The passing down of the Straw Hat from the legendary Oda Eiichiro (Creator of One Piece) and the one & only Tanaka Mayumi (Luffy's Japanese Voice Actress)
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Honestly so hot of Rogue to bridal carry Gambit
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asking and receiving (bonus below readmore)
[ID: A black and white, digital Trigun comic of Vash and Wolfwood. In the first panel is a close up of Wolfwood's mouth as he says, "Vash". Accompanying it is a close up shot of Vash's eye, widen and cheeks flushed. Wolfwood presses a knee against the open space between Vash's legs and says, "Tell me everything you want from me." Wolfwood's face is equally as flushed. He continues to say, "I'll give it to you. Everything." As he talks, a wide shot shows the both of them in white space. Vash is sitting, leaning a little back with both hands pressed against the surface he's sitting on. Wolfwood is in his white dress shirt, stripped of the blazer. He's still leaning in with one knee in between Vash's spread legs, his right hand touching Vash's lips and his left hand behind his back.
The shot closes in on Vash's mouth and Wolfwood's hand against it, pressing down on the lower lip as he says, "You have to ask though. Go on." His hand moves down to Vash's chin, gently holding it. With a shy and uncertain expression, Vash hesitantly asks, "Um... K... Kiss... Please?" Wolfwood, without wasting a second, leans in and kisses him and indulges by pressing deeper, eliciting a small noise of surprise from Vash.
Wolfwood moves away from Vash first and with a smile, asks, "What else?" Vash tugs on Wolfwood's left sleeve, wordlessly budging Wolfwood to give him his hand that was still behind his back. In the next panel, Vash utters, "Hold me..?" He's holding Wolfwood's left hand with his own while his right hand is reaching for his waist. Wolfwood complies, moving his left hand to Vash's shoulder and his right hand continues to touch Vash's cheek. Wolfwood asks again, "What else?"
More comfortable now, Vash leans in to kiss Wolfwood. Wolfwood catches him immediately, pressing his thumb against Vash's lips to stop him before demanding, "Hey. Ask." Vash looks back in surprise and Wolfwood meets his eye with a quiet, insistent look. They're quiet for a moment before Vash leans in again and curtly requests, "Kiss. Me." Wolfwood says "Good", smiling as he lifts his hand away, and meets Vash's lips. In the next shot, Wolfwood had adjusted his position, sitting on Vash's thigh. The hand that was once on Vash's cheek has moved its way to Vash's nape, pushing away the collar of his jacket with his pinky. His other hand continues to grip on Vash's shoulder. Still kissing, Wolfwood asks again, "What else?"
In the next shot, Vash is starting to turn, moving Wolfwood with him. Vash asks, "Let me on top of you?" Wolfwood says, "Mhm" before asking again, "What else?" The next panel shows a close look of Vash's face. He's looking down, flushed and shy just as he had been at the beginning, but now, more decisive. Vash asks, "Wolfwood... Let me have you..?" A panel of Wolfwood taking Vash's hand into his, pulling it towards his chest. The next panel shows Wolfwood lying down where Vash had laid him. Vash's hand is on Wolfwood's chest, covering the cross of his rosary while Wolfwood's hand lingers against his, loosely pressing Vash's hand in place. He looks up at Vash with a shy smile of his own, flushed cheeks. He says, "All yours."
A panel shows a close up of Vash's tender gaze before he leans down to be closer to Wolfwood. The final shot is a front view of their positions, Vash's face turned away from the viewer; Vash is leaning over Wolfwood who's lying down with his right leg draped over Vash's legs. Wolfwood's left hand holds onto Vash's left arm. With finality, Vash says, "...Mine." End ID]
[ID: A follow up bonus comic in a looser, sketchier style. They're laying comfortably in bed when Vash asks, "What was that earlier?" referecing to the start of the previous comic. Wolfwood glances away and says, "To get you used to it. Asking. And getting what you ask for. Since you're alwasy hesitant about it." Vash's eyes widen, tight lipped. Wolfwood continues, "Knowing you, it'll be a tough habit to break..." When he says this, Vash can't help but laugh, unable to deny it. Wolfwood slowly brings a hand to Vash's cheek and continues to say, "So I'll keep trying -- whatever ways I can... to get it through your thick skull." Vash takes Wolfwood's hand with his, kissing the the palm gently. Wolfwood's eyes soften and holding onto Vash's cheek, he leans in to try for a kiss. Vash says, "Hey..." before stopping Wolfwood's lips with the back of his hand, a smug look on his face, "Ask." Wolfwood's embarrassed and with little irritation, asks, "Really?" Vash smiles, saying, "You're in need of practice too." They pause for a moment, Wolfwood looking contemplatively, before he's leaning in again, asking, "May I please kiss you?" Vash looks him in the eyes and says, "Yes." The comic ends with a "chu", indicating an off-panel kiss. End ID]
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"it hurts to be something, it's worse to be nothing with you" from promise - laufey
dan heng's indifference to jing yuan hurts :^)
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I’m genuinely surprised how much I love nursing. Every shift, I get to meet and help so many people. I’m float pool so I go to the whole hospital, but I’ve also been floating for a while so everywhere is familiar. Sometimes it’s hard for me to walk through the hospital because I know so many people I pass, and we keep stopping to chat. I float to seventeen different units. That’s crazy! I know so much about the hospital! Every night I’m somewhere else, working with a different team and a different group of patients. The constant novelty and familiarity of floating is delicious.
And I love my patients! I know this all sounds so goody two shoes, but I love that I get to help so many people in so many ways. I only get them for one night, so I try to give them my best. I love tucking people in with warm blankets, I love explaining what I’m assessing to a patient with a new diagnosis, I love having heart to hearts with patients at three am when they can’t sleep, I love making people hurt less and stop throwing up. And you can be a real scamp about it. I love stealing snacks from other floors. I love when a patient is like “god I’d love some chocolate” and I get to be like “sir I know the location of every candy drawer in the hospital, I can get you some chocolate.” Or like figuring out like a cheat code for alleviating symptoms. When someone’s like “wow this heating pack rules” and then falls asleep instantly? It feels good and it’s fun. I have a lot of fun figuring out how to cheer up my patients in minor little stupid ways.
I never have to wonder if my job contributes value to the world. When I go home at the end of my shift, I can always think of something I did that makes me feel proud. That rules! It’s so fun to be proud of yourself! It’s so fun to know that what you do matters and that you are doing it well. And if I don’t feel proud, I have a drive home to think about why and I get a chance to do better next shift. And that’s good too. There are nights where I can feel the way I let someone down, and I have to sit with that, and I have to learn from it.
(And I don’t want to sound like I’m crushing it always super-nurse style, like I’m completely immune to ableism and the other -isms, or that I’m never lazy or callous or checked out. I’m new and I’m learning and I’m human and I’m tired and I’m not always living up to the person I hope to be. But I do get a lot of opportunities to make up for it and try again. That feels good.)
And I love teaching new nurses! I love having to constantly keep studying so I can be in a position to teach anyone anything. I love watching people get better at stuff. And I love that as I’ve gotten more confident as a nurse and a person who trains new nurses that I’ve started coaching more and more on the soft skills of nurses. Those are really hard! We should get as much practice with therapeutic communication as we do with Foley catheters!
Also where I work pays good, and I’ve got great job security, dude, I can buy so many stupid little trinkets. I was so nervous when I decided to go to nursing school that I was fucking up my life and other people’s plans for a job I wouldn’t even end up liking. I’d literally never worked something remotely close to healthcare when I decided to go to nursing school. I’d been in a hospital like once. I feel like this big life change shouldn’t have worked out nearly as well as it has, but hey it’s really fuckin cool it did
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The best gift the tv show gave us was the confirmation that once we get outside of Lucy’s head it is clear that the entire world knows Lockwood loves her.
George has a front row seat and is far too practiced at calling it like he sees it in an effort to keep the suicidal maniac alive so ofc he knows, but even people who spend next to no time with them figure it out.
Kipps knows what he’s up against when he asks Lucy to the party. Flo sees them together a handful of times and tells Locky to his face he looks at her different. It is heavily implied that Barnes and Fittes both think something is going on between them. Even Winkman puts the dots together when Lockwood’s begging for her life.
Literally everyone except for Lucy and Lockwood themselves know what’s up.
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I'm in A Mood™ (stressed) so im going back to my roots of melting two character together into one person. So bruce wayne!danny fenton. Danny Fenton who, for eight years, grew up in a beautiful gothic manor with his mom and dad under the name "Bruce Wayne". Playing piano with his mother, running around the manor with his father.
Then when he's eight it's ripped away from him. There's blood on his hands and pearls pooling at his feet, and both his parents are dead in front of him.
And he gets shipped off to distant relatives "the Fentons" shortly after, Alfred close on his heels because someone needs to take care of him, someone that knows him. Bruce goes to the Fentons for the safety of anonymity. Gotham's press wants to sink its teeth into him.
Danny misses his city even if it took everything from him. There are shadows in his eyes and he's pale as a sheet even beside his distant cousins, and they change his name to "Danny Fenton' because nobody should know that their newest child was illustrious orphan Bruce Wayne.
They call him Bruce behind closed doors. Danny prefers it that way, he clings onto the name -- the one his parents gave him -- like a lifeline. He makes friends with Sam and Tucker. Tucker takes one look at the willowy, morbid little boy standing in the corner like a shade, ghosts in his eyes, and drags him out into the sunlight, and takes him over to Sam.
When Danny is twelve, he's still not over it -- and he's a little obsessed with the Fentons' research, with the morbid. He has books upon books on death, murder, detective work. Anything he can get his hands on. And stars. He loves stars.
Alfred owns the apartment next to them and comes over regularly. Danny clings to him.
When Danny is twelve, he's still quiet, meek, a shy little thing prone to being bullied. Freaky little Fenton with the night in his eyes and too-cold skin even before he put one foot in the grave. in a sleepover in his room with Sam and Tucker, he tells them the truth. They're his friends, he trusts them.
"My name is Bruce." he murmurs, voice quiet as the breeze, always quiet. he's staring at his star-covered sheets.
"Like Bruce Wayne?" Tucker asks, a joking tone in his voice.
Danny smiles a little, lamb-like with insecurity. "I am Bruce Wayne." And he takes them down to the lab, disrupting Maddie and Jack, to prove it. Sam tells them of her own wealth then shortly after. They start calling Danny "Bruce" in private too -- its trust. Thats what it is. It's trust.
Sam goes to media functions and comes back with aching feet and complaints on her tongue -- and Danny soaks it up all like a sponge, splayed across a beanbag chair with Tucker in her room. He's not envious of her, he used to go to events with his parents and they kept him safe from the ugly of Gotham's Elite. For the most part. He's had comments made at him, he doesn't miss them.
Alfred returns to the manor semi-regularly, Danny goes with him. he wanders the hallways and helps Alfred clean, the last thing either of them want is for their home to fall into disrepair. He brings Jazz with him next time, then Tucker, then Sam. They all help him clean, and he shows them his room. The one across from his parents', it feels strange.
When Danny dies when he's fourteen, the first adult he tells is Alfred. He and Jazz go over to his house more often than they stay in the Fentonworks building. At least at Alfred's, the food doesn't come to life. Alfred sits at the kitchen table and weeps when Danny tells him, Jazz is upstairs, and its just the two of them.
Danny's ghost form wears pearls around his wrist and the gloves look stained with some kind of black substance. He looks like a child who died in a lab accident, but he also looks like a child who has shadows dripping off his shoulders, curling at his feet, hanging from his eyes.
because amorphous blob batman has my heart always and danny/bruce will not escape it even in death even if that IS the only reason im giving him Mild BatBlob Vibes...so far
when they go to the manor, alfred helps danny make a pile of stones between Martha and Thomas' graves, nobody but the two of them (and sam and tucker) will know what it means. (not even bruce's children later down the line, not for a long, long time)
danny dives into ghost fighting on shaky feet and not half as witty as he once was in one world. he's skittish, skittering between blasts from shadow to shadow and clumsily making his way through each battle. but helping people lights a fire in him. he still has shadows dripping off his feet but there's a purpose in his eyes.
and god help him, he's going to help people.
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the mikes.. the michaels, even...
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Trans masc Peter who wore a hoodie over his hero costume at the start of his career for a bit because of dysphoria, trying to drop hints to Miles that he knows what he’s going through and he’s there for support
Miles being confused because he’s just wearing a jacket with his costume because it looks cool
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JSTOR Wrapped: top ten JSTOR articles of 2023
Coo, Lyndsay. “A Tale of Two Sisters: Studies in Sophocles’ Tereus.” Transactions of the American Philological Association 143, no. 2 (2013): 349–84.
Finglass, P. J. “A New Fragment of Sophocles’ ‘Tereus.’” Zeitschrift Für Papyrologie Und Epigraphik 200 (2016): 61–85.
Foxhall, Lin. “Pandora Unbound: A Feminist Critique of Foucault’s History of Sexuality.” In Sex and Difference in Ancient Greece and Rome, edited by Mark Golden and Peter Toohey, 167–82. Edinburgh University Press, 2003.
Garrison, Elise P. “Eurydice’s Final Exit to Suicide in the ‘Antigone.’” The Classical World 82, no. 6 (1989): 431–35.
Grethlein, Jonas. “Eine Anthropologie Des Essens: Der Essensstreit in Der ‘Ilias’ Und Die Erntemetapher in Il. 19, 221-224.” Hermes 133, no. 3 (2005): 257–79.
McClure, Laura. “Tokens of Identity: Gender and Recognition in Greek Tragedy.” Illinois Classical Studies 40, no. 2 (2015): 219–36.
Purves, Alex C. “Wind and Time in Homeric Epic.” Transactions of the American Philological Association 140, no. 2 (2010): 323–50.
Richlin, Amy. “Gender and Rhetoric: Producing Manhood in the Schools.” In Sex and Difference in Ancient Greece and Rome, edited by Mark Golden and Peter Toohey, 202–20. Edinburgh University Press, 2003.
Rood, Naomi. “Four Silences in Sophocles’ ‘Trachiniae.’” Arethusa 43, no. 3 (2010): 345–64.
Zeitlin, Froma I. “The Dynamics of Misogyny: Myth and Mythmaking in the Oresteia.” Arethusa 11, no. 1/2 (1978): 149–84.
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mmmmmMMMMMMM
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