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muffinlance · 1 year

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Prompt: Aang didn't know Zuko was raising a baby dragon

Aang tilts his head. He doesn’t lower his staff, because—because Zuko, but he doesn’t try hitting him again, either. At least, not anywhere near his chestplate, which the other boy is very suddenly defending like there’s a second Avatar inside.

“Do you… have something in there?” Aang asks.

“NO!” shouts Zuko, who definitely has something inside his armor. It makes a kind of scrabbly-paws-on-metal sound and then—

“Do you have a dragon in there?” Aang squeals.

And maybe in retrospect he should have thought more before bouncing towards the fiery teenager, but in Aang’s defense there is the cutest, tiniest, fluffiest little maned dragon head he’s ever seen trying to peek out of Zuko’s neckline. And anyway, the other boy is way too busy backpedaling and trying to push the dragon’s snout back inside to Capture the Avatar, so. So Aang absolutely shoves a hand at the dragon’s nose for it to smell him, because that’s how you greet them—

—Or is that praying mantis-dogs?—

And then there is a Fire Prince squawking and shoving him away, which is definitely not a bending move, but not before a little lizard tongue tickles Aang’s hand which is so cute.

“Uh,” says Sokka, lowering his club. “I. I am not actually sure how I’m supposed to be reacting, here.”

“We’re fighting,” snarls Zuko, who is cupping protective hands over the dragon, and definitely not fighting. The dragon has wormed one stubby little leg and an adorably oversized wing out, and seems enthusiastically set on more.

Which is the point where Zuko’s uncle finally catches up to them, at his usual leisurely pace. If he wasn’t with Zuko, Aang would maybe think that the older man wasn’t all that invested in catching him.

“Nephew, do you…” And then he catches sight of the dragon.

Zuko pales.

“Hello, Uncle Backup,” says Sokka, grabbing Aang and Katara’s arms. “And that’s our cue to go go go.”

Zuko chases them. Because he’s Zuko.

Zuko… gets ahead of them. Which is not very chase-y?

Zuko vaults into Appa’s saddle ahead of them and holds his hands up as Katara threatens him with a hovering stream of water. He… doesn’t seem to be leaving, or attacking, and his uncle is running after them way faster than Aang is used to, so. Yip-yip?

Katara and Sokka sit down, once Zuko’s uncle looks very small under them. Zuko keeps his hands up. The baby dragon is flapping its free wing appreciatively in the rushing air. And chirruping really cutely.

“So,” says Sokka, slowly. “You… needed a ride?”

“I don’t—” Zuko starts to shout, before lowering his volume, even if his tone is exactly the same. “I don’t need a ride.”

“Uh-huh,” says Sokka, even more slowly.

Zuko continues to keep his hands up. His dragon is trying to squirm the rest of the way free, and has decided that gnawing at his chest plate is the way to do this. It’s making pretty good progress against the black and red paint. The metal, not so much.

Aang keeps glancing back from Appa’s head. “You, um,” he says, suddenly realizing that You seemed scared will probably just lead to more shouting. And fire. Which there has been a really noticeable lack of, and Aang kind of wants to encourage that.

“Did your uncle not know about the dragon?” he asks, instead.

“Uncle is the Dragon of the West,” Zuko says, more quietly than Aang has ever heard him say anything. And also like it’s a full explanation. But judging by the equally confused looks on Katara and Sokka’s faces, this isn’t just another thing he’s missed during the past hundred years.

The baby dragon huffs at its lack of progress. And flops, like an over-cooked and very dejected noodle, against Zuko’s chest.

Zuko swallows. And stops glaring at any of them, because he’s no longer meeting their eyes. He lowers his hands, slowly, and works a shoulder strap free. It’s enough for the dragon to puddle limply down into his lap, where it curls into a very alert spring.

“Do you know how someone gets the title dragon?” Zuko says. “By killing a dragon. Uncle thought he killed the last two. And father was—he was so mad, not that uncle killed the last, but that he killed two. That he didn’t leave some glory for the rest of our family.”

Sokka clears his throat, after the obligatory awkward silence. “Your family is… kind of messed up, huh?”

“What was your first clue,” says the Fire Prince, his scarred face deadpan.

His very prominently scarred face.

Oh.

Katara crosses her arms. Which makes her look grumpier, but she’s not able to bend as quickly like that, so Aang knows she’s feeling less going-to-waterwhip-you grumpy and more prove-me-wrong grumpy.

“If killing it would be so glorious,” she asks, “why haven’t you?”

“It— She— She’s just a child. It wouldn’t be honorable,” Zuko says, straightening his back.

“Uh-huh,” says Sokka.

But Aang. Aang grins. “Hey! I’m a child, too!”

The Fire Prince groans, and drops his face into his knees. His dragon climbs up onto his head and, using his ponytail approximately like a tree branch, stretches both her wings out, and lifts her little nose to the wind.

(You can also read this and other prompts on AO3.)

#Sokka: no but really why are you in this saddle #what is the plan here #Zuko: groaning intensifies #the AU where Zuko joins the Gaang early because he needs to put his dragon into Avatar-protected daycare #also the AU where Uncle keeps trying to get close enough to explain but Zuko is Really Good at hustling the Gaang into the saddle #they make GREAT time to the North Pole #Uncle: I JUST WANT TO TALK #Toph: COME BACK WITH A WARRANT #did she join the Gaang early too?#who knows! not me!#Avatar The Last Airbender #atla #Zuko #Aang #Sokka #Katara #Iroh #ficlet

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neoplatinum · 1 month

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we can't be friends - ariana grande | minatozaki sana

summary: the earth only has one moon, are you really the moon to sana's earth?

pairing: childhood-friend!sana x fem!reader

themes: extremely angsty, best friends to ?? to ??, internalized homophobia, gender dysphoria, sana's not too great of a friend, reader is a pushover until she isn't, implied sex, original male character, [----] x reader

wc: 3.2k

(side b: north and south poles | minatozaki sana)

from what you've learned in school, at the very early age of kindergarten is that the earth only has one moon, only one. mars has two moons: phobos and deimos.

when you were kids, you were called deimos, sana was called mars, and fuji was called phobos. it was always you three together, running through the streets of the countryside of japan.

causing so much trouble for your administrators, running around yelling down the halls of your school, the terrible trio of class 2-A. leaving school was always fun too, running around for snacks and jumping at the sight of cats.

you and sana were always closer, whenever fuji had to go home early because of his strict extracurriculars, you spent time with sana. walking by the train tracks, looking for lost coins for the vending machine or even staying for dinner with sana’s parents. it felt like it was you three taking on the small town.

until it didn’t. when middle school rolled around, you were excited to see them two after a couple of weeks of summer. each of you was busy with other things in life, making it hard to meet each other. so on the first day of school, you strolled in, ready to take on the new school year with sana and fuji by your side, when you noticed they weren’t talking much to each other.

fuji found basketball friends in his group, clinging to them like they were his new lifeline. sana has gotten close to the popular girls, they were nice but very superficial, all having drama with each other but in front of the group, they all faked smiles for each other.

you found yourself in between two different worlds, you tried calling to them after school, but they both dismissed you saying they had extracurriculars. fuji had gone off to play with his friends during basketball practice, while sana participated in school government association.

you got tricked into becoming treasurer for the sga that very year, so it was nice to still be around sana. although you could feel her distance.

it isn’t until one spring afternoon, you feel your first ever heartbreak. sana rushes into the sga room while you were napping on a desk.

she taps your shoulder excitedly, “wake up!”

you rub your eyes and focus on sana, who’s shoving a letter in your hand. you read the first line and yeah, your heart is crushed.

“fuji confessed to me!” she shouts excitedly, doing a little dance by herself as you read the lines.

“oh, congrats.” you hand the letter back to her, she looks at you a bit puzzled by your simple reaction.

“he asked me out! im so excited.” she explains, going into detail about their supposed first date. “he might kiss me, what do you think?”

“if you want to kiss him, then kiss him.”

she rolls her eyes at that, of course she knows that. that’s not what she’s implying.

“what i mean is, i’ve never had my first kiss! i don’t know what to do.” she goes on, thinking about it seriously. “what if he kisses me, and i suck and he doesn’t want to kiss me.”

“sana, if he thinks you being a bad first kisser is a deal breaker then dump him.”

you explain, placing your head back on your arms.

“you have to help me!”

“help?”

“kiss me, pretend you’re fuji.”

“no way sana.”

“why? too much of a chicken to kiss me?”

“no im not!”

"bawk bawk bawk" sana mocks you. making flapping arm motions to imitate a chicken.

“fine!” you hold yourself together (as much as you can) and place your lips gently against sana, pulling her in by the neck. caressing her cheek before letting her go. her eyes are dazed.

“wow yeah, that was good.” she fiddles with her school skirt, “i wish you were a boy, you’d make a girl very happy kissing her like that.” she blushes and leaves you alone, you feel that jagged break in your heart tear a little longer.

your tears don't stop as you try and go back to taking a nap, feeling your breathing getting heavy and you stay the rest of the afternoon, crying about not being born a guy for sana.

that was the last time you really talked to sana, too hurt that you cut your hair short the next day in the bathroom sink. crying tears into the porcelain bowl, with tears filling around your choppy hair. when you finally stop, you try liking the idea of it being short like a boys. but sana doesn’t spare you a glance. suddenly the hair feels too choppy and the air that you didn't feel when your hair was long starts to bother you.

it doesn't bother you for long, once your hair grows back. it feels right, like you were meant to look this pretty and feminine. you stay away from both sana and fuji as much as you can.

until one day sana knocks rapidly at your door, you haven't had her over in years. high school created even more distance between you two, you found your own people to be around. people that never overlapped with sana and fuji.

until you see sana staring at you from across the door, eyes still sparkling as they always have, in that charming look. and the longer face, the warm smile and comforting scent of flowers. as much she is the sana you remember, you don't think she's the same sana you once knew.

"hi."

"hi sana, are you okay?" you let her in. and it's like you're transported back to when you were thirteen, letting sana come over whenever she needed to complain about fuji and his "boy" tendencies. now that you're both 18 and ready to set off into the real world, you feel a little strange having sana visit.

"yeah, i need your help." she starts, dropping her bag onto the floor. you feel your heart rate spike a bit, was sana in trouble?

"help with what?" you offer her a bottle of her favorite drink, royal milk tea.

"you remembered." she says softly, grabbing it and downing it in a few quick seconds, a sign she's nervous and with the tapping of her foot. you're feeling anxious just at the sight. "fuji asked to have sex."

you nearly spit out your own water, "what?" your eyes are wide and you stare at sana as she keeps her eyes away from you.

"i need your help."

"did he do something sana? i'll kill him myself." you get up.

"no, none of that. i want to, have sex i mean. i just can't with him first."

"why not?"

"well, i...i want my first time to not be him. i just know it in my heart."

"okay. so how am i supposed to help you?"

"be my first."

"sana! you can't ask that of me."

"why not? we're best friends, of course we can."

"sana no, you love fuji, he should be your first if you love him. you're dating him too, that would be cheating."

"i dont, i dont think, i just." she shakes her head. "it can't be with him first." she ends it softly, hands in her lap. looking like she's been scolded. you feel the guilt bubbling up in your stomach; here she was being vulnerable, and you just accused her of being a cheater.

"what's really going on?" you ask, she's not making sense anymore.

"i need you to be my first, i want you to be. it can't be anyone else." sana is firm. standing up and taking your hands in hers. with her eyes looking into yours like that, like she knows how much you love and adore her. you can't find yourself to say no, even if it betrays fuji.

"okay."

"yeah?" her eyes light up.

"yeah." you pull sana upstairs, and begging her to forget about fuji, just for one night. to only focus on you and to pull out those pretty sounds of sana uttering your name into the night.

you don't stop until you feel sana against you, like it's where she belongs, right in your arms.

when sana leaves in the morning, you feel that gash that you've been trying so hard to heal get ripped apart again. she thanks you like you're someone who was there to provide a service to her, like that's the only purpose you served her that night.

as if you didn't pour your heart out as you kissed down her torso, cherishing her body like the gods sculpted it. as if she isn't the only woman in the world, you begin to think maybe that's what you were made for. someone to exist for sana, and never with her.

this hurtful thought bumps around your brain, hitting every surface of it, you feel your heart break into two. like you're led on a leash by sana, without her letting you ever leave.

it becomes a habit, a habit you can't break. you circling between the sana and fuji whenever it was the holidays or birthday parties. each year you feel more and more of your soul slip away. you can't begin to tell where your identity begins and ends without sana.

doesn't help that fuji is a good man for sana. always considerate and careful, giving her the space and time she needs when she's overwhelmed. you think sana chose well, a good man in her life that'll never waver his loyalty for her.

but it leaves you in disarray, sana contacting you for her relationship problems. leaving fuji all alone as she calls you to escape. weeks spent away from fuji, where you two meet hidden away from the world. a hidden place filled with drunk kisses and hookups, ones you would never utter to fuji.

you being invited at her parties, seeing his arms draped around her like you weren't caressing them just days ago. it's all too much, you don't know if you can be friends with her. ever again.

until she marries fuji, she hands you their invitation card herself. how dare she? after years of being a secret she hands you a knife for you to stab into your heart, and she does it with a smile. explaining how happy she is to have the wedding of her dreams, while you feel the woman of your dreams slip right through your fingers.

but then the reality hits, she was never yours to begin with, you two are simply friends. just best friends that know each other's bodies too well.

you play your part well, giving a dedicated speech to them two. reminiscing of the early days of you as a trio. days of mischief, talking about learning of their feelings for each other, making jokes about how they were polar opposites, destined to find each other magnetically. you leave out the part where you think you would fit well with sana even if you aren't the opposing magnet.

you try and stay away from her as much as you can after the wedding, to save your own heart (as much there is left). blocking her number and taking time away from japan. going overseas to travel, and it works out well, you meet a woman named momo, you don't mention the woman to sana. you don't hear from sana and you feel your heart calm a bit, like it's finally able to take a break.

when you return to japan, you find her at your doorsteps, fallen asleep at your door. she wakes up to the sight of you and hugs you immediately, complaining about how worried she was that you disappeared. you don't mention how you blocked her number. letting sana into your apartment and she drops the biggest news on you that you could ever expect: shes pregnant.

"congratulations sana!" you fake a smile and she goes on to explain that it's going to be a little girl. and she's so excited to dress her up and have a daughter.

you feel like you're hearing static noise as she goes on, sitting on your couch talking animatedly about the new nursery and all the books she's been reading about motherhood. it isn't until she finally steps away to go home that you realize that you never said more than congratulations.

months later, she births the beautiful baby girl. you wait outside the room, a balloon in one hand and a pack of diapers in the other. the nerves of having to see sana after so long made you vomit in the hospital bathroom just ten minutes ago. you try to focus on anything else, the sterile walls, the smell of sanitizer, the sounds of nurses chatting. then you see fuji step outside, looking like a tired first-time father.

"congratulations fuji!" you say as you pass him the diapers. he laughs at the sight and thanks you before saying he's going outside to get some food and that sana is awake.

you step into the hospital room and hear the rhythmic heart monitor and low beeps of machines. there sana is, exhausted as ever but happily babbling to her baby. you can see the little baby in the swaddle. you walk up to the bedside.

"hi sana, congratulations on your new baby." you tie the balloon to her bed, and she smiles at you, tired but always warm. "she's beautiful, sana." you wash your hands and poke at her cheek.

"isn't she? i think it's too early to say, but she might have my eyes." you look back down and see the baby, eyes closed in bliss. you think they look like sana's too. ones that you used to look at as kids.

"i want to name her after you." she starts, gently caressing her head. you stop, leaning back quickly.

“dont do that sana, don’t give it the same curse you gave me.” you bite out. sana stops caressing the baby's face to look at you. “forced to love someone who will never love them back.”

"what are you talking about?" sana says gently, you've never raised your voice at her in all the years you've known each other.

"sana, you can't give her my name. i forbid you to." you say sternly; after how much she destroyed you, you're not letting her name her daughter that.

"but, why?" she's still perplexed, eyes wide.

"it's not right." you look away from sana, years of pain resurfacing just at the idea. "you really hurt me, i don't want you to name your daughter after me."

she doesn't press you on the matter anymore, anxious eyes darting all over the room, trying to find an escape from this conversation.

"what about being her godmother?"

"i'm moving away sana."

it's like the final nail in the coffin, both phrases being said at the same time. you realize there's no other way to say it, not over text or a call. it's better to say it here, ripping off the bandaid completely.

"moving? where are you moving?" you can hear the heartbeat machine beeping faster, and you see her heart rate climbing steadily.

"korea, i got a job over there." you say dismissively.

"oh wow, when do you move?" sana's voice is timid as she tries to hold back tears at the idea.

"i leave in a week." you say, picking your stuff up getting ready to leave. "congratulations again sana, your baby is beautiful and healthy. tell fuji that he'll be a good father, i know it." and with that you step to leave, and just as you turn the knob you can hear it, the sound of sana crying.

you try not to cry yourself, but you can't stay here. orbiting around two people who are building their life together. you weren't supposed to be here to begin with. earth never had two moons. you nearly bump into fuji when he opens the door.

"oh fuji, i'm sorry i couldn't stay long." you offer when you see him outside, food in hand and excited to talk to you, he smiles sadly. giving you a hug as you walk outside.

feeling like for once you control your own life, your love is yours, and no longer sana's.

"stay a while longer, sana is so excited to see you!" he says, trying to urge you to come back inside.

"it's okay, we'll see each other around." you turn to look back at sana, and she stares right into you with tears running down her face and glaring at you. you just told your final lie to sana, closing the door behind them, like you closed your relationship with sana.

you don't see sana for years; it's strange. growing up with so much hurt and pain made it difficult to enjoy your romantic relationships, but you realize there is always a person for you, yours being hirai momo, not sana minatozaki.

here at incheon international airport, you stretch from your seat, needing to get some movement in before you sit in that cramped airplane seat for hours. so you make a beeline to the bathroom, walking directly into a young girl.

she falls backwards, nearly hitting her head on the floor, but you catch her in time.

"hi sweetie you okay?" you pat her down, pulling her shirt down. she nods at you and you see her eyes, and you feel your memories shift back to when you were five years old, meeting that girl that sat near you in class 2-A. she runs towards someone.

you stand up and recognize those eyes immediately, sana minatozaki in the flesh after five years. eyes wide as she stares at you. fuji right by her side.

you can see the recognition in sana's eyes. you walk right up to them, offering the couple a hug. sana's arms grip onto you so tightly you feel your ribs in her hold. then you feel a tug at your pant leg.

you turn around and smile at the girl by your leg.

"say hi hana, this is sana and fuji." your little girl waves to them hi, while sana is still staring at you. fuji starts congratulating you, excited to see that you have a daughter. you let out a laugh. then you feel a pat on your back, with momo walking up to kiss you.

then you let your daughter down to play with sana's daughter. eyes fond at the two little girls chasing after each other.

“it’s been a while.” sana's voice cuts into your thinking.

“yeah, i guess it has.” you reply, finally looking at her after so long. sana gulps, willing the tears away.

"honey, you’re crying.” fuji says wiping away sana's tear, you smile at that. he's good for her.

“oh i didn't notice.” sana laughs, rapidly wiping her tears away.

you let the three of them talk, momo joining in and introducing herself. you're left feeling a bit better about your decision to leave sana's side all those years ago. waiting for her to love you back would've costed your relationship with momo, especially since you would have never had hana.

it's important to know when being friends turns into we can't be friends anymore.

a/n: hehehehehe, angst is so fun to write, that's probably why it's everywhere in my writing. thank you to the anon who requested this! i wrote this in like 6hrs. stay safe and stay healthy everyone!

#sana x reader #twice sana #sana twice #minatozaki sana #sana minatozaki #twice x you #twice x reader #twice #kpop imagines #neoplatinum

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thebearer · 5 months

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blurb ideaaaaa

mom reader and dad carmy moving the elf’s of the shelf of teddy and willow and seeing their reactions :))

"Stupidest fuckin' thing..." Carmen mutters, sprinkling the flour along the floor in a trail to the counter. "This just makes more of a mess for us to clean up."

"Yeah, but the girls love it." You give him a pointed look, holding Jingles- your elf- in your hand.

The Elf on the Shelf was Pete's fault. One off handed brag about how their children loved the elf, and Teddy was freaking out about why she didn't have an elf. Thus, Jingles was brought into the Berzatto household. You knew Carmen hated the elf, there were days you forgot to move him, didn't do super extravagant things, times you fucked up and felt bad about it. The elf was added stress, but it was also so fun for the girls, so you did it.

Carmen's lips pursed, in a tight line. "Yeah, well they better like this." He huffed, flicking the flour on the pasta. "Go do the feet marks. make it look like he ran through it."

You grinned, poking his side lightly, before bending down, plopping Jingle's feet through the flour to make it look like he'd been running.

Carmen snorted in laughter, grinning at your animated running. "What?" You frowned playfully.

"Nothin'." Carmen shook his head, eyes beaming with joy when they met yours. "'s cute that you do this. You're a good mom."

"You help me." You bumped your hip with his affectionately, laying Jingles in the flour gently. "Pretty good dad, if you ask me."

Carmen blushed, moving the arms and legs of the elf to make it look like snow angels. "Hold on, I gotta take a picture of this." You grinned, pulling out your phone. "Sugar will like this idea. I'll send it to her."

"Hope Anchovy doesn't fuckin' snatch this thing again." Carmen muttered, looking around the kitchen for the cat.

Last year, Anchovy had mistaken the elf for one of his toys, knocking it off the shelf with his paw, which sent Teddy and Willow both over the edge. Sobbing and screaming, you and Carmen though they'd been hurt when you came in the room. Their horrified faces and Anchovy skittering out of the room, Jingles in the middle of the floor. Carmen had grabbed tongs, thankfully, thinking quick on his feet so he didn't 'touch' the elf. He'd nearly sent Jingles back to the North Pole- the garbage- that night.

"I think he's traumatized by it." You giggled. "He won't go near it, I swear. He just looks at it like he looks at Richie."

Carmen grinned, hand sliding down your waist, squeezing your hip as you propped up your little note from Jingles, proud of your handiwork.

The girls woke you up early, excited to tell you all about what Jingles had done. Carmen even feigned shock at the mess, sending them into a fit of giggles, beaming at their elf. He hated to admit it, but it was a great start to the morning, seeing his girls so happy, even if he was cleaning up flour for a good twenty minutes. He looked forward to starting the day, and ending the night with you- and Jingles.

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cameronspecial · 4 months

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I Will Slap You, Rafe

Pairing: Frat!Rafe Cameron x Reader

Warnings: Mean Y/N, Mentions of Sex and Birth

Pronouns: She/Her

Word Count: 0.9K

Summary: Pregnancy doesn't look so great on Y/N and Rafe, but good thing it's almost over.

Masterlist

Rafe isn’t going to lie. Pregnant Y/N is a scary Y/N. She’s a lot more moody and demanding than his usual angel is. Any little thing can make her snap and he has been walking on eggshells for almost nine months. His family would say that Rafe is just as unbearable. If they thought he was doting on Y/N before, then her being pregnant showed an even more overbearing side. Rafe helps rearrange the pillows on the couch and places about ten blankets over top of Y/N, who is getting ready for a nap. “Are you warm enough? Are there enough pillows?” he frets over her, rearranging one of the blankets that is slipping off. Sarah chuckles, “I think she has enough, Rafe. She could survive in the North Pole with how many blankets you have her buried under.” “I would never let her be in that situation,” he barks. How could Sarah think that he would let anything happen to Y/N? “Would you two shut up? Cranky woman trying to nap here,” Y/N complains, turning on her side to sleep. At least she doesn’t blame her pregnancy for her mood. Rafe rushes to her side, “I’m so sorry, Angel. Sarah and I will go in the kitchen.” Rafe kisses his wife’s head and forces his sister into the other room.

The siblings talk in whispered voices after being scolded again by the pregnant woman. It’s been about an hour and Rafe has started to get his angel’s snack ready. A piercing yell causes both Camerons to dash to the living room. “Angel, are you alright? What’s happening? Do you need a massage?” he cries out, rushing to her side. Sarah follows in worry for her sister-in-law. They find Y/N hunched over with her hand on her stomach. She glares at them, “No, you dingus. I’m going into labour.”

Rafe’s face flushes and he turns to his sister. “Get the go bag, please. It’s in the nursery. I’ll get her in the car.” Sarah nods and runs off to do as asked, while Rafe picks Y/N up bridal style and brings her to his truck. Every bounce of Rafe’s rushed manner intensifies the pain shooting through her body. “Slow down. You aren’t trying to win a race. We also have to time the contractions, dumbass,” she critiques between her screams. Rafe starts an internal timer in his mind at her scream, “Right, thank you for reminding me. You are so smart, Angel.” He places her in the car and she glowers at him with another yell. “I don’t care how smart you think I am. Get me to the damn hospital before I do it myself,” she growls. Rafe is quick to get to the driver’s side, texting Sarah to meet him at the hospital.

———

Y/N and Rafe got to the hospital a little earlier than medically required and the staff were almost not going to let them into a room, but Y/N’s angry demeanour and Rafe’s money-slipping hands caused the staff to change their mind. It’s been about sixteen hours and the couple is absolutely exhausted. Finally, it’s time for Y/N to push. She had insisted on giving birth in Goddess pose and Rafe isn’t one to argue about it. “You are doing so great, Angel. I am so proud of you,” Rafe praises, smoothing her sweaty hair down. Y/N has had enough of his pampering. She’s been here for so long and that’s all she’s been listening to. “I will slap you, Rafe. Stop talking or I will have them throw you out. You don’t know how much this hurts, so I only want to hear my own voice from now on,” she snarls at him. Rafe immediately stops, instead resolving to silently encourage her.

Rafe’s focus is between her legs, waiting for the moment his child enters the world when he feels her hand cross his face. One hand rubs his cheek, “What was that for?” “For getting me pregnant and not being the one to give birth,” she explains, squeezing his hand harder. He pouts at her words, “I am so sorry that I can’t be the one going through this, Angel. It kills me to know you are hurting and I can’t do anything about it.”

“I am never having sex with you again. I never want to go through this again.”

“And I fully support that, Angel. We can always adopt or foster if we want to have more kids.”

———

An hour later, Asher Wesley Cameron rests on his mother’s chest, sleeping in her warmth. “He’s perfect,” Y/N whispers and kisses his head. Rafe admires the new mother, “Because he is a mixture of both of us.” He takes a second before asking his next question. “Did you really mean what you said about having sex?” Y/N giggles at the worry in his voice, “Only a little bit. We definitely won’t be having sex until the doctor gives the go-ahead but after that… How else are we supposed to make this little guy a sibling?” “I thought you said you didn’t want to give birth to another baby,” his eyes twinkle as he looks at her. She shrugs, “It hurt like hell, but it was worth it. I would do it one more time even if they are only half as perfect as Asher. I do want to foster though. There are so many children that need a safe home.” Rafe’s lips find her forehead. “Whatever you want. I will follow your lead, Angel.”

Taglist: @winterrrnight @loves0phelia @thelomlisrafecameron @wickedlovely121 @queen-shadow22 @nonbullshit-toleratingkindagirl

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rocks-in-space · 19 days

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I absolutely loved how tense the scenes with Ame at the North Pole felt! It reminded me a lot of her conversation with Orima, where any misstep or stray word could have disastrous (or deadly) consequences. Ame/Erika killed it both times, but it's very nerve-racking to be heading into a whole conclave of witch interactions (as cool as Indri was, it felt clear that their conversation only went as well as it did because Ame is walking the tightrope masterfully so far). Everyone is doing such a great job making you really feel how perilous and significant a task this is for Ame.

#wbn #worlds beyond number #wwo #these witches are so cool (pun intended) but we definitely haven't seen them at close to full scary yet!#it's important to remember that at least some expressly want to kill Ame #sam speaks

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glow-worms-are-believers · 7 months

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Space Facts (dp x dc)

Victor takes a minute to curse his stupid teammates for getting him into this. He hadn't even been part of the prank but here he was getting punished anyways. He gives himself one more second before he gets out of the car and walks into the library. He goes up to the help desk and the lady sitting there.

“Hi I’m Victor Stone, I’m here for the community service?”

“You’re early,” says the older woman.

Victor offers a smile to which the lady responds in kind, before standing up and signalling for him to follow her.

“You know the Dewey Decimal system, Victor?”

“Uh, yeah. Sorta,” he says.

“Well, here is a cheat-sheet if you need a refresher,” the lady says as she hands him a bit of paper, before she gestures to a caddie. “You can start with putting these books back.”

Victor hums.

“If you need any help just holler,” the lady says, waiting for his nod before walking back to her desk.

With a sigh, Victor starts picking up books. After a few minutes, he starts losing himself in the task, barely noticing time passing by.

“Who are you?” A voice just besides him sounds making him jump.

“Wha-?” He turns to the side only to find nothing there. It’s only when he looks down that he spots the little boy staring right at him with big baby blues.

“Who are you?”

The kid squints. “I asked you first.”

And well, Victor can’t argue with that. “I’m Victor, I’m a volunteer. What’s your name?”

The kid is still squinting when he answers. “I’m Danny. Are you a ghost?”

“Uh,” Victor starts. “No?”

Danny smiles wide at that, showing his missing front teeth. “Great!” He chirps. “Hey, do you like space?”

“Sure?” Answers the teen, confused by the sharp change of topic.

“Really?” The kids eyes are shinning in excitement and Victor can’t help but smile a little at that.

“Yeah, space is cool,” he says.

“I think so too!” Danny has a giant smile on his face as he takes that as a go-ahead to start rambling. “Do you know that there’s no air in space? And it’s really really cold, like, colder than the North Pole even.”

“Wow, that’s really cold,” Victor says as he turns back to his books, and starts working again.

“Yeah! And why we’re ok is coz we have the oz-cone layer which keeps all the hot inside so-" rambles the kid as Victor continues filling the books.

As the day stretches, Victor thinks he should be annoyed, but it’s surprisingly pleasant. Definitely not the worst way to spend an afternoon.

#Victor Stone #Cyborg #cyborg dc #dc x dp #dp x dc #danny fenton #this is pre-everything #I feel like Danny would be the kind of kid to corner an adult into listening to all his space facts #and Victor seems like the kind of guy that would listen to a kid like that #roxpox #roxpoxwrote

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sapphic-agent · 18 days

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Why & How Katara is the Strongest Waterbender

The ATLA fandom is funny. Because if there's one member of the Gaang whose skills are continuously doubted, it's Katara's.

No one hesitates in saying that Toph is the strongest Earthbender in the world. Aang has always been maintained as a natural prodigy. Sokka's strategic intelligence and cleverness are never in question. Most people are positive that Zuko would have beaten Azula if she hadn't targeted Katara and hail him as a swords master.

But for some reason, it's always Katara whose proficiency is either called into question or severely downplayed.

Some are skeptical about the legitimacy of her becoming a master in a short time. Others are certain that her victories are due to plot manipulation. Both of these arguments that ATLA is a kids' show which pushed it into giving her the win.

(Funny how ATLA is the greatest piece of media ever read until it comes to anything pertaining Katara's character lmao)

So I wanted to take a minute to talk about the progression of her waterbending skills and how she became Master Katara.

Pre North Pole

The first time we really see Katara practice waterbending is in The Waterbending Scroll when she decides to show Aang her limited very skill set. She noticeably has a difficult time with her bending, whereas he seems to pick it up rather quickly.

As we know, Katara has never met another waterbender before. She has no idea what their bending is supposed to look or feel like. And that's reflected in the moves she shows Aang.

I want to draw attention to Katara's stance here. She's stiff, even a little awkward. She's standing where more like an Earthbender. We see this repeated when she's practicing the Water Whip.

Even later when she does perform the Water Whip correctly, there are still traces of this.

You know how Iroh learned to redirect lightning watching Waterbenders? Well, my assumption (at this point I'm 80% sure it's meant to canon) is that Katara learned most of her bending by watching Aang and the Earthbenders they met around the world.

It makes sense, right? They would have been the closest thing to Waterbenders she could have learned from. She even asked Aang to teach her in the first episode. So the start of her bending began with incorporating the forms of Air and Earth.

And we see the results of that in her fight with Pakku.

Fighting Pakku

Katara's fight with Pakku is a great demonstration of his visually. He's a master, so he's already proficient at "push and pull." Katara is not. She's done it before, but it's not her go-to style when she's fighting. And we can see it in this fight.

Again, her stance is firm. She either blocks his attacks or bats them away. She doesn't reinforce and redirect them like he does hers. She isn't fighting like a Waterbender, she's fighting like an Earthbender.

Not to say this is a bad thing. Pakku himself even admits that she's good even though they both know she can't beat him.

Why am I bringing this up? Because one thing about Katara that's overlooked is her adaptability. When she didn't have a waterbending teacher, she made do with observing Earthbenders. She picked up Pakku's teachings even better than Aang had. And going forward from here it really begins to shine in her bending.

She completely dominates Pakku's other students and Zuko (twice). Why? What makes her so special compared to men who have been training their whole lives?

Because water is the element of change. By being so proficient in adapting (not just in her bending, but openly embracing different things and experiences and people), Katara unknowingly embraced the mentality of her element.

(It's actually a funny twist of fate because you could make the point that the North held its other Waterbenders back by being so bound to and unflinching in their traditions. It would explain why none of Pakku's students even stood a chance against her)

If you think about it, you could draw parallel to Yue explaining the history of Waterbending to Katara to the Sun Warriors explaining fire as an element to Zuko. In both cases, you can see that they're able to see and understand their element in a new light. Although it's more of a realization moment for Katara as she already knew about pushing and pulling and it's more of a lesson for Zuko who was taught something completely different.

Katara vs Azula (Round 1)

You know how I said people attribute her wins due to plot manipulation because ATLA is a kids' show? Well it seems like Katara vs Azula is the scene they focus on the most for that.

But let's be real, this isn't a fluke. The show purposely draws attention to Katara prowess and skills during this fight.

Azula is someone who's always in control. She's someone who goes into fights with full confidence. But she is completely thrown off by Katara's abilities here.

And this is something that persists throughout the entire fight. Katara completely overpowers her. At no point during the fight did Azula have the upper hand against her.

And remember, this is Azula's fight. She's the one who imprisoned Katara and Zuko. She's the one who attacked Katara and Aang to begin with. Sure, she was probably counting on her manipulation of Zuko working and him backing her, but there was no guarantee that he would be able to get away from Aang long enough to help her.

And right after this, Aang really struggles against Azula. He doesn't own the fight nearly as well as Katara does.

So, we know it isn't a fluke. The creators intentionally made Katara outclass Azula here. She's canonically the superior bender between the two of them. And that's not a small feat by any means. Azula at this time is one of the best Firebenders alive, probably fourth (after Ozai, Iroh, and Jeong Jeong (she could possibly be above Jeong Jeong)).

So what was the reason for this? Why was Katara able to outclass Azula so effortlessly?

Well here's where Katara's mastery of the meaning of her element comes into play again. She understands and excels in the concept behind water. Always changing, always adapting. She embraces water to its fullest capabilities (which also includes incorporating other elements into it; water would actually be the best element to do this with). The entire fight, she's switching stances and forms and keeping Azula on the evade. Whatever Azula throws back is dealt with without an issue.

And as we know, Azula (and most Firebenders) misunderstand fire as an element. She uses it solely as a destructive force, but it's also energy, life, and passion. This is also part of the reason Zuko lost so easily in the Northern Water Tribe; he also had the same issue. Katara's proficiency in water as not just a weapon, but an element, gave her the advantage over Azula she needed.

Katara vs Hama

A debate that comes up a lot is who's the better bender between Katara and Amon. To that I have always said Amon was taught Bloodbending, Katara just did it.

Let me reiterate: NO ONE TAUGHT KATARA BLOODBENDING. Hama explained the concept to her, yes, but never actually taught her. In fact, she did not expect her to pick it up without guidance. In her own words, "You should've learned the technique before you turned against me."

This was a technique that took Hama decades to learn. Tarrlok and Noatak were trained relentlessly. And Katara just... Did it. No guidance and no build up. This supports that Katara's adaptability and versatility in her bending is unmatched. She's able to comprehend and perform advance concepts with no training or teaching.

Now that we got that out of the way, this fight is so comprable to Katara vs Pakku. This is the second time she's fought a master and we can see how much she's improved. So much so that she doesn't even struggle against Hama.

At this point, she's mastered "push and pull." She's able to take everything Hama throws at her and send it right back with little to no effort.

But she takes it a step further.

Instead of redirecting, Katara completely stops Hama's onslaught. This undoubtedly is something she picked up from Earthbenders. It certainly isn't a Waterbending technique, yet somehow she made it into an effective move.

Look at Hama's face. She's completely thrown off by this. This was not something she ever expected out of any Waterbender. She was completely unprepared for Katara to be able to outmatch and overpower her.

Katara completely surpassed her, solidified by using the technique she invented against her.

I was going to talk about Katara and Azula's second fight, but there isn't much to add there. I already compared the difference in their skills talking about the first fight, and the Agni Kai is an escalation of that. The outcome of the Agni Kai was already decided and confirmed in the catacombs.

And that my friends is how and why Katara is the best Waterbender in the world

#master katara #katara of the southern watertribe #katara analysis #give my girl her due respect #katara is the greatest waterbender in the world #no i won't be taking criticism #argue with the wall #katara deserved better

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katarasmomsnecklace · 2 days

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I wanna talk about all my fav ATLA ships cuz being a multishipper can suck sometimes

I wanna look at ship tags and not see hate for another ship in them

SPREAD THE LOVE

KatAang: Classic friends to lovers. Couples who commit ecoterrorism together stay together

TAang: She was a punk He did ballet what more can I say. But like actually they're so fun to analyze with what we have in canon, they legit give soulmate vibes.

ZuTara: SHOT THROUGH THE HEART another fun one to analyze, opposites attract/enemies to lovers it's a good time

KaToph: They're defined by overcoming their "weaknesses" Katara fought for her right to be a master despite her gender and became one of the most powerful benders because of her will to fight. Toph literally invented a whole new bending style BECAUSE of her blindness. Love them

MaiLee: Bad bitches deserve bad bitches, we love a sunshine and sunshine protector. They're fighting styles compliment each other as do their personalities

MaiKo: 'I love Zuko more than I fear you" will never not be the hardest line in the show. *doesn't care she got pickles* "HOW FUCKING DARE YOU SHE SAID NO PICKLES"

Ty Luki: I just want Suki to show TyLee the ropes of being a kyoshi warrior. The have so much they can teach each other also if you like the Airbender! TyLee headcanon there's something poetic about her unlocking her powers with kyoshi's fans

YueTara: MOON AND OCEAN NEED I SAY MORE

ZUe (I actually don't know their ship name) we in rare pair hell but SUN AND MOON NEED I SAY MORE also applies to Yue x Azula you guys come up with the coolest scenarios that put the either fire sibling in the north pole, this fandom is so creative

ZuKKi: Let Sokka pull lol but actually a King and His Guard and King and his Ambassador, it's like Sukka is great but make it better

Mai TyLee and Suki should be a bigger ship cuz I swear I'm the only one that sees it (help me name them)

Tell me about your favorite ATLA ships I freaking love these characters and I love when they love each other

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the-air-nomad · 11 months

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A wolf's love

You've known Sokka since you were little. Your father was the chief of another southern tribe and also a close friend of Chief Hakoda. Also, your grandmothers were friends in their youth.

You were a waterbender but you discovered this shortly after Kya's death so you decided to hide this ability. After the men left for war, your father left you in Kanna's care.

You became very close to Sokka, and Katara often laughed at your childish love for her brother. Sokka, on the other hand, adores you and has dreamed of you two getting married since childhood.

When Sokka and Katara brought Aang to the village you were skeptical but then you agreed with Katara hoping that you would be able to find a waterbending master.

You convinced Sokka to come with you telling him that you need someone strong to protect you.

When you arrived on Kyoshi Island, you and Sokka argued for the first time since you met. It was the first time you noticed how misogynistic Sokka really was. Sokka begged Suki to teach him to fight and even agreed to wear traditional Kyoshi clothes. You, Katara and Aang laughed but at least you weren't mad at him anymore.

Then came the meeting with Jet. Sokka will never admit to you how good he felt when he noticed that you also thought there was something wrong with that boy.You helped Sokka save the village.

The visit to the North Pole was a nightmare for you. The brothers found out you were a waterbender and were upset that you didn't tell them sooner. Katara soon gave up her upset being happy that she is not the last waterbender from the South. Sokka was extremely upset, first you lied to him and then you gave up on him to spend time with his sister. He won't admit it, but the fact that he wasn't a bender hurt him a lot. He decided to try to make you jealous by approaching Yue. But things did not go in his favor. After his kiss with Yue from Spirit Oasis, you decided to give up on the idea of a relationship with him.

Katara could no longer bear the horrible condition her brother was in, so she told you about his plan from the North Pole. To give Sokka a taste of his own medicine, you started flirting with Zuko. Katara thought you were a perfect match for her brother due to your extremely great talent for making plans (notice the sarcasm, please). You and Toph found Sokka's silly jealousy hilarious.

Sokka was absolutely crazy, what did that fiery head have that he didn't?!

During the Siege of Ba Sing Se you and Sokka finally confessed your feelings for each other. Sokka was happier than ever but that didn't last because you were seriously injured and lost a lot of blood. You've been unconscious almost as long as Aang. In that time Sokka was completely destroyed. He felt like his life was over and he swore that when you woke up, he couldn't imagine you wouldn't, he would do anything to protect you.

When you woke up Sokka exploded like fireworks. Even though you felt horrible, you struggled to give him a big smile. After that, things started to go downhill. Sokka had become inhumanly possessive and protective. You tried to talk to Katara and Hakoda but they told you that Sokka acts like this because he doesn't want to lose you like he lost his mother which made you feel like a terrible person.

When you arrived in the Fire Nation, Sokka followed you like a shadow. At Hama's inn he slept in the same room as you. When you found out that Hama was from the Southern Water Tribe something clicked in your mind. You asked if she had known your paternal grandmother. Her eyes widened when she heard your father's name. It seems that Hama was your grandmother, Sokka's grandmother's friend. That didn't make Sokka calm down and he almost attacked Hama with his sword when she tried to hug you. After Hama was arrested Sokka consoled you saying that you don't need anyone else when you have him.

After Zuko's coronation you and Sokka returned to the South while Katara and Aang had to stay in the Fire Nation. Although Sokka's protectiveness still bothers you, you were extremely happy when Sokka asked you to marry him.

But as heroes never have a simple life, your story has only just begun.

Although I do not own the characters from avatar the last airbender, this work belongs to me! I sincerely hope you liked it. Please rate it and leave a comment! follow me to see my next posts! 💖💖💨

You can buy me a coffe if you want: buymeacoffee.com/TheAirNomad

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flowersadida · 5 months

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Aang's problem is that he doesn't live in the world of the hundred years' war. His conflicts aren't related to war, they are more local. Basic example: he needs to defeat the Fire Lord to stop the war. As if it depends on the actions of one dude, and hasn't been the usual routine of the whole world for a hundred fucking years.

All the villages that Aang visits in his episodes in Book 1 are as far from the given realities as possible: “The Great Divide”, “The FortuneTeller”, “The Winter Solstice (two parts)”. All problems are local, and most importantly, there's no war there.

All people there live as if it hasn't yet overtaken them and everything is fine. Yes, there's many episodes showing the problems of war, but they're focused on Sokka, Katara and Zuko.

Especially Zuko, because he's the one who faces the consequences of his people's ambitions, where the world is dying of exhaustion. Aang never faces this exhaustion; rather, he observes from the sidelines in the episodes of his friends (unless other characters point out the consequences of the war themselves, like in "The Storm" or "The Avatar State". But he never interacts with war victims on his own initiative). The only time he took part in military operations was at the North Pole, where he destroyed ships. But that's all, otherwise it's as abstract as possible. Even during the invasion in Book 3 he doesn't participate in the battle and only has to defeat one dude, meh

And since he's the main character of the story, there's the most such abstract episodes, at least in Book 1. This creates the feeling that the war lasts not a hundred years, but about five.

Indeed, if the war had just begun, many things would make sense. Why, among the many victims of war, is only one person blaming the avatar for his disappearance? Because the war has just begun and people haven't yet lost hope. Why do many cities on the border with the FN still have comfortable living conditions? Because the war has just begun, the enemies haven't yet had time to destroy their settlements. Why does ending the war depend specifically on defeating the Fire Lord, and not on careful, painstaking work on mentality and diplomacy? Because the war was the initiative of only one person and didn't have time to influence the minds of generations. That is, if you change Ozai to Sozin, the avatar's mission for the entire series will become logical.

But here's why Aang is bad as the main character: it only works when the world adapts to his actions, mentality and conflicts. He needs to save the weak and defenseless Katara in order to at least somehow invest himself in their relationship and give her something as a partner. Katara needs to expose herself to fire and forget that she's a waterbender to provoke Aang's guilt. The world has to create a lot of deus ex machina for Aang to actually reach the end and defeat the Fire Lord (the avatar state itself, Katara's spiritual water, lion-turtle). He has to pretend the world isn't in agony in order for his shallow mission to take down one dude to have any weight.

Moreover, the further the other characters are from Aang, the more alive they become.

Why is Zuko's arc so good? Because it exists separately from Aang and reveals the character on his terms. Why are episodes centered on Katara and Sokka good? Because they throw Aang into the background and reveal the realities of the world as they are.

That's why I don't believe in him, no matter what conflicts he has. After all, no matter what he feels, it all exists separately from the world in which he lives. And for him to start working as a character, he has to adjust the environment to suit himself, which creates a feeling of theatricality and decorativeness

#atla #avatar the last airbender #atla critical #anti aang #aang critical #critical meta

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neoplatinum · 1 month

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north and south poles | minatozaki sana

summary: sana wonders, are we not the two sides of the magnet?

pairing: childhood-friend!sana x fem!reader

wc: 3.3k

(side a: we can't be friends - ariana grande)

when sana's seven, her mother explains the cardinal rules in life. that boys and girls are polar opposites, like two sides of the coin, or like left and right. boys and girls are like the north and south poles of a magnet. and for a long time this holds true.

boys like to play rough, kick dirt over each other, chase after poor cats in hopes of catching them, or smack each other in the head. it's all a bit too gruesome for sana. she never did like watching them play, it felt like they were fighting. boys are like boxing matches, competing for a top winner. but girls are different.

girls are gentle, they play with dolls together, creating groups to play house or sliding down slides, and everyone cheers each other on. girls also like sharing cool things they found: cute rocks, rings, and toys. girls are like gentle waves crashing against the beach.

sana makes this distinction very early on, boys are boys and girls are girls. there's no in between for a seven year old sana. and life gets explained to her pretty easily by her mom. be a pretty girl, and you'll marry a good man who'll protect you and your family.

but her mother also told sana that you were a rowdy kid. a girl that played with the boys; you liked kicking dirt at the boys, chasing cats to catch them, or smacking each other in the head. but you were a girl, you also liked playing with dolls, and sliding down slides. you especially liked cute rocks, so you were someone she needed clarification with how to categorize as a kid.

so she asked her mom about you.

"oh her, she has no manners. her parents probably don't have enough time to teach her all that. they're both always so busy at work." her mother's chopping onions as she speaks, not lifting an eye at sana. and little sana rocks herself back and forth in the kitchen, a little confused by her own mom.

she's met your parents, they were nice people. offering royal milk tea to her, even if she wasn't allowed to have it. they always gave sana first pick for dishes they made, always. and like them, you often gave her parts of your lunch whenever sana was given too little.

and when sana enters middle school, this cardinal rule starts to shake a bit. boys are boys and girls are girls, but you are a girl, with boy-ish tendencies.

you liked playing rough with fuji, throwing dirt at each other even if it stained each other's school uniform. you liked shoving bigger boys when they were mean to girls, even if you had a black eye and sana had to rub a hard boiled egg over it.

but you were also as gentle as a girl, you held sana's hand gently whenever she wanted to walk along the rock wall, balancing on the ledge. you also helped blow and wash off sana's cuts whenever she scraped her knee in dance. just like how her mother does it.

you were the in between, and in between's don't exist in her mother's cardinal rule. when her mother and father sit at the dinner table and sana's mother asks her which boy in class she thinks is cute. sana doesn't think of any boy, but she thinks of you. you with your rough exterior with the older boys, but gentle and soft to sana, always.

"fuji?" her mother asks her. and sana thinks about fuji, a dependable friend in her life. a boy that is also gentler, although sometimes she thinks he's too loud during basketball. he shoves harder than you do, when you three play tag together. his hands are more rough, he towers over sana and really she sees him like an older brother.

sana thinks fuji is exactly the guy that her mother would like for her to marry.

"yeah, i think so." but sana really doesn't think so, her mind drifts off to your long hair and your soft shoulders.

when sana's twelve and excited to go home with you after the sga meeting, fuji confesses to her at the back of the school. he presents to her a letter. and through it all, the only thing she could gather was that sana was the prettiest girl in their class, and she has the prettiest smile.

all these compliments feel nice, but it doesn't stir her like you do. when you tell her that her hair is pretty today or that the bow she chose to match her shoes makes her look look fashionable. she stands by the wall, hands behind her back and staring at her shoes. all she can afford to do is nod at the words.

she knows this much, fuji is nice enough. he doesn't kick her chair like some other boys in the class; he always lets her walk inside the sidewalk when there are cars. so when he asks for a first date, she agrees, not letting her eyes look up at him. he walks away relieved, but sana can't feel anything other than a weight in her stomach.

another cardinal rule her mother told her is that lying is wrong.

so she asks for your opinion, and as she stands by your desk, watching you peacefully take a nap. she thinks about just ripping up the letter in her hand. she readies herself for the best performance of her life. to ask you a question that's self-indulgent. if you'll be her first kiss. and just like that she broke another cardinal rule, lying to you, but mostly to herself.

she thinks your lips would be soft, smelling like that cherry lipstick you like so much. and when you do kiss, she feels like she's floating. your hands are soft, when they cradle her jaw. moisturized with that cherry hand cream she gifted you. your hands are smaller too, they fit her head nicely. and most of all you're gentle. you pull apart, and sana nearly falls forward, body leaning into the kiss.

you stare at her in expectation, and panic surges through her body. you aren't fuji, you are the girl that's always played rougher than other girls. a girl that'll always give her 100% during class sprints, while all the other girls lightly jog. and the first thing she can think of is that she wishes you were a boy.

so she say's the exact words that tear your heart apart.

“wow yeah, that was good.” sana fiddles with her school skirt, “i wish you were a boy, you’d make a girl very happy kissing her like that.”

sana says that, but she watches as your eyes fall, hand dejected, and she can't help but feel like everything she knows about love is wrong. you don't say anything, so she leaves, closing the sga door behind her.

eyes welling up in tears as she thinks about how wrong this all is. if only you were a boy. she sinks onto the floor and cries into herself. when sana goes on the date, and fuji kisses her at her doorstep, she thinks of you. how he has to bend down to kiss her, and it all feels so wrong. later that night she starts a pros/cons list between you and fuji.

the only thing she has written for fuji is that "mother would like him." she tears the sheet of paper and tosses it into her waste basket.

when sana's eighteen and talking to her friends about boyfriends. all they have to say is that sex is amazing. they all talk about their first time and when they ask sana of what she thinks, she confesses that she's never done it.

"doesn't fuji ask you to?" one friend asks.

"no, he doesn't." the girl looks at sana weird but then shakes her head quickly.

"some guys are like that, they might not want to do it yet." she comments and then the conversation shifts on to talk about the latest school gossip.

sana's quiet for the rest of the week. she thinks about it, sex with fuji, and all she can do is groan. it's the natural progression of a relationship, but she feels like it's a weight in her stomach. that same weight she felt when he confessed to her.

so she does what she naturally did next when she was twelve; she finds you. she hasn't visited your house in years, it's still the same, even though there's a new door that she doesn't recognize anymore. and when she rings it, she finally sees you up close after so long.

she thinks about what she came here for in the first place. oh right, sex with fuji. so she comes up with the best excuse she can, that fuji wants to have sex. she knows its absurd, she's lying through her teeth, none of the reasons makes sense.

but the way you look right now, she can't think of anyone else she wants to have sex with. it stirs low in her stomach. her wanting you, so she lets a bit of truth in her lie.

"i need you to be my first, i want you to be. it can't be anyone else." sana is firm, but you look conflicted. eyes flitting all over the room. debating your morals.

she grabs your hands. eyes with want as she stares at you, and then you say yes. and suddenly the weight is lifted. sana feels like she's floating again.

when you pull her into your room, she feels like she's invincible. this room has always been so safe, and the way you stare into her with want, she thinks she wants to stay here forever in your arms.

the way you ask for permission, the way you constantly ask her if this is what she wants. asking if she's feeling good, gentle hands smelling like cherries that slip off her clothes. she thinks she'll stay naked like this forever if you asked her to.

her mind fills with you, shouting your name into the night where only you two exist in this world. she thinks this is right, this is what love is all about. this little bubble lasts only a night.

weeks later, she proposes sex to fuji, and he nods adamantly. like a horny teenager boy, which he is. but it all feels so off, even though she know's that he'll never cross boundaries. his hands feel too rough, he's too fast and he never asks sana how she feels.

sana feels the emptiest when she thinks back to how she thanked you when she left your room, when all she wanted to say was "i love you." and cherish you for the rest of her life.

when sana's nineteen on her birthday, all she can think of is how she hates fuji's arms around her shoulder. how you stare at the arm like it's the most offensive thing in the world. and sana agrees too, it is offensive, so she shoves it off, playing it off like she has an itchy shoulder.

she smiles at the way you relax back into your seat, like you staked your claim on her. it makes her feel wanted by you. even if she knows its wrong that you kiss her messily in the bar bathroom five minutes later, she feels like life is right.

when sana's twenty, bored out of her mind in her apartment with fuji. she thinks of you, she often does anyways. eyes wide when she comes up with the best plan. she purposely fights with fuji, calls him too suffocating, watching tears roll down his eyes, and she feels bad. she really does, she hates seeing him cry because of her, but she needs to get away.

so she calls you, bags packed and waiting by the door. her heart leaping in her chest when you knock on the door. grabbing her bags and asking her to stay in the car. giving stern words to fuji before finally leaving together. away from fuji.

sana stays with you for weeks, waking up and sleeping next to you. always attached to the hip, just like magnets. she lets herself believe this is her life, living with you, being with each other forever. she fits perfectly in your hold, as well as you in her. she always tells you she loves you, but only after you fallen asleep. she whispers it into your ears like they'll be heard. like a spell she put you under.

she doesn't think about fuji until he texts her much later, asking if it's okay to meet up and make up. so she goes back, feeling awful about letting her boyfriend believe she's mad at him. she avoids you for months to not feel the guilt. but it eats at her every day.

when sana's twenty-four and enjoying a stroll in the city with fuji. he proposes to her, with both their families around for the surprise. as she listens to him, one knee up, professing his love for her. she looks at her mother, her mother with happy tears in her eyes and she can't find herself to say no, so she says yes instead.

wedding planning is fun when she thinks about it as a wedding with you, so the best she can do is ask you to be her maid of honor. she presents to you the wedding invitation in your apartment. talking your ear off about how happy she is, watching you get more and more upset.

just waiting for you to tell her you want to run away with her, to elope together. move away and change names and live in europe together. she lists off all the things she can think of that a girl would like in a wedding, but you never ask her to run away. she knows its selfish, to want you to pull her out of her life, she just can't find the courage to pull herself out of it.

you show up to the wedding, in a gorgeous dress that she thinks that she would marry you in right now. you give a speech about how you, fuji, and sana all met. you talk with so much passion in your voice. she thinks that you might actually be happy for them. sana cries tears out of despair, maybe you really do think sana loves fuji. but she's in love with you.

when you make an analogy that fuji and sana are like magnets drawn to each other, the whole crowd awws, and sana feels her heart break. thats how she sees you and her, a perfect match. the rest of the wedding becomes unremarkable to her.

when you disappear, sana searches for you: eyes wide and frantic. calling up all your friends and family, but they all say the same thing, "she said she's going on vacation for a while, soul-searching?"

sana visits your house everyday, waiting for you to show up like hidden treasure. ever since she's found out she's been pregnant, she's been trying to find tell you about it. you should be the first to know, but you don't show up until a month later.

and when sana wakes up to the sight of you, it's like she's whole again. she walks away from that conversation sadder than ever, you don't drown in her eyes anymore. hands shuffling and changing positions often as she explains about her new incoming newborn.

when sana's twenty-five you walk out of her life. after the long labor and intense pain she went through, out came her little baby girl. wailing and crying at the introduction of the world, fuji's trying to wipe down sana's sweat and calm her down, but sana's drowsiness leads to her calling out your name instead, fuji think it's strange but doesn't comment on it. she sleeps for a long time.

when she wakes up to fuji excitedly telling sana that you are visiting. she tries her best to smooth out her hair and her heart rate jumps at the news. so she gets ready for you to visit her.

she thinks she'll name her daughter after you, the same girl she's so in love with. when she proposes the idea, you shut her down. she's never heard this tone before, so harsh and so mean. but she deserves it, the same way she knows she deserves all things bad to her when you look so dejected every time she leaves. she needs you by her side, she can't do motherhood alone with fuji, she doesn't think she can do life without you.

but then you say it, words that make her feel like her heart got pulled out of her chest. you pulled it out. you're moving away, a whole different country, a whole life without sana. and you want to, be away from sana. she can hear it in the way you say it, the way you stand up from the visitor's chair, having only sat there for a minute. the way you walk out of the room. you would have kept walking out had fuji not stopped you.

and sana's angry, after all this, you walk away. she can't tell who she's angry at anymore. angry at you, angry at fuji, angry at her mom, angry at the world. and she lands on it, she's angry at herself. with hot tears running down her face, you look back one more time, and you still leave. like you just double checked that it is exactly what you want to do, leave sana all alone.

when sana's thirty and thinking, "yeah, i am okay after all this time." she isn't. because her little girl has just run into you. and nearly hit her head, falling back. but with gentle and caring hands, you stand her back up. asking her daughter if she's alright. and as her daughter runs back to sana, sana can see you for the first time in five years.

your hair is longer, you look more tired, more lines on your face. but your eyes are still so wild, familiar eyes that she's found herself dreaming about for years. for five years to be exact, she dreams of you returning. so you walk up to sana and fuji, calm and collected about seeing them after five years.

but sana's panicking, like she's seen a ghost. you basically are a ghost in sana's life, she's been wondering lately if you really have been there in her life, if not for photos she really wonders if this is all a dream.

a dream that comes crashing down, you pick up a small girl, she's younger than sana's daughter. but she's got your wild eyes and cute nose. and sana thinks that she could die here. right now the rug could be pulled out from under her and she wouldn't utter a peep.

you have a daughter, and a wife. a gorgeous wife who smiles at you like how sana used to. and her eye line follows, you look your wife with the same passion of when you were both eighteen and far too stupid to understand anything in the world. you look at this woman like you used to look at sana.

"it's been a while." sana's voice cuts in. she needs to hear your voice after so long.

"yeah, i guess it has." you reply, finally looking at her after so long. sana gulps, willing the tears away. you sound the same, lighter than your last conversation, like you've made peace with it.

"honey, you're crying." fuji says wiping away sana's tear and you smile at that. like you've finally accepted fuji as her husband.

"oh i didn't notice." sana laughs, rapidly wiping her tears away. she's embarrassed, here she is thinking that you still love her, but you don't. not anymore.

sana tries her best to talk with fuji and momo. them talking about their line of work and interests. but sana can only stare at you.

eyes wide open.

a/n: i think im actually evil for writing this. like no joke. but anyways!! stay safe and stay healthy everyone!

#sana x reader #twice sana #sana twice #minatozaki sana #sana minatozaki #twice x you #twice x reader #twice #kpop imagines #neoplatinum

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goingbuggy · 9 months

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What is Buggy's Endgame? A Post-1082 Analysis

Since the release of chapter 1082, we’ve gotten more insight into Buggy’s character than ever before, especially regarding his dreams and thoughts on past events. So, given our new information, I thought I’d revisit Orange Town Arc to see if 1082 re-contextualizes anything. What’s in the cards for Buggy as a character? What direction does Oda plan on taking him in?

To give you my answer, let me begin in a bit of a random place: the relationship between Shanks and Buggy.

From the moment Oda first introduced their relationship in chapter 19, Shanks and Buggy already solidified themselves as character foils. Their first panel together is literally a fight over whether the North or South Pole is colder, which is pretty on the nose if you ask me (sorry… I had to). Their red-blue color contrast is also pretty self-explanatory; although green is technically red’s complement, red and blue are often used as visual “opposites.”

Beyond all that surface level stuff, though, what makes these two foils of each other are their opposing values. As a pirate, Shanks wants to “make time to see the world." He has no sense of urgency and no inherent desire to conquer the world — at least, not right away. Buggy, of course, calls this a “soft way of thinking.” Unlike Shanks, he views treasure as the sole purpose of being a pirate. And not just any treasure, but material wealth, gold and jewels which "make its possessor a king."

Shanks and Buggy’s contrasting viewpoints also embody the underlying themes of Orange Town Arc. One man's trash is another man's treasure, and Oda takes great care to emphasize this point, from Chouchou to the mayor.

Luffy's hat ends up taking center stage in Orange Town, however, which I think is a great decision. The straw hat is what tethers Luffy and Buggy to Shanks. It's a weighted symbol, one that helped shape both of their characters — albeit in antithetical ways. Thus, when it’s used as a tool to explore their relationships, it works really well.

Take Luffy, for example. In his youth, Shanks was a pillar of support, friendship, and sacrifice; the straw hat is his treasure because it reminds him of Shanks, but also because it symbolizes what Shanks gave up for him. He owes his life to Shanks, but he uses that gratitude to fuel his own ambition, and to hopefully reunite with Shanks one day as a great pirate.

Shanks allowed him to go after his dream. Luffy knows this well.

Now look at Buggy. He sees the straw hat as worthless, and it’s clear why he does: it’s a painful reminder of the dream that Buggy gave up on, a representation of everything he lacks in comparison to Shanks. And to add insult to injury, Shanks gave that straw hat away to what Buggy sees as an insignificant kid. Of course that would hurt. Seeing Shanks give up Roger’s legacy so easily, abandoning his potential to become Pirate King, when that’s all Buggy ever wanted in life… I mean, wow. It's an amazing role reversal. Buggy gave up on his dream for Shanks, but Shanks gave that dream to Luffy instead.

I think 1082’s context adds some much-needed character depth, and explains a lot of Buggy's rationale. We know Buggy does not value sacrifice or friendship like Luffy does, nor is he the type to go out on a limb for someone. He’s greedy, manipulative when it suits his interests… I could go on forever. So to see that Buggy once sacrificed his own dreams for the sake of Shanks’ — only to have it backfire — makes so much sense. Of course he became a bitter, cynical, and selfish adult. One of the people he believed in most broke his unwavering trust, and he never healed from that experience. (Not to mention that this happened directly after Roger's execution. His faith was already shaken, and it was just one heartbreak after the next.)

The impact of that betrayal only feeds into his greedier tendencies; Buggy is a character who keeps things close to his chest, figuratively and literally. He learned to fear trust, and it shows. All of his adult relationships (Alvida, Galdino, Crocodile, Mihawk) are strictly rooted in business and mutual, self-serving interests. Nothing more.

Just take a look at Buggy and Luffy's reactions to the Bara Bara no Mi story. Buggy can only focus on the things he lost, instead of what he had: a friend who was willing to jump overboard for him in a heartbeat. But Luffy, a character who values the people he loves, obviously has a different perspective. He concludes, “So Shanks saved your life?” Where Luffy sees hidden treasure, Buggy sees nothing but loss.

So why am I bringing this all up? Well, I don’t find it surprising at all that two of Buggy’s most prominent arcs — Orange Town and Impel Down — emphasize his struggle between selfishness and altruism. The internal conflict is played off as a joke in Impel Down, but Buggy has always been simultaneously comedic and complex. He actually parallels Luffy in that sense, but that's another meta for another day.

The position Oda has placed Buggy in is rife with potential. He's now closer than ever to the things which would fulfill his materialistic nature: the One Piece, Captain John’s treasure, and the title of Pirate King. Yet, at the very same time, he's closer to one of his most honest connections in life: Shanks. If there was ever a time for a character to be forced to make a fateful choice, I’d say it’s right about now. People have been wondering why Oda made Buggy a final contender for the One Piece. Why has he “failed upwards” for so long? Comedy aside, I think the answer is a lot simpler than we’re all making it out to be: Buggy’s story just isn’t over yet.

Oda still has something he wishes to impart to readers, and he clearly believes it will be told best through Buggy’s character. Based on what we know about Buggy — his greed, his guilty conscience, his past with Shanks — I think that story will lead his character to some very interesting places.

Do I think Buggy is going to have a change of heart? Maybe, maybe not. In that regard, he’s already been in a gray area since Impel Down. I wouldn’t be surprised if he accidentally ends up allying himself with Luffy again during One Piece’s conclusion. But with the Cross Guild putting bounties on marines, a (potential) three-emperor interest in going after Blackbeard, and an open-ended Shanks-Buggy plot thread about going to Laugh Tale... Well, there's a lot of places this could go. Would Buggy be willing to give up the greatest treasure in dire circumstances? For Shanks? For the world? Will he become king, and then lose it all? Will he make a sacrifice that parallels Shanks' when they were kids? Who knows!

What do you guys think? Is Buggy going to play a larger role in One Piece’s third act? What is your ideal conclusion for his character in the story? I'd love to hear your thoughts.

#can you tell buggy is my favorite character #this was definitely overkill #but in my defense oda started it when he dropped 1082 #that shit was cooking in his drafts for a LONGGGG TIME i just know it #one piece #long post #op meta #one piece meta #buggy #buggy the clown #monkey d. luffy #luffy #shanks #red haired shanks #buggy one piece #op buggy #character analysis #meta

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apollosgiftofprophecy · 5 months

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ToA Theory 1 - Apollo's Waking Visions

First official theory post, here we go! :D

Alright. So. After rereading The Dark Prophecy, I started wondering about something. In TDP, Apollo experiences waking visions, where he conks out for a bit and has prophetic visions.

I found this interesting because, well...isn't Apollo supposed to be cut off from prophecy? With Python back in control of Delphi?

Because think about it. Python controls Delphi, the root of all earthly prophecy. This would include Dodona, Trophonius, Herophile, and Sibyl - sure, they aren't strictly connected to Delphi, but it's pretty heavily stated that Delphi just straight-up Makes The Future. It's prophecies are The Big Deal and you Should Listen.

Meanwhile the other Oracles seem more guiding and "beware!" instead of "this is how it's gonna be".

(sidenote: found out there are MORE oracles and I wanna know WHERE THEY ARE IN RRVERSE CANON because I want my boy Branchus okay??? Okay. Branchus's oracle was second only to Delphi let's give Apollo's first boyfriend the attention he deserves!)

So of course, like all great members of this fandom, I started thinking.

Let's do a little family history first. ;)

Buckle up. We go down a deep rabbit hole 😎

Apollo and Artemis are twins, born to Leto and Zeus. Zeus's parents are Kronos and Rhea. Leto's are Koios and Phoebe.

Rhea has connections to Dodona, as we learn in-series, but she doesn't really seem to be all that involved with prophecy.

Her siblings, meanwhile...ho ho ho, they are a WHOLE NOTHER STORY!

Let's start with Phoebe. Phoebe, like all first generation Titans, is the daughter of Gaea and Ouranos. She married her brother Koios. Her children consist of Asteria, Lelantos, and Leto. As well as Artemis and Apollo, her other two grandchildren are Hecate (Asteria) and Aura (Lelantos).

Her name means "bright" and is the root of Apollo's most famous epithet - Phoebus. She is often described as "golden-crowned" and is the Titan of bright intellect, the overseer of Earthly Prophecies, and is the second guardian of Delphi, after her sister Themis. She gifted Delphi to Apollo for his birthday after he defeated Python.

Classic grandmother move.

Anyway. There's a bit of Phoebe lore. Time for her elusive husband :3

Koios. His names means "question" or "questioning", probably because he's the Titan of inquiring intellect. He's also the overseer of Heavenly Prophecies, and has an oracle up in the North Pole guarded by an earth-dragon - you'd know this serpent by the name of Draco, the constellation btw. Additionally, Hyperborea (where Apollo goes in the winter times) is part of his domain.

eyes

Unfortunately, we have very little mythological lore on these two, and even less in the RRverse (I cling to that one (1) Koios scene) which sucks because I love them already BUT it does give me lots of legroom to mess around with canon >:)

Back to the theory now. As you may have guessed, I'll be taking us in a direction concerning Apollo's mysterious grandparents. But what does this have to do with Apollo's visions?

Well. Remember when I mentioned that Delphi is the root of all earthly prophecies?

...look at Phoebe's paragraphs. She's the overseer of Earthly Prophecies, right? So it makes sense she's been affected by Python's takeover too.

(if you've read my fics you'd know this already lmao)

Asteria, Apollo's aunt, is a little trickier. She, too, has a hand in divination, but mainly through the night/stars and dreams. <-will come back to that later.

Koios, again, is overseer of Heavenly Prophecies, and is heavily implied to be able to commune with Ouranos's spirit. This is, apparently, a Big Deal because nobody else is mentioned to be able to do this.

...Except...remember this throwaway line in The Hidden Oracle?

^Apollo can see Ouranos too.

Within this theory is a sub-theory, so to speak - that immortals with the gift of prophecy can see Ouranos, since they can see what cannot be seen. This would include Phoebe, Asteria, Koios, and Apollo.

And it'll make sense why they'd keep it to themselves. Kronos wouldn't have been happy to hear his dad was still around. Neither would Zeus, for that matter.

So here I was. Contemplating. Wrote a few fics based around this idea. And one in particular got me thinking (fic in question being When The Stars Align), and a little ways down the road I realized something.

If Phoebe, the overseer of Earthly Prophecies, would have been affected by Python's takeover...was Koios? Could he even be affected?

Because here's the deal: Koios is the overseer of Heavenly Prophecies. Prophecies from the Sky.

Phoebe's are of the Earth - the Earth that Python has taken control of. And Delphi is the root of Earthly Prophecies - not Heavenly.

That would be Koios's oracle, up in the North Pole with Draco.

...So that means Heavenly Prophecy must have still been in business during ToA.

But then comes the question: If it was still within the gods' control, why didn't they use it?

Well...Draco's there, for one. He's probably the Python-equivalent of the North, and clearly he's still there since no myth has spoken of his death (that I know of).

If you ask me, I just think the gods are too nervous/afraid to try Koios's oracle. They were too scared to face Python, after all, until Apollo arrived. I think they'd be scared of a serpent who comes and goes from the stars as he pleases.

And as for why Apollo hasn't done anything about it...well, I think his fight with Python left him rather scarred, don't you think? He probably went "yeah grandma's oracle is enough" and the only time he ever got close to Koios's was during his time in Hyperborea.

So getting back to the main theory now. (So many rabbit holes to dive into with this post. The ADHD Urge is real)

Since Heavenly Prophecies is still active, but Earthly is in Python's control, I conclude Apollo's visions come from the Heavenly source.

Could they have come from the now-working Dodona? Maybe. But Dodona's all about those windchimes and trees. It doesn't have the Vibe, so to speak, for granting visions.

And remember. Trophonius, Herophile, and Sibyl aren't destroyed/freed yet. They have Zero connection to Apollo at this point because Python cut him off from them.

...but he didn't from the North. From Koios's divine power.

Because remember. Apollo is the god of prophecy.

Not of Earthly Prophecies, like Phoebe.

Not of Heavenly Prophecies, like Koios.

Not of nighttime divination and dreams like Asteria.

Of. Prophecy.

Prophecy as a whole. The entirety. The whole enchilada.

Every part of prophecy he's the god of, be it tarot cards to the Oracle of Delphi itself.

In my opinion, I think whatever Koios's Oracle is, it has just as must power as Delphi. The only problem was that...everybody just left it be. Nobody considered it because:

1) scary dragon

2) scary titan ruled the place

3) honestly at this point I think it's just straight-up forgotten about. Like Branchus's Oracle. I think at one point Apollo himself mentions there are other Oracles besides the ones in-series, but there's so many that his mortal brain cannot comprehend how many.

If the Grove of Dodona nearly faded into obscurity, then I think it's entirely possible Koios's Oracle was forgotten about (or so we think...I'm gonna be chewing on this for a while.)

Coming back round to TDP...I think this is a reasonable explanation about Apollo's visions. To summarize:

Apollo is cut off from Earthly Prophecy, his usual source of foresight that he gets from Phoebe

The unused, near-forgotten-about Heavenly Prophecy side of Apollo ignites to steer him on the right path

This is possible because Apollo is the god of prophecy itself, and not a single subset of prophecy, so he's not limited in the same way Phoebe is

Koios's Oracle is still out there and kicking and I will die on this hill

One problem. What about Asteria? She can interpret the future from the stars...aka the Sky. Like Koios. So couldn't she provide some insight to the future, since she, too, is connected to Heavenly Prophecy?

This is where things get a lil' tricky. And where I really slap on my tinfoil hat and start headcanoning my way through lmao

Basically, I think that since Asteria became the island of Delos (long story) a good chunk of her power is ingrained there. She's not as strong as she used to be, so her foresight isn't as strong.

This, in turn, I think could also serve as a reason why Koios's Oracle is "asleep" so to speak and nearly lost to memory in the RRverse - in fact, I think Asteria and Phoebe are the only ones who bother to remember its existence.

And Leto, of course. But I don't think she wants her son to know of another Oracle with a giant snake guarding it. She's had enough heart-attacks, thank you.

(Same with Lelantos, tbh.)

Canon is my sandbox and I am making some sweet sandcastles out of it XD

TL;DR

Apollo's visions in TDP stem from Koios's source of Heaven Prophecy because Phoebe's source of Earthly Prophecy (Delphi) has been taken over by Python. Koios's source firmly knocks on Apollo's mental doors and decides to kick back into gear to help its titular patron's grandson out. Because Apollo is the god of prophecy itself - every bit of it.

Extras:

I find it fascinating how magic and prophecy are both part of the same family tree (Hecate & Apollo).

and yes. You should expect a fic concerning Koios's Oracle at some point. but no promises on when :3

Thank you for coming to Insane Theory Time With Alder. I hope there will be more lmao

Websites you can look into:

Koios (Theoi)

Phoebe (Theoi)

Hyperborea (Theoi)

#toa theory #ramblings of an oracle #the trials of apollo #trials of apollo #toa #apollo #phoebe the titan #koios #asteria #python #pjo apollo #pjo koios #pjo asteria #pjo python #toa python #toa apollo #pjo hoo toa #percy jackon and the olympians #the heroes of olympus

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pickastitch · 2 months

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please tell us your shinyduo thoughts abt sun moon symbolism :0

okay so it all starts in esmp s1 where pearl has such heavy sun imagery and gem literally builds a moon so that one is pretty obvious

and when we get to hc s8 they literally have matching horses with gem's being named sun and pearl's being named moon

admittedly, hc s9 is more vibes based, but eleven seem so much more sunny to me in contrast to pearl's alien themeing where a large majority of it was trapped underground. most people just associate moon with darkness, so bam gem is sun and pearl is moon

now esmp s2 and this one is tricker than the others. in my head they are both the sun which is why they practically never interact. it's like trying to connect magnets by both of their north poles

sl is an outlier to me where they break this pattern of one being the moon and one being the sun imo. some people believe that pearl is the sun and gem is a sunflower, but i like to think pearl is simultaneously the sun and the moon with gem being akin to icarus. here is a very non structured brainrot post

we finally get to hc s10, and immediately we are hit with 'morning sunshine' from gem. she wants me dead. but also, building off of that pearl went for a very peaceful farmhouse as her starter base with farming normally being associated with daylight/the sun. we have a dredge theme from gem which has a daylight cycle in it, and during the night is really when you start getting the horrors. she already has touches of that (floating fish), so following the logic of that game she has been fishing at night and thus moon

the part that gets me the most is how consistent the themeing is and just how close both of them are. most smps have pretty good evidence for gem and pearl being connected to the sun and moon with a few outliers (looking at you nlsmp)

now time for the actual theorizing, like i mentioned in the esmp s2 bit, it's almost like the sun and moon are opposite poles of a magnet. i don't believe they are soulmates, they can live without the other, but when they are in proximity, you bet that they will be inseparable

so they both have been represented by the sun and moon, and i propose that pearl is the embodiment of light, while gem is the embodiment of void. why do i think that? well, pearl's is the easiest to explain with her saint pearla stuff and how her named both have aspects of light in it. pearlescent describes the surface of an object, and both being able to see if something is pearlescent and to see the moon requires light to bounce back into your eyes

now gem as the void, hear me out. her constant connection to the end/endermen/ender dragon. also the connections of gem and traveling across worlds where the thing in-between them is void (see s9 botem ending). with the most solid piece of evidence being hc s10 where her themeing is ocean/water horrors. and the most common reason people fear the ocean is how vast and unknowing it is. like a void

this is great and all, but how does it link back up with sun and moon? they are opposites of each other and their sun and moon themeing is just one way that is expressed alongside light and void. because of how different they are, it makes them more attached to each other. something something opposites attract

#erm wow this was a lot longer than i expected #geminitay #pearlescentmoon #shiny duo #hermitcraft #empires smp #also if you have any new/different ideas regarding this i would love to see them #sage answers questions !!#*squinting eyes* is this even legible #also also i do have a more fleshed out 'gem is the void' post in the works rn so just be patient

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marshmallow-rainbow139 · 10 months

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Things Anne Wayne has said to the Justice League

“Honey, why does everyone think you’re vampire?”

“Clark, could you be a dear and fly to the roof and get Dick’s ball?”

“Diana, could you bring me to your home island? I need a vacation from the boys.”

“Barry, I will give you a hundred bucks if you get me a croissant from a bakery in Paris!”

“So, where are you from? Is that place on earth or another planet?”

“Please, Mrs. Batman is my mother-in-law!”

“J'onn, if you can’t handle the heat, you can come to the batcave; it’s the most freezing place on earth after the north and south poles!”

“Ollie, what do you do with your arrow after battles? Do you go pick them up, or do you just leave them there?”

“You met Alexander the Great? Can you help my son with his history homework? He has been having trouble with it.”

“How do you keep your wings warm during the winter?”

“Clark, I assure you these are glow-in-the-dark rocks, not actual krypotanite.”

“Your archenemisis seems interesting. My husband’s archenemy is a clown!”

“Bruce, you’re not bringing that to the batcave!”

“Gosh, I wish I could post a picture of space on Instagram! This view is magnificent!”

“You know, being able to fly or run fast seems good for the environment!”

“Yes, I can help you court a female human!”

“Constatine is a bottom! He dated King Shark! Ain’t no way he’s a top!”

“How many times has Earth been invaded? What’s so special about us?”

“So, Zatana, the house of mystery is like Howl’s Moving Castle?”

“Did the chair just speak? Am I sitting on Plastic Man?”

“Hey, Captain Marvel! Can you charge my phone? I forgot the charger on earth!”

“I would make a comment about the teenage sidekick, but that would make me a hypocrite.”

“No, Barry, Bruce is not a vampire.”

#batman #batmom #Anne Wayne #bruce wayne x oc

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nonsensicalramblings79 · 7 months

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The Rime of the Ancient Mariner and parallels in OFMD

2.7k word meta

If you haven’t read my other post about why I’m talking about albatrosses in the first place, read the first part of this and come back! All of this will make the most sense if you read all of the parts I’ve written – I’ve split them up for ease of reading, because holy shit this is long.

TWs: animal death, blood, eating animals, starvation, emotional abuse, physical abuse, gunshot injuries, suicidal ideation, canon-typical mental health problems

MAJOR OFMD SPOILERS THROUGH S2E03

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Let me start out by saying that yes, this is anachronistic – this poem wasn’t written until 1798. I also don’t care: Oluwande is wearing crocs, Stede’s “corpse” is crushed by a piano whose maker won’t exist until 1863, Blackbeard’s got his whole leather-daddy getup, Zheng Yi Sao won’t be born until 1775 – OFMD plays fast and loose with historical accuracy, and I am never going to dismiss an OFMD theory because the timeline doesn’t match up :P

Now that that’s out of the way, a little bit of background information. Long summary incoming.

The Rime of the Ancient Mariner is a poem written by English poet Samuel Coleridge. The story is told through the words of the mariner, who has recently survived some horrifying ordeals, soon to be told to a poor unsuspecting stranger who just wants to attend a wedding. As the story goes, the mariner set out with his crew of 200-some-odd men, and everything’s going just peachy until some storms pick up and drive them toward the South Pole. Stranded and lost, the crew fear for their lives, until an albatross appears. At the same time that the albatross appears, the storms clear, the helmsman is able to make their way through the ice of the South Pole, and a southern wind picks up, pushing them back north. The albatross follows the ship, but the mariner believes that it is somehow responsible for the mists and fog that now surround the ship, so he shoots the bird with his crossbow. At that point, the fog and mists actually do clear up (by coincidence or otherwise) – and the crew praise the captain for taking down the bird.

But it’s a fickle crowd – soon the wind stops blowing, and the ship is becalmed; the crew blame the Mariner for killing the bird that had been their good luck. They sit in the middle of the ocean for days or weeks, dying of thirst. They cannot even speak, they’re so thirsty – but they make sure that the Mariner knows that he is to blame for this by tying the albatross’s body around his neck and forcing him to wear it like a grotesque necklace. Eventually, everyone on the ship except the Mariner dies (there’s a bit here about Death and Life-in-Death rolling dice to see who lives and who dies – the important part is that none of the crew survives).

Finally, the Mariner is left alone on his ship of corpses, which strangely do not smell or rot. He wishes he could die, but he doesn’t. During this time, he begins to appreciate what there is left to appreciate – the life around him in the ocean, in the air, “all things both great and small” – and the curse is lifted from him. The albatross detaches from around his neck and sinks into the ocean.

From this point on, the story goes about as you’d expect – the curse being lifted, the wind picks up again, setting the Mariner speeding back home (though, perhaps unexpectedly, his crew gets to come back as zombies for a short while to man the ship until it reaches land again, at which point they die again. RIP). As the ship is coming upon the Mariner’s homeland, it sinks like a rock to the bottom of the ocean – a hermit happens to see the Mariner floating out there and comes to pick him up, thinking he’s dead. When the Mariner opens his eyes, the hermit believes him to be the Devil himself (I mention this only because I think the wording of “Demon? I’m the fuckin’ Devil” lines up perfectly with this).

As penance for shooting the albatross (as if all of this so far wasn’t enough), the Mariner spends the rest of his days wandering the earth, telling his story and making random wedding-goers sad.

HOO BOY, that was a lot. (A whopper, one might say.) Thanks for sticking with me so far.

Now, some of the parallels between this poem and the events of OFMD are more neat and tidy than others are. The biggest parallel, obviously, is the link between the albatross and the “impossible birds” that Ed references in S2E01 – the entire reason I started reading this poem to begin with. The links between the show and the poem are not ones that I think the characters in the show (Ed) are consciously making. I think these allusions more reflect the themes and symbols that the writers and directors want us as the audience to pick up on. Therefore, the “impossible birds” conversation in canon is not talking about albatrosses in the sense that they are commonly referenced in literature, as the proverbial weight around one’s neck that represents guilt – but we can still talk about that symbolism outside of canon.

And talk about it I will.

For those of us who have watched the show, it probably goes without saying that Ed’s got a fair amount of guilt, shame, psychological trauma, etc. that he carries around with him. So if we’re going to invoke the albatross metaphor following S2E3, what specifically can we say is Ed’s “albatross?” There are a few candidates that immediately come to mind. It could be his guilt surrounding a) his father’s murder; b) Lucius’s attempted murder; c) the abusive, toxic relationship that he carried on with Izzy; or maybe even d) himself.

That last one is a little esoteric, so let me explain. Ed hates himself – aside from all the self-destructive tendencies as evidence, he admits it out loud in his dream with Hornigold in S2E03. I wonder if the albatross that is hanging around Blackbeard’s neck is Edward – the real Edward, the one that is more than just his fame, his terrifying persona, his violence-as-a-form-of-love tendencies – the Edward that Stede fell in love with. I wonder whether Ed’s guilt surrounds more than just how he’s hurt others, but how he feels he has killed a truer, better version of himself, and that he can never regain it. In line with The Rime of the Ancient Mariner, killing this “albatross” of a better Edward didn’t just kill him – it killed everyone around him as well. And now, after he has borne the blame of others for having gotten them into this situation, he is forced to wear…himself. The guilt that weighs him down is the knowledge that there is a version of him that was loved, that Stede loved, and in his eyes, he has killed that version of himself.

I want to take a moment to acknowledge a post (or several posts) that I saw several months back in relation to season 1. In these posts [Link1, Link2], smarter people than me drew a connection between a metaphorical albatross and the black cravat that Stede gives to Ed – and that Ed continues to wear until he and Stede change into their privateering academy garb. Something both of those posts touch on is how the cravat represents Stede, and I think that is completely true; however, I posit that the cravat represents the fact that Ed is lovable.

Something that’s been pointed out in the past 48 hours since these episodes dropped is that Ed is not wearing the cravat during the first parts of season 2. Only when he essentially decides to kill himself via storm do we see him once again wearing the cravat (the cravat is also noticeably absent from the purgatory dream sequence).

What exactly this means is still shaky to me – in my mind, Ed does canonically see the cravat as a reminder of his “real” self, and he puts it away and tries to hide it while he’s still…well, functioning is far too strong of a word, but at least not actively suicidal like we see at the end of episode 2. I think hearing Izzy supposedly shoot himself is what pushes Ed over the edge into being actively suicidal; perhaps at this point, some part of Ed is still hoping against hope that he can convince himself not to do it, to wait for Stede. Alternatively, it may be that if he dies here, he wants to take the idea of a “better him” with him.

In the sense of the cravat representing the albatross (meaning the cravat presence is not a choice of the characters, but of costume design), the cravat being missing during the batshit-insane-high-on-rhino-horn Kraken era may represent him not actually feeling the guilt of losing himself during this time. He may have actually convinced himself that a lovable version of himself never existed, and he’s living guilt-free. The guilt comes back when he hears Izzy shoot himself – he’s reminded that he caused this by killing a version of himself that Izzy trusted and even loved, in his own fucked-up way. From then on, the cravat is back on – the guilt is back, and it’s strong enough to induce the kamikaze-type rage we see in the storm.

(Important to note here that while I stand by this interpretation, I’m not sure how it fits with the fact that Ed is wearing the cravat just after the Krakening – the moment when he’s looking back on the island that he just abandoned the Revenge crew on in S1E10.)

I’m leaving this one for myself to come back to later on the off-chance I have some sort of epiphany.

Oh wow, you’re still here?? Probably time for a water break. Go on, the rest will be here when you get back. And there’s unfortunately quite a lot more that still needs to move from my brain to this Word doc.

Ready? Ok.

So that’s one possible interpretation of what Ed’s “albatross” is – I won’t spend time on other possibilities because what I’ve laid out here is the interpretation that I most strongly subscribe to. But all that is only really addressing one part of The Rime of the Ancient Mariner. Granted, it’s the most important part, symbolically, but there are some other parallels that I want to address that together convince me that the writers of OFMD are actually, specifically referencing this poem.

Obviously, there’s a parallel in that both the happenings of the poem and OFMD occur on actual, physical ships, captained by the man who ends up “shooting the albatross” and being rightfully blamed for it. Both of these ships suffer because of the dead albatross – physically, both ships are taken through devastating storms, and both ships are falling apart. The ship in the poem stops moving indefinitely because of a becalming (all wind and ocean currents stopped); the Revenge stops moving indefinitely because Ed removes the wheel. Both ships suffer casualties – in the poem, everyone dies, and on the Revenge, those crew members may be physically alive, but they are haunted by it. The poem makes note of the fact that the crew died of thirst – while this doesn’t seem to be a main concern on the Revenge, the show does show us, rather graphically, that they were beginning to starve, having to catch and eat raw seagulls to survive (note that dead birds are also a recurring theme in OFMD, leading me to believe even more that albatross references are intentional).

There’s an interesting pattern in the poem concerning dead people – specifically, how they don’t seem to be entirely dead at first. Firstly, the crew that die of thirst drop dead, one by one, on the deck of the Mariner’s ship. However, the poet notes that the bodies did not decompose or smell. Later, these bodies are resurrected by whatever sea spirit chooses to spare the Mariner’s life, using the bodies to man the ship and sail it back to shore. When they are done with this, they drop dead once more, staying on the ship as it sinks to the bottom of the ocean. When the hermit finds the Mariner floating in the ocean, he thinks him dead, before the Mariner’s eyes shoot open (similar to a certain someone at the end of S2E03).

In season 1, I can’t think of any instances wherein someone was presumed to be dead, but actually wasn’t, aside from Stede’s fuckery. However, this theme has come up at least 3 times in season 2 so far: Lucius being the obvious one, then Izzy, and finally Ed himself (and if I’m understanding correctly, Ed was actually, literally, cold-in-the-ground physically dead, not just “presumed dead.” This might be clarified in a future episode). That seems…intentional.

Side note: how long was Ed supposed to have been dead? Days? Didn’t anyone notice that he wasn’t, like, rotting? Especially when “the smell of rot” has been something that very consistently shows up in the show when it’s relevant (see: Lucius’s finger infection, Ed being able to smell Izzy through the walls of the ship).

One more thing: the last thing that the Mariner sees when leaving the shore, and the first thing he sees when he gets back? A lighthouse. Now, could that just be a coincidence, with lighthouses being a very common image in sea-based stories? Sure. But I’m choosing to believe that this poem was chosen (and yes, I say chosen – as in the writers took inspiration from this poem) specifically because it has so much imagery in common with OFMD.

These are admittedly tenuous links between the poem and the show, but they are links, so I’m including them.

The last thing I want to mention about this poem is how its “moral,” if it can be said to have one, is to treat living things with respect – you as a person do not live in a vacuum, and your actions have consequences for others, not just yourself. And I think this sentiment lines up incredibly well with a line that Jim has in S2E02:

…

There was a time when life meant something on this ship. When we lived for each other.

…

According to Jim (and according to literally everything the show has been telling us), the ship was a safe place when the people onboard cared about each other. Fang mentions that Blackbeard didn’t even react when Ivan died; Blackbeard callously shoots his first mate, with the intent of having him killed; he doesn’t even care about his own life and whether he lives or dies. Just like in the poem, this is the issue that needs to be resolved in order for the curse to be lifted – the Mariner (Ed) needs to rekindle an appreciation for life. In the poem, this is a simple “every living thing is special” kind of epiphany – I get the feeling it’s going to be a much more complicated journey in OFMD, especially since the show as a whole is somewhat irreverent concerning the deaths of non-recurring characters. For Ed, I imagine it’s going to be more of an appreciation for his own life – not the value of life on the whole, but the value that his life holds.

So. That’s a lot of words that I just typed – I’m hoping at least some of them made sense. Huge thank you to anyone who made it this far! This is all I’ve got on this particular poem, but I’ve still got more things I want to say about another poem called L’albatros (Charles Baudelaire) and how it relates to Ed and his perception of himself. It’s a huge stretch to say that this poem exists in-universe and Ed has read it, but it makes sense to me and I want to get my thoughts down on (virtual) paper – I’ll link to it in the original introductory post (link to that at the top of this post!).

Let me know what you think!! This silly, stupid pirate show will be consuming my thoughts for at least the next several months, and I’m dying for some reciprocal opinion/info-dumping. Inbox is open!

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