the scar on his face that travels up his jaw and the sharpness to his eyes and the curve of his nose and--

Oh.

He's long let go of the Bonnie keychain by now, but now, it weighs heavy on him. Suddenly he's all too aware of its presence, and Gregory's Freddy backpack that Tony can see on his back through the gap of the curtain.

Flashes of the cabinet art at the Faz-Cade and Gregory's drawing run laps through his mind. It makes sense, now. His mind is so jumbled he cant get a thought through, but he still knows what they're all saying. He feels it.

Freddy and Bonnie, the two always paired together that Tony saw a certain closeness between. Bonnie, who had always been Tony's favorite. Freddy, who is Greg's favorite. Who he draws all the time and has bonded with and who he's connected with.

Tony's always felt connected to Bonnie.

"Oh." Tony says outwardly, barely louder than a whisper. His voice cracks in the middle.

Bonnie tries to squeeze his shoulder, to open his mouth and say something, but Tony gently shoves him off, walking out of his hold and stumbling closer the curtain.

"Im--" He stammers, not knowing what to think. "I'm sorry, Bonnie. I-- thank you for this, but--" He sighs out, and it feels a little wet. He ignores Bonnie's worried expression and pushes open the curtain with one arm. "Ive-- I've got to go."

Bonnie doesn't try to stop him. He doesnt yell for him, ask him to wait, nothing. Tony appreciates it. Maybe that knowing look hed given him means he understands.

"Hey." Greg greets him on the outside, just like he said he would. Hes smiling, Freddy backpack still on his shoulders, but it drops a bit when he sees his face.

"Tony?" He asks, softer and less enthusiastic. "Are you--"

"I'm fine." Tony cuts him off, ignoring the guilt curling in his stomach when he walks past both Greg and Freddy. He needs-- he can't think right now. He doesnt know what to do. "Im-- I'm okay. I uh, just think im gonna go home."

Theres no response for a second until Greg goes "Oh." Its a little flat, and one hundred percent sounds disappointed and worried all in one. The guilt gets worse. "Are you--"

"I'm okay." Tony insists, and the tightness in his chest and rapidness of his thoughts dont go away. Greg doesnt get to ask again, because Tony's almost running away, now.

He can feel Greg and Freddys eyes on his back as he leaves Bonnie Bowl, not knowing how to feel.

Tony hasnt told Gregory.

How is he supposed to? He-- he hasnt even processed it himself. He doesnt know what to think or how to feel. He doesnt like not being able to think.

Every time he tries, it all gets jumbled and his brain twists in knots. He doesnt need to think to know. To know what it all meant and that he'd always felt this way. Since he'd gotten to know the real Greg.

That those moments where he and Gregory would be close where he'd have those weird feelings were because he liked him. He still does. He likes him. A lot.

He likes him and he'd-- Tony had always seen more in Bonnie and Freddy because he saw more in him and Gregory. Its always been that way. He's always felt closer to Greg. He's... he's the Freddy to his Bonnie.

The thought makes Tony's brain freeze up again. He blinks, feeling his arms burn from being sprawled out on the bed and holding them up for so long. He groans, long and drawn out, feeling lost.

His stomach does somersaults and his face burns when he looks at the drawing again. He's stared at it a lot already. Not only today, but since he got it. Its felt... special, to him. Now he knows why. That this drawing Greg gifted him always felt like it held something deeper. Something that... only Tony saw. That no one else would.

He grips the paper with his fingers, staring longingly at the art. It feels like hes getting a headache, lying flat on his back and straining his arms just to hold the drawing up in the air. He stares at the pencil lines and the colors and how Freddy and Bonnie's shoulders are pressed together and their hands are still awkwardly limp from where they fall by their waists.

Tony frowns, always feeling off about that part. It never fit in correctly. It never felt intentional. Not like everything about Gregory's art always has. It had always left Tony wondering. Like how he had with the feeling in his stomach and Freddy and Bonnie's official art.

He sighs, his arms drooping slightly from the strain. Today was a school day, and Tony hadn't gone with Greg to his house like he usually does. He's barely talked to him since his exchange with Bonnie. He doesn't want to avoid, him, he just... doesnt know what to say.

He doesnt know if he should tell him. Tony has always felt that he and Greg felt different, but he has no idea if Gregory does. Tony had been wrong about it being intentional in the art at the Plex. He'd created it himself because he saw himself in it. He doesnt want to-- to mess things up with Greg. He doesnt want Gregory to have never felt the same.

His brows furrow and he frowns as he readies himself to leave it for today, like he usually does. He takes a last long look at the drawing, eyeing Freddy and Bonnie's hands again, and how they look forced and awkward, and starts to drop his arms.

It's the afternoon, and the sun is setting and just at the right position to shine through his blinds and onto his bed. The blinds are almost fully shut, but the sun peeks through the cracks, shining on the back of the paper and highlighting the details of the drawing.

Tony wouldnt have paid it any mind if it hadn't revealed something hes never seen, never, about the drawing he's spent so long looking at.

He does a double take. Then a triple. Then some more for good measure. He blinks, and scrambles up on his arms to sit upright so he can see it better.

His eyes widen, and his stomach feels floaty. The same feeling from the cabinet art and when he and Greg will sit close to eachother at lunch and let their shoulders and knees touch or, stand closer to eachother than they should blooms in his stomach.

The sun, shining bright and golden through his window, illuminates the blank paper space adjacent to Freddy and Bonnie's hands in Gregory's drawing. They're bending awkwardly, out of the way, and it gives him room to see the faded lines besides Freddy and Bonnie's hands.

It starts from the wrist and the lines show up even through the marker Greg had used to color their hands with. It fits, Tony thinks, with the pose. With the original pose. This way, it doesnt feel forced or awkward. It looks like how it had intended to be from the start.

Because with the sun shining behind it and showing through the color and pen that had carefully covered it up, Tony sees faded pencil lines that before, had connected Freddy and Bonnie's hands.

His face becomes warm, and he just looks, feeling something blooms in his chest. Hope? Disbelief? Excitement? His brain short circuits and he's only feeling right now. He feels how sparks are flying in his stomach and it feels a little less impossible than before.

I... uh... I drew it for you in the first place.

This is how it had always been intended. For Freddy and Bonnie to be holding hands. Theres nothing else it could have been. It had always been unintentional in the Plex art. Always just created from Tony's own relation. But this... Greg wanted this. He wanted to draw Freddy and Bonnie holding hands and for that closeness to be more than an undertone. More than intangible.

Tony feels breathless. His arms and hands shake, and the paper in front of him shakes along with it. He doesnt care, though. The sun is still illuminating what Greg had intended in his drawing all along, the drawing he made for him, and Tony feels less unsure than before. He feels like maybe he isnt alone in feeling this way at all.

The next day, after a long night and day at school, Tony goes with Greg to his house.

The drawing sits heavy in his backpack. unfolded unfolded because he'd never want to crease it and he doesnt want the pencil lines to suddenly disappear, either. He handles it like porcelain glass, like itll slip through his fingers if he let's it go too much.

Even Ellis had noticed him acting weird, and Tony noticed Greg looking at him concerned from the corner of his eye. He knows why. He's been distant lately. But... at school today, Tony hadn't felt afraid of Greg. Of messing things up with him. He'd felt the warmth spread through his face and his stomach and fireworks go off and his face stretch in a grin when he'd seen him the first time that day. And he'd felt it times ten all over again when Greg had smiled back.

He wont lose him. Tony knows this. He'd spend all night and all day mulling it over. Greg feels the same. He'd felt the closeness like I had. He'd.. he erased it. He was scared, like I am now.

It feels different, walking into Greg's room. He hasnt been there in a couple days, but it feels almost similar to when he'd walked into Bonnie's greenroom. He knows now that it had been because he knew, deep down. It felt like he was about to confess something then. He pretty much had, saying that Bonnie and Freddy were together out loud.

It's not as far down, anymore. It's not buried underneath characterization branding and pencil lines and marker strokes and only revealed if the light hits it right. It wont stay under wraps. Not after today.

Tony becomes hyper aware of the bag on his back immediately after the door closes on them. Greg walks into his room first, slinging his bag off of his back and kicking his shoes off and talking about watching something, together, or writing like they always do, but Tony isnt listening. He's just balling up the hem of his green corduroy jacket in his hands and staring at the carpet and thinking about the colors orange and blue.

"Tony?" Greg asks him. Tony startles, looking up at Greg. Hes sitting on the edge of his bed, with concern etched on his face. "Are you okay?"

Tony opens his mouth, but theres no words on his tongue. He stands there silently for a moment, and he thinks about the drawing again. He knows it's time. The sun is peeking through Greg's blinds. His backpack and the knowledge that the drawing is inside and his Bonnie keychain weigh on him.

His eyes flick for a split second to Greg's backpack and his sneakers, and then he clears his throat, his mouth feeling dry. "Greg, can I show you something?"

Gregory tilts his head, looking a little worried. He jerks, patting the bed beside him. "Uh, yeah, of course."

Tony swings his own backpack off of his shoulders as he makes his way next to Gregory, but its gentler. Careful about the easily crinkleable paper inside. Pencil lines that have already been attempted to be erased.

It only fully sets in when he sits down next to Gregory on the bed, and he chose to sit close enough that their arms are flush against eachother and Tony's face gets warm. He doesnt fight it. He just unzips his backpack and carefully reaches in, grabbing ahold of the corner with light fingers.

He pulls it out, and Gregory looks suprised next to him, if not also a little but confused. Tony's face is still warm, and his fingers shake and tremble, and he turns his neck to face Gregory.

They're really close like this, and Tony's eyes widen and he has to fight to not look away. His heart hammers a hundred miles an hour in his chest, but he keeps his gaze on Greg's eyes. Gold meets blue, and they stay staring at eachother. Tony hopes deeply that Gregory gets the hint. That he understands.

Nothing, yet. Not a peep. Just a silent moment. Theres closeness now, Tony thinks. Closeness that feels carefully not one sided. That feels mutual. So after another moment, he forces himself to look away, pointing the paper at the wall and smoothing out the corners. Gregory follows his movements, still having not made a sound.

Tony doesnt, either. He just holds the paper up to the window on Greg's wall, or rather the beams of golden light shining through it, and just like how it did in Tony's room, it illuminates the pencil lines around the white of the paper.

Lines that had been hidden. That are being revealed now, brought to the surface because Gregory didnt have to be afraid. Becuase its mutual. It feels less like it was erased, now, and more like it was drawn in invisible ink. Blank to the naked eye, but the two of them know. Greg knows, he has to. He hid it himself. And Tony... well, Tony wasnt crazy for feeling that there was something between the lines all this time, has he? Not when there literally have been.

Tony looks at it for a moment, feeling like it's all being brought up to the surface. He feels connected to Gregory, right now. Like this isnt some big reveal. That its just an acknowledging of feelings. I know. Tony's trying to say. I always have, and now I know that you did, too.

He moves his gaze to Greg, who's staring wide eyed but almost blank faced at the paper. His lips are parted slightly, but other than that, he just looks... shocked. Suprised.

Scared

Tony's scared, too. But not in the way Greg is. Tony's nervous, and afraid, and excited, but Greg doesnt know if Tony knows. If he thinks the closeness is mutual.

He does.

He takes the leap, fire in his chest and on his face and sparks flying from where Greg's shoulder is pressed against his. "Maybe..." He begins, slow and quiet. He looks at Greg, meeting his eyes, and he points a finger at the lines that originally portrayed hands laced together. "...Bonnie and Freddy would like to hold hands. You know, like... in the promotional art".

Theres a fleeting moment of silence where Tony's words just hang in the air. Like in the promotional art, because Tony knows Gregory noticed, too. He knows he felt the same connection Tony had. He knows that he knows. He sets the paper down in his lap, no longer feeling like its needed. His hand lies on his leg, carefully positioned in-between them, like Greg's is.

Then, Greg stops looking so scared, and he meets Tony's eyes. The sun from his window makes them shine like gold, and Tony keeps ahold of his gaze. He hopes desperately that those few words were enough, that a moment like this that cant be shattered by big declarations gets across.

But then, Greg breaks from his eyes first, looking downwards, and Tony follows his gaze.

"Like in the promotional art." Gregory agrees. Tony watches as Gregorys hand twitches, and no matter how slow or agonizing, it moves to lace together with Tonys.

Tony doesnt dare smile, or laugh, or make a peep. He doesnt dare shatter the moment. His chest blooms and explodes with sparks and fireworks, and he knows. He knows that its requited. That Gregory knows, as well. That orange and blue go good together and that he was never wrong about there being something else there.

His head whips up from their hands to look at Greg's face again, and Gregory is looking at him already. Theres red on his face, too, like Tony knows there is on his own. Tony dares to use his thumb to brush against Greg's hand, and Gregory's eyes dart downwards for just a moment, before meeting his again.

Then, without a word, Greg smiles slowly. It's big and it stretches across his cheeks and crinkles his eyes at the corners. And Tony let's a grin appear on his own face.

The drawing sits in his lap, and a ray of sunshine continues to showcase the faded indents of pencil drawing laced together hands. Tony squeezes once, then twice, and shifts his hold to be tighter and more secure. Greg does the same.

ao3 link

#hope this works #this is a long oneshot LOL #u can go to the ao3 link to see more thoughts and stuff i had to say abt this fic #beckory #my fics #pandas writes #oneshot #gregory #tony #gregtony #ggy #PLS tell me if the size of this oneshot messed up tumbkr formatting in any way LOL #between the lines

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peacocks-pantomime · 6 days

Text

In an empty theatre, teardrops echo like the sound of applause.

All I do is lay down a bet~ It’s out of my control if my opponent decides to lay down their life, isn’t it?

After the chaos, not much was left of Sigonia-IV, yet there were two malnourished children-- Kakavasha and his Big Sis, nearly perishing from the elements on the ruined planet.

One day, there was finally salvation in the form of a light-- a light, and a beautiful woman dressed in elegant clothing peering down at them under a wide-brimmed hat.

She told them that they would be safe, that they could trust her-- and what other option did they have? She looked so different, and seemed so kind compared to the others that have mistreated them... Big Sis had been willing to give her a chance.

And so, Kakavasha was whisked away to another world, offered clean clothes and a room of his own. He fell asleep immediately, curling up on the soft carpet of the floor.

When he awoke, his Big Sis wasn't there. But they said she would be. They told him she would be. So he wanders through the strange building against his better judgement.

It wasn't long before he heard muffled words coming from the ajar door of a bright room. He snuck over to peek into the room and he saw people dressed in simplistic black clothing, taking notes on some sort of devices and huddled around a bed.

And on the bed lay the body of his dead sister. But those people would never acknowledge her as such; to them she was only an experiment. One of the last Sigonians of the Avgin race, a miraculous discovery. And they weren't going to tell him. They were going to hide it from him.

Blinded by the emotions swirling around inside of him, Kakavasha threw himself through the doorway, grabbing the first sharp tool in sight, and ended the lives of all the professionals in that wretched room one by one.

He'd cried the whole time. He couldn't identify the emotion the tears stemmed from-- whether from sadness at the loss of his sister, or from the rage burning bright-- but as the boy stood there, he dropped his weapon, wrapping his arms around himself in horror...

He didn't feel guilty for what he'd done.

That sort of control-- the ability to watch the life of another mortal slip away between his fingers and know that he was the cause...

It was empowering.

Notes from the moderator:

~ Mod also runs the @aventurine-official rp account, so the format is her own and is not plagiarized :)

~ Art (2nd top picture and pfp) and concept credit goes to @darlix747! Their original post is here

~ This Aventurine exists in the same universe as @the-truth-of-nothingness

A famous musical artist and actor, known for masking his true self.

Roams around Penacony but travels the cosmos to perform

Is quite sadistic and will bet others on their life-- resulting in their death, because he never loses.

Longs to destroy the IPC as vengeance for the lies and betrayal from which his sister suffered

The glistening teardrop hanging around his neck allows him to mesmerize others with a glance, if he so wishes-- the glow of his eyes is interconnected

(I might add more details later, or link a headcanon post!)

Guidelines:

~ Keep the asks sfw if you please, suggestive is okay!

~ No random links in asks unless they are links to other Tumblr posts (if they are there, please specify what they are)

~ Be kind, please. Any hateful comments related but not limited to racism, sexism, homophobia, ableism, ageism and transphobia will not be tolerated here and you may be blocked.

~ All ships (age-appropriate) are welcome. (I personally believe Aventurine is gay as hell, so he will have a noticeable interest in men versus women).

~ Try to avoid sending DMs to the mod unless you are another mod

~ Anons are more than welcome here! You may have a personalized tag and everything :)

List of current anon signoffs here

Key (if applicable):

" " : for dialogue

* * : for movements

( ) : ooc

Tags:

#ace of spades ♠️ : Art reblogs

#the flip of a coin 🪙 : Random thoughts and calm moments

#trump card 🃏 : Asks from anons and others

#life on the line 🎲 : Interactions with Honkai Star Rail blogs

#melancholy theatre 🎭 : Interactions with other members of the Masked Fools

#dear doctor 🍷 : Interactions with / mentions of the Veritas Ratio in his universe

Masterlist post of Honkai Star Rail-official blogs linked here

#intro post #pinned post #oc #hsr oc #honkai star rail #hsr aventurine #aventurine #aventurine honkai star rail #masked fools #hsr rp

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the-peak-tmnt · 28 days

Note

Hey there! 👋 I just finished reading the latest chapter of Reciprocity and (hope I'm not bothering you) but I wanted to say all of this while it was still fresh in my mind!

Firstly: I love love LOVE how you lightly touched on Splinter and Raph's relationship pre-losing Leo before things got tense between them. It was just SUCH a nice breath of fresh air from how things currently are with them 😭 (hope they'll have that father & son relationship again someday).

Secondly: Love how you're giving us a glimpse into Leo's anxiety. As someone with crippling anxiety myself, I HEAVILY RELATE TO OUR BOY. And did he almost tell Raph about his spiritual connection!? (I forgot exactly what you called/described it as in your fic, but I noticed it!!)

Thirdly: Your overall world building and real-life references are always such a delight to read. You really make the story and characters FEEL believable, like the film was aiming to do! So reading about them receiving fan-mail and art from kids is SO SWEET.

I know this is already long (sorry); but there's one thing I'd like to ask. The part with the little girl wearing the armbrace and bandanna in Raph's colours WARMED MY HEART. So, this may be a silly question to ask, but will that girl ever make an appearance again?

I understand the point was so that Raph realized the importance of them being "heroes" and inspiring people. I just can't help but imagine a scenario where he randomly runs into her again after everything that's happened. (Not saying you have to put this in your story - pls don't do that omw this YOUR baby!!). It's just something I've been thinking about for HOURS - it really stuck with me.

Again, sorry this was quite long! 🙈 Keep up the great work, take your time, and stay amazing! ✨️

Ahhhhh you are SPOILING ME today! First the fan art on Twitter, now this wonderful comment 😭 And it's never a bother to hear from someone!!!

Firstly: I love love LOVE how you lightly touched on Splinter and Raph's relationship pre-losing Leo before things got tense between them.

Glad you liked that! I really wanted to give everyone a glimpse of "the good old days" (if only to make the current state of things even more painful lol)

Secondly: Love how you're giving us a glimpse into Leo's anxiety. As someone with crippling anxiety myself, I HEAVILY RELATE TO OUR BOY.

On the one hand, I am really sorry to hear that. But on the other, I'm glad that more than a few people have said the way the boys are written feels authentic and relatable. The things the boys are struggling with are delicate subjects, and I'm trying my best handle them appropriately and do them justice.

And did he almost tell Raph about his spiritual connection!? (I forgot exactly what you called/described it as in your fic, but I noticed it!!)

Leo was trying to tell Raph about it! At that point, everyone thinks Leo is just a really sensitive and empathetic guy. I don't want to give too much away, but at that point, Leo was beginning to realize that what he was feeling was something more than that. It's freaking him out though, and Raph was the only person he felt comfortable enough telling back then 😭

I haven't actually given it a "name" per se, because Raph still isn't really aware of it when he's awake. I've been using a few different words interchangeably like connection, bond, link, etc. As things progress and we learn more, my plan is to have one of the characters give it an "official" name.

THANK YOU! I just really really love world building, and I especially love the world building of Mutant Mayhem. It feels real and believable. Its just really fun to sit here and think about how this would play out in the real world (even the boring and logistical parts like having to go to the post office or how they're able to pay for things lol).

akjshfgaksdfhdsaf I can't tell you but...!!!! Sort of! Kind of! Not her specifically, but there will be another Raph and "little kid looking up to him as a hero" moment that's very important and a huge turning point in the whole story and it is taking EVERYTHING I have not to give too much away!!!!!!! WHY CAN'T I WRITE FASTER?!?!

Thanks again so much, I love comments and asks!

#reciprocity asks #reciprocity fic #reciprocity au #reciprocity #reciprocity tmnt #tmnt #tmnt mutant mayhem #mutant mayhem #teenage mutant ninja turtles #tmnt mm #tmnt fandom #tmnt fanfic #tmnt fanfiction

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thinkingaboutbetterdays · 11 months

Text

insecurities. ( gil grissom x reader )

You were enjoying a romantic meal for two that night. Gil proved that on top of being a top CSI, he was also talented in the culinary arts and you ate dinner over candlelight, music playing in the background but all you could focus on was each other. You were starting to believe luck was on your side that night as you were left undisturbed but your date night came to an abrupt end when his cell phone rang while you were sitting on the sofa. His left arm was around your shoulders, his hand on your cheek as his lips met yours with knee-crippling passion. But the second Catherine's ringtone sounded through the living room, it was all over.

You pulled away from his arms as Gil moved to pick up his cell phone on the coffee table and rolled your lips, hiding your disappointment with curiosity as he recounted Catherine's details of the crime scene so far. He ended the call after informing Catherine he was on his way and turned to you, his eyes sympathetic while he told you about the crime scene.

"Two skaters saw a man fall from a roof."

"I'll get my coat." You rose from the sofa, picked up your cell phone, and carried it to your purse, placing it inside before walking to the hallway to retrieve your jacket.

Gil drove to the lab to pick up your kits and you covered your dress with an official jacket. As you grew closer to the crime scene you turned your head that was resting on the rest, smiling softly when you noticed he kept glancing at you since you left his place.

"What? Do I have lipstick on my face?" You pulled the mirror down and checked your make up, looking at Gil when he shook his head.

"No, you look fine. I mean you look fantastic." Your smile grew as you pushed the mirror away, sitting back. "I know this is not what either of us had planned for tonight -"

"Comes with the territory." You understood what he was trying to convey, and knew he couldn't predict when a new case was called in. Since he hired you, there was always something there between you, and what started as attraction became something not quite love until you knew there was no other way to describe how you felt about each other. And while you imagined tonight ending differently, you didn't train to be a CSI because of the glitz and glamour that came with the job. "We can reschedule."

Gil nodded, and while he was also disappointed tonight came to an abrupt halt, he was wondering how he would be able to focus on the crime scene while you were wearing that dress.

Nick and Warrick arrived on the scene after Catherine, and Nick remarked how they had beaten Grissom to the crime scene as he was usually the first one to arrive. When Gil parked outside the yellow tape, the two turned to watch as you both got out of the car, sharing a glance at your dress.

Nick smirked as Gil held up the tape, allowing you to duck under before following. "Were you on a date?"

"No, I picked her up on the way." Gil replied before you could sass Nick who assumed he hadn't understood the implications in his question.

You followed Gil to the body, glaring at Nick who wiggled his eyebrows at your outfit, and while you wore a baggy CSI jacket over the dress, the fit around your thighs provided enough hints of the flirty dress underneath.

"Warrick, I want you to photograph down here, before moving onto the roof," Gil ordered, heading towards the building. "Y/N, you're with me."

You followed your boyfriend of two months, biting back a sigh, as you couldn't shake how quickly he shot down Nick and wondered if your relationship would ever be known to the team.

The feeling that he wanted your relationship to be kept hidden stayed with you for days as you worked the case and after following the evidence was proven to be murder. The team working to identify the killer. You suspected that something had been overlooked, something so small that it seemed insignificant which is why you spent over an hour examining Warrick's crime scene photographs, scouring every pixel with a magnifying glass.

Nick entered the room where you were working, photographs organized neatly on the table, and he looked at the photographs for a moment before he spoke. "Grissom wants to see you."

You sighed, sitting back. "It's probably about the particles on the victim's shoes." You looked at Nick with a pleading expression, "Can you deliver the report? I really think I'm onto something."

Nick nodded, "Sure." He observed as you retrieved the file from the table behind you. "Are you okay?"

"Yeah, I'm fine. Why?" You sent him a small smile as you handed him the file.

"You seem a little off. Since we got this case you've not been acting like yourself. If its about what I said at the crime scene -"

"I know you were kidding." You sighed, "I was on a date when I got the call. And I haven't had the chance to talk to him about what is going on between us. I mean, I thought I knew, but now I'm not so sure."

Nick sent you a friendly smile, "Talk to him. And if he isn't serious then I can list on two hands how many guys asked if you're single."

You shook your head, laughing lightly. "Thank you."

"Anytime." He walked away and you sighed as you lowered your gaze to the photographs. You hadn't spoken to Gil about anything but the case and you knew you had to confront him eventually, but right now, you focused on the photographs of the scene, hoping to find the answer you were looking for.

Less than ten minutes later Gil entered the room where you were working. You raised your head, raising an eyebrow when he closed the door. He turned around and approached the table.

"We need to talk." He held up the file in his hand and you sighed, predicting what was to come. "Since when is Nick your delivery boy?"

"He was doing me a favor. I'm onto something -"

"No, you've been avoiding me." Gil corrected. "I want to know why."

You sighed, setting the magnifying glass on the table, and walking over to him. "What are we?" You asked. "I mean, is it as serious for you as it is for me?" His eyebrows furrowed in confusion, so you continued, "At the crime scene, you shut Nick down. Like you never want anyone finding out about us."

"Do you want people to find out about us?"

You threw him an aggravated glance, "Don't answer my question with another question."

Gil nodded slowly, "I reacted that way because I didn't think you wanted anyone to know we are dating."

It was your turn to feel confused. "Why? Why would you think that?"

"In these walls, I'm your boss. We both know what people would think."

You stepped closer, shaking your head, "I don't care about that. I've never cared."

"Really?"

You nodded, wetting your lips nervously. "Does it bother you?"

He shook his head, and you smiled softly. "So...it doesn't matter if anyone sees us kiss right now?"

Your smile grew when he stepped closer, shaking your head. "If you don't I'd be disappointed."

Gil mirrored your smile, leaning in to kiss you tenderly. You placed your hands on his jaw, leaning into his chest when he rested his hands on your waist.

Nick walked down the corridor, pausing when he noticed you and Grissom, grinning when he realized Gil was the man you were talking about. He tapped the paperwork off his hand as he left, shaking his head with a smile. It was time to inform Greg that he owed Catherine thirty dollars after the blonde had hinted at your romance weeks ago, but no one believe it could be true as you and Gil were both very private about your life outside work and now he understood why.

#gil grissom #gil grissom x reader #csi crime scene investigation

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yamcha-thelonewolf · 6 months

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What do you want Yamcha’s role in future works to be?

Nothing extremely relevant, really. Not because I don't desire it, but because the current path taken by Dragon Ball can never bring him to prominence as it once did. So, Yamcha has always been a supporting character, and not just in battle. This is enough to accept that his role in the whole story is simply and genuinely to be there. That would be something, and in fact in DBS we have seen a few appearances from him. Better than not seeing him, I guess, although I would have avoided some gratuitous humiliation. Yet any Dragon Ball fan knows that, fool or not, Yamcha cannot be missed. He was one of the first characters to come alongside Goku in his adventures, that friend we could all use, the one who with a dumb laugh gets us out of a bad mood when maybe he is down on his luck even more than we are. That's the point. Yamcha is a hidden character, there is a song by Toru Furuya that tells us about him in a different light, and I think this aspect is the most characteristic and fascinating element of the former bandit. Sadly by now the world knows him as the idiot of the team, the loser, the clown whose antics occasionally dampen the tension of the plot, but he is not just that. Well, basically this is what I would like. A little more respect. I don't demand that he be given an entire chapter in which he finally makes his point (although I wouldn't mind that!), but at least that he be returned to his own identity, the one that was perhaps naively given to him at the origin of Dragon Ball and that made him one of the most interesting and intriguing characters. Unfortunately, his characterization has been lost over time. Yamcha, like so many others, has been outclassed by other priorities, and that's "okay". The only thing I wish is that he would be recognized a little more, and I wish that in those little appearances he now makes he might say or do something intelligent, something useful, just as he used to do once between jokes. I mean, Yamcha was a living encyclopedia. He knew everything about everyone, he was an adept connoisseur of the martial arts, and that hinted at how captivated he was by them. There are so many signs to prove it, such as when in the filler he was quivering to punch during the baseball game or, more recently, when he helped out in the Moro arc. I simply wish he would also continue his training, perhaps with Tien, or Gohan and Piccoro, and above all believe in himself more since it seems that others don't do it as much. What Yamcha has always needed was recognition, and I'm sorry to notice how few times someone laid his hand on his shoulder to tell him he's a great guy.

From Dragon Ball FighterZ.

He is not like Tenshinhan who, despite the knowledge of his own inferiority, still manages to train and surpass himself. Yamcha is much more human: he has his own limitations, his weaknesses, his uncertainties, his sense of failure that does not keep him going. Nor is he like Krillin, who has managed to find a wife stronger than him who can spur him on and keep him active in training. For example, it would also be great if he perfected his style, deepening his wolf side or even better inventing a new technique, even more beautiful than the Spirit Ball. Well, anyway, if Yamcha cannot be made a better fighter, at the very least I would like to see him fulfill his wish: marrying a woman (or an alien) who does not make him feel wrong or inferior, but on the contrary can motivate him and chart a path for him that he has somewhat lost [I think I should also talk about Vidro, but not here]. Anyway, I know that love relationships are not the focal point of Dragon Ball, but it is also true that it was often, if not always, love that moved the characters. So why not please the one character who has officially declared over and over again that he only wants to fall in love and get married? It is sadly ironic as well as unfair. In conclusion, I think that giving him someone to love is the best gift that can be given to Yamcha. Yeah, even more than superhuman strength and satisfaction in battle. Then he would finally be a complete character and he might even go out of the picture... but at that point I'm sure many would miss him. Me for sure.

Just... Give this poor lone wolf a reason to not feel lonely anymore.

thanks for asking! 💕

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bruhstation · 6 months

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a few questions about the avatar au: 1. what are the roles of everyone? is lady aang, thomas katara, percy sokka, gordon zuko and henry toph? 2. what bending power does duck have? 3. how will the last agni kai play out?

yessss a question for the avatar AU…. :D a bit of rambling ahead because I am incredibly autistic about this new AU of mine. I've also answered your second question through the first question, if you don't mind :)

like I've mentioned before, this AU is set in an alternate universe where the air nomads are still alive and there's no hundred year war. there's still conflict though. this isn't really an "X in Y's place" AU -- I'm fitting the ttte/cstm characters in the atla universe. I'll tell you what the steam team is doing in the AU! (art of some of them here)

thomas is a young, amateur waterbender from the southern water tribe. he spends most of his time hanging out with edward and percy. he always gets into trouble -- stuck on ice floes, buried underneath snow, and drenched in water after a failed waterbending attempt. this was also one of the ways he encountered lady, which is after an avalanche near a cave. thomas proposed the idea that all four of them travel the world together and find bending arts teachers for lady ("I need to train too and become a really great waterbender!")

edward is a waterbending master from the southern water tribe. although he still has a lot of fire in him, he displays little interest in fighting and spends his free time brewing tea and writing in his journal. despite not revealing much about his past prior to living in the south pole, he teaches thomas waterbending and is some sort of father figure to him. edward's respected by a lot of tribespeople, though they tend to poke fun at him for being too old. after the formation of team avatar and getting his two old friends to join (after visiting the earth kingdom and fire nation consecutively), they said that edward is able to bloodbend, but edward entertained the silly idea by saying that "he's too old and small for that". he is also VERY quick and agile in chi-blocking techniques.

henry is a strong yet sickly, cynical yet gentle earthbender from gaoling, earth kingdom. after noticing the rising tensions in politics in ba sing se and witnessing how corrupt the dai li has become after a life-threatening accident, henry resides in the quieter part of the earth kingdom and manages his own flower/tea shop. after team avatar witnessed his immense strength in apprehending bandits wreaking havoc in his shop, lady asked henry to get on board the team. henry initially refuses, not wanting to get caught up in any weird life-threatening avatar business, but after being convinced by edward, he eventually folds. thomas does notice that his teacher acts awkward around their team's newest earthbending teacher.

gordon is the youngest son of a nobleman from the fire nation. he had a disgraceful agni kai -- stemming from a difference in political beliefs regarding their family and their relations to the fire nation army -- between him and his older remaining brother, scott. gordon lost, but not officially, as scott refused to scar him, disgracing both him and gordon. he then ran away to the boonies of the fire nation where he honed his lightningbending skills -- his signature bending arts -- in order to restore his pride. he first met team avatar when he challenged lady in an agni kai (gresleys loooove their agni kais) until edward had to chi-block him before he even launched an attack. as prideful as ever, gordon believes lady needs a firebending teacher (true) and joined team avatar. he doesn't seem too thrilled to see his old distant friends on board with him, though.

james is an ember island theater actor who believes he deserves more than what he's paid. he's very passionate about acting but is dissatisfied with the scripts given to him. team avatar encountered him when he was playing gordon in one of the plays (and horribly butchering his character). james joined because he wanted to learn more about their journeys and thought that he's essential to lighten up everyone's spirits. james is still his vain self and once told lady that being the avatar isn't THAT hard but he's a genuinely caring person. he's also the "bard" of the group and has some sassy yet well-meaning pick-me-ups. his favorite songs to cover are "girls from ba sing se" and "secret tunnel". also he and gordon once got drunk off cactus juice and the group never let him live that down.

percy is a nonbender from the southern water tribe. he's a known charmer for both his cute-ish face and determined personality. his mother was duck's sister, an earth kingdom noblewoman, while his father is a south pole tribesman. since there's no hundred year war in this AU, percy trains as a south pole tribe warrior just to guard the south pole village. since there's no threat (until d10's army invaded because he heard that lady is there), he spends most of his days helping out the tribespeople with whatever task they have or getting himself dragged into thomas' antics, including being the avatar's playful "bodyguard" in their world-cross journey.

toby is a waterbender from the northern water tribe and is the first person to be recruited in team avatar after they had left the southern water tribe. he was initially mavis' (the north pole princess) caretaker and one of the waterbending masters, but after an attack from d10's fire army, she turned into the moon to preserve waterbending. toby then joined team avatar out of guilt but found himself to be entertained by thomas and percy's antics and lady's curiosity about the world outside the air temples, which gives him hope for the youth. toby also has a strong dislike towards the fire nation army and the earthbending soldiers, particularly the dai li, and is well-versed in the militaristic structures of the two big countries and their weaknesses.

duck is an earthbender from one of ba sing se's noble families. he's really loyal to his city and the earth kingdom itself. although many people consider him charming and intelligent, he's really adamant about following laws, though this is mostly because of his family's influence. the little western (don, doug, oliver, toad) is kinda his body guards/personally recruited soldiers that work for him loosely and their primary target is to watch over diesel, a suspected spy from d10's army. duck senses that d10 is planning something bad for ba sing se. this is also his reasoning to join team avatar (despite initially distrusted by the strike trio). even though he doesn't always follow them around, he provides updates regarding the fire nation and earth kingdom.

and that's all for the famous 8!

as for the final agni kai, I'm still thinking about that one. at first, I was thinking the final agni kai wil be between spencer and gordon instead of between scott and gordon because the two brothers never genuinely hated each other while the two cousins are seconds away from blowing each other up. but, in what reason would spencer be working with diesel 10? why would he side with a nonbender who wants to abandon the old ways of bending and bring forth a new era in an extreme way? then I thought of spencer just being a massive fire nation glazer (and having thrown scott in jail or injured him) and how his dislike for team avatar turned into hate after they freed the prisoners from the boiling rock prison (including hiro). I'll get back to the idea later because I LOVE gresley family drama

thanks for the ask, anon! this was really fun to answer :]

#asks #anonymous #ttte avatar au #this was A LOT to type out but real fun. I love infodumping hashtag real hashtag girl

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dragonflight203 · 2 months

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Mass Effect 2 replay, beginning:

-Right from the start the vibe is obviously different.

Mass Effect 1 has a slow, exploratory intro. You get to walk around the Normandy and have the option to talk to different characters in the depth you choose. Then you’re dropped on Eden Prime and alternate between combat and talking to survivors.

Mass Effect 2 drops you right into an exploding ship, then into a base under attack. Far more cinematographic, but noticeably less world building and less talking.

Neither is wrong, per se, but I greatly prefer Mass Effect 1.

-Miranda’s introduction centers her sexuality. First you see her back and ass, then you see her stride forward shaking her hips to an excessive degree, all in that cat suit.

This never helps my first impression of Mass Effect 2.

At the start, Miranda’s the only female main character* – next up are Jacob, then Wilson, then TIM. There are other female characters, but they’re all in the background.

So the only prominent female character in the introduction of ME2 is heavily sexualized, much more than the average female character in ME1.

This does not make for a promising start. While it’s not enough to ruin either game, the increased sexualization of female characters through ME2 and ME3 remains irritating throughout. I prefer the greater gender neutrality in ME1.

*Excluding Shepard, who can be either gender

-It’s odd that Miranda blames the Council not listening to Cerberus on their low opinion of humanity. I’d wager Cerberus being a terrorist group is a greater problem.

Then again, at this point Miranda genuinely believes all the cells we destroyed in ME1 are “rogue cells”, so I suppose she doesn’t consider Cerberus to be terrorists.

-The game intro states the attack on the Citadel is officially blamed on the geth and Saren.

This is the line the Council will stick to later when speaking to Shepard – does Shepard ever consider that they’re getting the “official line” treatment because they’re with Cerberus?

There’s no indication of it in the game, but it’s a reasonable extrapolation.

-Why don’t the Collectors target the escape pods?

We know that must of the Normandy crew survives. Ergo, the escape pods make it away.

Shepard was the Collectors target – how did they know Shepard wasn’t in one of the pods?

This can probably be credited to some kind of advanced technology if you want to do so, but it feels like an oversight.

-The Alliance was right to ground Joker. He is the reason Shepard dies – if he had obeyed orders, both he and Shepard could have made it to the escape pods. And since the Collectors didn’t target those, they would have survived.

-What is the popular opinion of the art for the Genesis comic? Personally, I’m not fond of it.

-Shepard still refuses to acknowledge that the Council had a point in the first meeting about Eden Prime. They state that the Council refused to believe one of their spectres could have attacked the colony, and that they wanted evidence so Shepard had to go and find proof.

Why is wanting proof that someone committed a crime before convicting them of it a bad thing???

-The comic skips Feros completely. I suppose that’s reasonable, since it’s main purpose is to let players make some of the major choices that carry over to ME2 and Feros doesn’t have any.

The cipher isn’t critical to any plot points in ME2, so no need to review it.

-The comic takes many poetic licenses.

I was never interested in romancing Liara, but the comic certainly makes it sound like I was.

Benezia also doesn’t die in Liara’s arms – you might not even have recruited Liara at that point. However, the comic always says that she does.

-It also keeps talking about relays into dark space. There’s only one known relay to dark space: The Citadel relay. That’s a major plot point, so odd that it’s not correct.

-It says Saren died believing the Reapers would save him. That’s not true – if you kill him, there’s no indication that Saren expected the Reapers to intervene.

In my playthough Saren actually killed himself, but again this comic is intended for players that did not play ME1. I suppose the game defaults to you needing to kill Saren.

-Since I went neutral on the Council choice in ME1, I did have to choose a councilor in the comic. No neutral option here.

I went with Anderson. At least that way the first human councilor dies a hero, rather than a traitor.

-As many others have said, how does Shepard know that the pistol is missing a thermal clip?

I thought they might have been familiar with some prototype weapons created to use thermal clips and recognized it as such, but Shepard dies only a month after the attack on the Citadel. Feels a bit too soon for thermal clip weapons.

-Ah, ME2 combat how much I dislike you.

Insanity is much harder. My shields are worthless.

-The irony here is rather sad. Shepard (from their perspective) just killed Saren, who preached about how they’re the pinnacle of evolution as an organic and machine intertwined thanks to the enhancements Sovereign gave them.

Now they’re in a lab hearing about how Shepard is a mix of flesh and synthetics. Just like Saren was a mix of flesh and steel.

The game could have really added some depth by leaning into the horror aspect of all this, maybe some fears that Shepard will become like Saren. Shame it did so little.

-The game emphasizes repeatedly, over and over, how Shepard is just how they were before they died.

This is waste of a Chekhov’s gun – the repeated protestations feel like they should result in some kind of dark reveal, but they don’t.

So instead it feels like a plot thread left hanging, and you’re left wondering why the game won’t shut up about it.

-The game doesn’t even try to hide that Wilson is up to something. Every line out of his mouth is suspicious, and most noticeably when he’s in the party you can’t go to the squad menu.

Given you just recruited Jacob, you likely went into it to distribute his powers. So when you go to do the same for Wilson you’ll notice it’s disabled.

ME1 and ME3 handle this better with Jenkins and Anderson.

-And ME2 is already massively downplaying Cerberus’ behavior in ME1. If you go paragon, Shepard says it’s some kind of pro human splinter group they ran into a few times.

Really? No mention of killing Admiral Kohaku? All the experiments? Attempting to use the Thorians and Rachni as weapons/tools? The colony they murdered? The squad of marines fed to thresher maws?It’s just a pro human splinter group?

I’m playing Sole Survivor Shepard. This is ridiculous.

-Once again, ME2 is structuring it so the human female companion is renegade and the human male companion is paragon.

Notably, however, Miranda is cold compared to Ashley’s warmth and Jacob is emotional compared to Kaidan’s logic.

-Miranda first says that it’s fine to abandon the other survivors, because Shepard is the only person on the station worth saving.

Then she says that’s completely fine leaving to you to rot on the station with the mechs if you refuse to go with her.

Make up your mind.

-Very irritatingly, when you speak to TIM you can’t choose any of the investigation options AND go paragon.

Let me find out everything I can and still tell him to fuck off because he’s not trust worthy, damn it.

-TIM claims the Alliance isn’t acting on the missing colonies because they don’t have the resources. Nice of him to throw shade at Shepard for saving the Council – I take it that the lack of resources are because of the ships lost doing so.

Also, this is a lie – the Alliance is upgrading colony defenses. In the description of Freedom’s Progress it notes colony defenses had recently been increased, and later we see the Virmire Survivor doing so on Horizon.

(I’m also reminded of the codex entry where humanity is seen as unusual for having so many colonies without dedicated defenses. Humanity insists this is fine because the Alliance can quickly move to any colony’s defense as needed, but the evidence certainly indicates otherwise…)

-I do believe that TIM genuinely believes Cerberus to be acting in humanity’s best interests here. Cerberus is a pro human group, and this is protecting humanity.

That it also aligns with his long-term goal of obtaining Collector technology is a bonus.

-If you go paragon, the game says you can part ways with Cerberus if you don’t believe what TIM’s telling you. Shame that’s not actually true.

-Shepard asks TIM if Miranda and Jacob are trustworthy. This is recurring question that they’ll ask later companions as well – they spend most of the game making up their mind on the two.

-Why is Freedom’s Progress in the Terminus Systems? I thought the Alliance was settling the Attican Traverse?

-Jacob, if you go neutral (paraphrased): Most Alliance soldiers hate Cerberus on principle.

Jacob, Cerberus murdered an Admiral. And a squad of marines. And a colony. It’s not on principle, it’s for an abundance of good reasons.

#mass effect #mass effect 2 #mass effect 2 replay

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sacchxrine05 · 7 months

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Had a thought while barely conscious in bed this morning and I feel the need to exorcise it.

(tw for discussions of eating disorders like ARFID and things of that ilk)

I think about Sherlock a lot (too much) and one of the things that’s kinda captured my attention recently is his eating habits. I’m going through a rough patch with eating myself, and usually when this happens I think of ACD Sherlock saying smthn along the lines of ‘I don’t eat while working on a case, digestion slows me down.’ (that might be a BBC Sherlock thing but I can’t quite remember lmao)

I imagine YNM Sherlock is similar or the same in this case, as we rarely see him eat (off the top of my head I think he ate a cherry at the bar during A Study in S in the anime and then both a sandwich with John on the roof and the floor sandwich Milverton tried to use to humiliate them with, although that was more to prove a point than to get any sustenance from it) and at least once John has reprimanded him for not eating enough. Sherlock is also quite messy and doesn’t often see the point in cleaning as, in his mind, it’s a waste of time and he might have this view when it comes to preparing a meal to eat.

I’m pulling a lot from my own experience here, but with eating disorders like ARFID it’s hard to find motivation to eat/prepare food, and I can imagine Sherlock often feels this way when he gets into a slump between cases or something like that. And although there’s nothing to really prove that he has an aversion to certain foods due to a sensitivity in taste/texture (I imagine his senses are quite heightened in order to make some of his deductions) he probably does stick to a select few foods both because he probably can’t afford many varieties of food and also because his idea of a meal is something quick that he doesn’t have to take time out of his day to prepare.

Miss Hudson has cooked for Sherlock and John on occasion, although I don’t think this is a very regular occurrence given their dynamic. However, she probably does make something for one or both of them if she thinks he hasn’t been eating enough recently.

Sherlock probably also gets quite hyper focused on cases when they come up (even more so when the Lord of Crime pops up) and so he doesn’t always notice when he’s hungry since it’s not something he’s really thinking about. Also, smoking cigarettes can reduce your appetite and with the way Sherlock smokes he’s definitely not realising how hungry he is until he’s on the brink of starvation. Also drugs…enough said there.

Idk, I just think it’s interesting and especially with how the fandom tends to put Liam as the one who doesn’t eat enough while Sherlock is the exasperated one trying get him to eat something goddamnit. Such a dynamic isn’t exactly wrong per-say, and I believe it says in the character profiles that Sherlock gained some weight post fall, most likely thanks to Billy poking and prodding him into eating and also working regularly and therefore have more of a desire to eat, especially after taking on missions with a lot of field work. He also probably wanted to set an example for Liam so that he eats more too. And he stopped smoking and doing drugs, so that probably improved things quite a lot too.

But like anything to do with mental health and disorders, things come and go in waves and it’s likely Sherlock would have moments where he ‘relapses’ and will go a long time without eating much or just feeling generally unmotivated to make food on top of nothing really appealing to him taste-wise y’know?

I think it’s also this dumb sort-of-headcannon of mine that makes me generally less keen on art/fics that portray Sherlock as being significantly larger/broader than Liam and I don’t mean the slight difference between their figures in the official art/manga/anime I mean like a noticeable difference you know?

Cus I mean…Sherly has muscle cus of his martial arts(?) training and maintaining that through his work, but he’s also a skinny coke addict who smokes too much and eats too little, there’s not going to be an insane difference between him and Liam like some ppl like to portray, y’know?

But anyway, people will always view characters differently and do what they want with them in their fanworks, it matters very little in the end lmao

If you made it this far thank you for listening to me ramble, I hope it wasn’t too nonsensical TuT

#yuukoku no moriarty #moriarty the patriot #sherlock holmes

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thoughtspresso · 8 months

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Hello, may I ask?

I interested with your explanation about onk theories. But I wanna ask, there some point that you said in your theories.

• Kana is very honest actress

• Kana will join Kamiki agency (maybe)

• Kana might killed by Kamiki

• Kamiki kill Ai and Yura because doesn't like their lies love (maybe)

Yep, there's other point too, but all of view I understood from your theories is Kana is an artist who is very honest and attracts Kamiki's attention, whether from the film the director promised or as Ai's role. Kana may also join his agency. And he'd probably be murdered on awards night. Even though this is still a theory, there is a bit of conflict between Kamiki who killed Ai and Yura because of their dishonesty as artists. And Kana who is a honest actress. Even though you also said that the reason might be Kamiki killed her was to want his child Ruby to become the main star. But does he need to kill Ai if it's like that?

Thanks for attention,I'm sorry for bad english since it is not my first language.

Hope you have a great day

Absolutely. Thanks for asking this.

The answer is quite simply that my opinions of what might happen have changed throughout the time that I've written these theories.

Most notably, my views on what the Kamiki's true motives are vastly developed since writing the first one. At first, I also thought Kamiki was targeting "rising stars" right before their "masterpiece".

It was a little later that I realized that he was actually killing liars.

I believed that there would be something about Kana that could attract Kamiki. The, "I'm not the perfect idol people think I am, I'm not innocent and my mouth is nasty," negative self-talk Kana does is very reminiscent of Ai's, and also fits within the description of lying to her fans.

But I also think Kamiki would see that her "lies" are so different from Ai, Yura, and even Airi.

At her core, Kana wanted to be honest. Always typically is. And even her "lies", like her getting angry when she's defensive about something, is so obviously a lie. She's not like Ai who makes you feel her lies are the truth.

We've also gone on a loop with all of Kana's "death flags". (Maybe Star or Nao has a compilation somewhere @starkillernoir @starbearrrrr)

The Kana interview had flowers in the background like Kamiki's bouquet

All the times that Kana's outfits were aligned with Ai's

Kana being drawn with Red Anemone flowers in official art

The theory that Kana has met Kamiki as a child actress

The parallelisms with Shakespeare's Hamlet and how Ophelia died after Hamlet pushed her away to keep her safe from his revenge plot

The ominous way she spoke of her career

The shot-per-shot similarities in their performance of Sign is B

So there are a few possibilities of what can happen, but I think it's possible that Kamiki might take notice of Kana and try to harm her, but then realize he was wrong about her all along, and leave Kana ultimately unharmed. And her strong honesty might strike something in Kamiki.

Or that Kana wouldn't even be harmed, and all of these similarities are hinting towards her playing Ai in the movie.

One or the other. Or possibly even both.

#Oshi No Ko #Oshi No Ko Spoilers #Oshi No Ko Fan Theories #Arim Kana #Hoshino Ai

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rating-bears · 2 months

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The country bear jamboree claims, and I quote, "Us bears we do love fishing, every hour if we could." But I MUST ask: do all bear types in the jamboree have a mainly fish diet? Would their methods to catch fish be best described as fishing? Would they truly spend so many hours on it without stopping to sing some delightful American tunes??? These are all highly important questions to me.

alright everypony buckle up

my first challenge in answering these questions is to figure out what species the country bears are, which is harder than it may seem. we have a couple clues, but mostly circumstantial evidence.

firstly, based on the fact that they are American and the general shape and character design of the models, we can conclude that they are either brown bears or black bears, or a mix of the two. but thats the easy part to figure out, it gets more complicated from here.

you might jump to say theyre brown bears because of the color of their fur, but that is Not how it works. the shade of a bears fur is determined by a number of environmental factors, not just their species. brown and black bears can have fur colored in any range from blonde to black and anything inbetween.

Next we move on to consider geography. The NUMBER ONE easiest way to figure out if you are facing a black bear or a brown bear is to simply remember where you are in the continental us.

This map isnt super accurate, but it does give the general idea of the range.

Brown bears tend to live farther north, and more on the west side, while black bears can be found just about anywhere there are mountains.

Now if we want to stereotype, and say they country bears are meant to fulfill Appalachian stereotypes, then the answer is pretty apparent, they are black bears that just have a lighter coloration.

And for the most part, I am happy with this answer. As far as i can tell there is no officials species, and as they are drawn in a more humanized way its hard to tell if they have species specific physical characteristics. Black bears are typically smaller and sleeker than brown bears, and although most of the country bears appear fluffy, that could just be considered part of their hair and makeup for their show.

HOWEVER, there are a few that i believe are brown bears, or meant to be brown bears. for example: Gomer. He is a brown bear. you can see in his character art and to a lesser extent his animatronic model, a noticeable hump in between his shoulder blades. this is a KEY indicator of being a brown bear. Ernest is also a brown bear, not because i have any specific reason, but because they call him that in his character description. Trixie is also described as a brown bear in a similar manner.

NOW ON TO THE FISH QUESTION!

Black bears and brown bears Do both eat fish, but where fish ranks in the hierarchy of their diet is different. Brown bears tend to be very avid fisher, with most of their diet consisting of fish. Black bears can and will fish, but due to their more spread out habitats will generally eat whatever is around.

Now, if you choose to believe that ALL of the country bears are brown bears ( well within your right) then that answers the question pretty cleanly! they fish and they eat fish and they are bears! butttttt if you buy into the black bear category then you get a more fun explanation. if the country bears are black bears then fishing can be more of a recreation hobby for them than their main way of collecting food! its something they seek out and do for fun! i think either explanation works here personally.

I would say heir methods to catch fish would be best described as fishing, its just a bit different from how we fish on account of they are bears and all!!

And i think they absolutely spend their fishin time singin good ole country bear songs!! thats half the fun! spendin time on the water, fishin up dinner, workshopping new songs, itd be a great way to bond, try out new melodies, and generally seems like the perfect way for a bear in showbizz to spend their days off!!!!

#bear blogging #bears #i love bears #bear #bear rating #thank you for the bear!#country bears #country bear jamboree #long post

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cereal-before-milk · 1 year

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Q-TA MINAMI

is a non-binary, bisexual, and feminist mangaka. Their manga stands out for dealing with issues such as sexuality, both in adolescence and adulthood, motherhood or everyday life. Which is why the demographics in which they are best known are seinen and especially josei.

Also known as Kyuta Minami, were born in Unnan City in Shimane Prefecture on January 13, 1969, although they currently live in Tokyo.

Q-ta graduated from Joshibi University of Art and Design Junior College Department of Design. Minami began working as a doujinshi artist during college and continued after graduating. Although at first they weren't very successful and couldn't make a living from it, so Kyuta was a "Pooh/ Poo Taro" (プータロー slang for unemployed, normally this term is not used in homeless people -wikipedia). During that time, they were living in the south exit of Koenji, Suginami-ku, Tokyo. That is why it is believed that hence their name, "South (Minami) Q-ta" (南 Q 太).

Their "official" debut on a large scale and that had an impact on the market was in 1992, with the Let's Play (Asobi ni ikô yo) manga in Wanimagazine (an adult/erotic content magazine) and obtained a mention Honorary Young Jump Rockie Award. Although already in 1990, the mangaka obtained an honorable mention in the Afternoon Four Seasons Award, in a category of young cartoonists, this caused them to take two years off. Those were the beginnings of what would be a long run of honorable mentions, such as the 1994 "Weekly Young Jump" rookie award, awards and drama adaptations of his manga, such as Yura Yura, which was dramatized in 2003 by the television channel of BS-i (now BS-TBS) in the Drama "Koisuru Sunday".

1996 and 1997 were very important years for Kyuta since they published manga in up to 3 different publishers, including the great Shueisha. All that variety made Minami achieve greater recognition and even loyal fans of their manga.

About their private life, Q-ta has been married three times and divorced twice. Their first marriage was with the mangaka Sabe, with whom they had their first daughter. After her birth, the mangaka changed her style a bit and began to make more childish manga and dedicate it to their daughter, like the manga Children's Games, published in 2003, which contains her personal experiences.

Their second marriage was with the poet Koichi Masuno, in between their first son was born. But there were bad feelings between the mangaka and the poet, so after the marriage, Masuno agreed that he would see his son once a month, something that Q-ta tries to avoid. The poet wrote novels and essays showing his resentment and even regret for the divorce (in case you are interested the book is Marriage disqualification, I have only found it in Japanese), in this he said that the mangaka earned more money than him.

Minami's last marriage is with the manga editor and ex-husband of mangaka Marie Yasuhiko, Masami Otsuka. With Masami, they had a son and a daughter, in addition to the son the publisher had with his first wife. So while raising a total of 5 children and taking care of 4 cats, Q-ta Minami managed to publish more than 40 manga, many of which are short stories or one shots, but unfortunately very few have been published outside of Japan.

Their drawing style reminds me of Kyoko Okazaki's style. It could be said that mangakas like Q-ta Minami continued with the legacy that the mangaka left empty, even if it was in an unrelated way. In fact, Q-ta is considered post-Kioko. It is noticeable at first glance that their drawings stand out for the almost absence of detail, although the dialogues in his scenes also follow the same pattern. With the slightest bit, the mangaka immerses us in their stories that are closely linked to the day-to-day life of women, girls, adolescents, and young adults.

Their manga are very peculiar (just like Minami) and they are closely linked to the everyday, to the weight of the monotonous and to trying to break that monotony that we have all faced at some point. Or not, the mangaka may simply want to demonstrate the drama that can exist in the "simplicity" of everyday life and, on many occasions, adding eroticism. And something that is a pleasure to read about their mangas is how Q-ta treats the sexuality of women, especially in adolescence/ young woman. Minami isn't t afraid to delve into a topic, which is often silenced or treated from a male gaze, and show how the girls who are the protagonists of their manga enjoy (in many cases) discovering and showing her sexuality.

➳ SAYONOARA MIDORI-CHAN 1997

*It isn't suitable for all audiences. It contains adult material*

- demographic: josei

- genre: romance, slice of life, drama

- French

Yuko, the protagonist, is a 20-year-old girl who is not very clear about things or what she wants in life, with the exception of one thing, her "boyfriend" Yutaka. She doesn't have hobbies or friends, nor does she look for them, although with two jobs it's not like she has time for it either. At night, she works in a bar next to where Yutaka works. That's where all the misfortunes happen to the protagonist, some even dangerous. Yuko should never have taken that job.

It is a very short story, so risking I will say that you do not expect a sublime masterpiece. Even so, it will surprise you how, in only 7 chapters, the characters are so well written and are so realistic that you can even identify with them. The narrated situations, the union between the employees, the relationship between the protagonists, the friction between the women, etc. They are things that could have happened to you, and that makes it interesting.

- in 2005 it was adapted to live action.

➳ POP LIFE 2016-2018

- demographic: seinen

- genre: slice of life

- English

Sakura, a mangaka, and Akemi, an event organizer, are two single mothers who end up living together and supporting each other in raising their children. The two families live in a somewhat small apartment, which could suggest that it makes it difficult for two small children, a 16-year-old teenager and two women, leading a comfortable life. But the reality is completely different and mothers seem to be happier in their new lifestyle than in the life they led before.

A breath of fresh air on motherhood, taken in a realistic way, showing broken families, but in a certain way complete. Although it is not only about motherhood, but also about death or how to handle a divorce. Many of the experiences that we see in both women are taken from the author's life, narrated from another perspective.

➳ HANDS OFF MY GIRL 2005

*It contains adult material*

- demographic: josei

- genre: slice of life

- Spanish

It is a compilation of a total of 8 stories, each one with a different genre, but all with the Q-ta Minami touch, so it cannot be classified into a specific genre, although the most abundant is slice of life.

The vast majority of these stories contain explicit sex, from TL to GL (yuri). But it is much deeper, it is not only simple eroticism. Hands off my Girl also deals with topics such as lies, jealousy, infidelity, unrequited romance, etc. Like in the second story, Broken Into Pieces, where the protagonist has sex with the man she loves, but he has a girlfriend, and he is supposed to love her more than the protagonist.

But there is something very curious, and it is that the last two stories have nothing to do with the rest. Diary of Another Young Girl narrates the life of a 10-year-old girl who is always in the clouds, has no friends and only trusts her cousin. And Days Spent with Her is an autobiographical chapter of the mangaka that narrates what a day is like with her and her daughter, who is still a baby.

➳ THE BLOOD RED BOY 2022

- English/ Spanish

- genre: drama, romance, bl

It is a very interesting one shot and only has 16 pages. The protagonists are nothing alike, they lead completely different lives and the only thing they have in common is the bar where they are going to drink and the reality from which they are fleeing. It is a story that touches on topics from gender to loneliness and the search for self-love. These are like pieces of an incomplete puzzle and you are the one who has to fill in the missing gaps.

➳ NOT ALL GIRLS ARE STUPID 1996-1997

*It contains adult material*

- demographic: josei

- English

Guess what? Another compilation of interesting short stories. Where girls start to discover their sexuality, fall in love, get disappointed and live their lives the way they want. Although there will be misfortunes, toxic relationships, unwanted pregnancies, infidelities and a lot of detail from the Q-ta Minami brand.

Q-ta Minami's stories are not characterized by being extraordinarily long so these are ideal to read when you don't have much time, but I really don't know what you are waiting for to give them a chance.

#q-ta minami #mangaka #manga #feminist #non binary #manga recommendation #japan #Sayonoara Midori-Chan #not all girls are stupid

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