#and if I ever get anons

[0vergrowngraveyard]

was baby tails scared during Sonic Unleashed? Or was he just happy to have a big fluffy dog as his brother?

logically, i feel like sonic would’ve dropped him off with vanilla or knuckles before he even went after eggman in the opening cutscene, but that’s a boring answer so he was being babysat by amy and professor pickle while sonic was out

he was probably a little scared, but everyone did a pretty good job at distracting him

[deerspherestudios]

Asking about Mycheal’s sense of morality and thoughts on kindness sort of got me thinking - what are his thoughts on justice?

Some examples on what I mean (that you do not have to specifically address!): If someone has harmed someone else, does he think that justifies hurting them back in any sense? And if someone in power continually abuses that power, does that justify hurting or killing them to prevent more harm in his opinion? Does it depend on the degree? Where does he draw the line? Or is it completely unacceptable - does he think we should always try to use mercy to solve conflicts? What about in situations where mercy can’t be used? And how does what he’d say verbally on the matter differ from how he’d actually act in a satiation where justice might be needed (eg. he says that he would never hurt anyone in any situation, but in reality there might be situations where he’d bring harm - or he says that he would hurt someone to prevent more damage but couldn’t bring himself to in reality). I’d be interested how his isolated upbringing impacted his thoughts on right and wrong as well - I’d imagine he prioritizes interpersonal relationships over the good of the whole (of any group he’s been rejected by especially), but, if so, by how much?

Again, these are just examples of generally what I’m going for by asking for his take on justice, please don’t feel pressured to answer any of the questions in that wall of a paragraph specifically! I’d love to hear your thoughts on his opinions in the area of morality in general - whatever comes to mind, even if it doesn’t relate to any of my example questions or the points I brought up. Thank you so much for your time and the love you pour into your work, and I hope you have a wonderful day!

Oo now this is a doozy of a question, from an anon no less :-0! I actually love these kinds of questions, but save them in my draft for months until I'm up to answering since I wanna do my best for them haha. Now's the time for this question to shine!

Long!!!!!! (possibly mad?? character opinions about justice and morality???) ramble below:

Regarding justice, I find myself struggling to answer to be honest! While I, the creator, have my own views on it, I'm not sure how someone like Mychael would feel about the concept of justice. This kind of thing warrants a society, of which he is isolated from. You don't really bother to be justified if something you did was wrong unless it's in the eyes of someone else, if that makes sense? Otherwise you'd end up arguing with yourself. And when stuck between committing a crime to survive or moral righteousness, it's obvious which one he would go for.

From your example, he's not really the type to believe in "an eye for an eye" as he's a pretty forgiving person. But of course, an extreme situation would change his mind like any of us!!

Now morality is a pretty nuanced topic, but after digesting the question a bit and gathering my thoughts, for the sake of conversation, I think his sense of morality can be simplified into a few traits:

First, he tries to be kind in all situations.

In the past, he's seen cruelty and kindness, how humans are capable of both, and the effects of those actions. Whether it's towards himself or others, he obviously prefers the latter treatment over the former. No matter what, he'll try to do the good thing (or at least, what he perceives to be the good thing) in most situations. He's aware it's naive to think so, but when you claw for something to live for, he insists "kindness above everything" is the best he could hold on to without losing himself.

Second, at times, he will be self-serving.

Just because he tries to be kind, doesn't mean there aren't moments where he'll be selfish. While his self interest isn't his top priority, in the rare instance he wants or needs something for himself, he'll likely skew odds in his favor. This is kinda clear from the game itself with how he treats MC when they start pulling away from him (another example is how he got his chickens and it's implied he does shoplift groceries/supplies no matter what he wants you to think.)

And finally, mercy is a tricky thing.

Let's say we equate mercy to forgiveness or compassion. Already in the game we see Mychael being callous towards the injured rabbit but also refuses to kill Rosie even though she doesn't really serve a purpose anymore other than being an attachment for him. With that said, you are definitely correct in saying "he prioritizes interpersonal relationships over the good of the whole" since with his background, interpersonal relationships are few and far in between. He might forgive a lover of his for murdering someone in front of his face, but wouldn't do the same for a stranger. He doesn't have the same sense of a judicial system like us humans, so with the above traits combined, he'd brush off the frankly heinous crime easier than most.

I hope that answers the question? Re-reading my answer a bunch I'm not even sure if I gave the points you're asking for but mmMM I spent spoons on this so have it like so 🫴❤️❤️❤️!!

[nyancrimew]

So people once were calling me a terf, persecuting me just because I held some different opinion. After taking a break from social media, I've did some thinking, and I've came to accept this label as a part of who I am. I identify, inside and out, within the fibers if my soul, as a terf, and anyone who objects to this is being criticalphobic. After a while though, being so enshrined with terfness started exposing to me the many issues and hypocrisies terfs have, which I started rejecting. I just remembered I left my pizza in the oven, its burning uh

Eventually I realized that by rejecting trans people from society, I was arbitrarily drawing a line between what a person participating in society could be, completely discounting all the possible ways our biology I've so long revered could betray the labels our ancestors placed on ourselves. I stopped excluding trans people and started exclusively rejecting normal feminists, making me a ferf, until I walked outside and accidently talked to a guy and found they were normal. With no one familiar to belong to, I gave in and joined feminists and became a rfet.

Anyways do you want to hear about the time I almost drowned in a public water fountain

and the oscar for "best supporting anonymous bait" goes to....... whatever the fuck this is

[bixels]

As cameras becomes more normalized (Sarah Bernhardt encouraging it, grifters on the rise, young artists using it), I wanna express how I will never turn to it because it fundamentally bores me to my core. There is no reason for me to want to use cameras because I will never want to give up my autonomy in creating art. I never want to become reliant on an inhuman object for expression, least of all if that object is created and controlled by manufacturing companies. I paint not because I want a painting but because I love the process of painting. So even in a future where everyone’s accepted it, I’m never gonna sway on this.

if i have to explain to you that using a camera to take a picture is not the same as using generative ai to generate an image then you are a fucking moron.

[laser-tripwires]

what is your read on the scene in the pilot where eliot and nate are playing pool? do you think eliot was being genuinely empathetic or just making small talk? was eliot genuinely hurt by nate?

neither, and both. he wasn't making small talk, he wasn't genuinely hurt, but it's more complicated than that. that scene exists for a wide number of reasons, and very few of those reasons actually have anything to do with eliot. nate is the protagonist, and that scene is arguably the most important character exposition we get on him in the entirety of the nigerian job - BUT there's still a lot you can read about eliot and the team dynamics as a whole, as well as foreshadowing for the wider show.

the scene actually opens not with the pool game, but with hardison pulling nate over to tell him he got dubenich's financials. i call this out because - in the original pilot script? this got cut off from the pool scene by a dubenich interlude which didn't make it into the final show.

now, that's probably information management - much, much easier to focus on nate and eliot's convo if we're not thinking about what dubenich is doing, and the exposition from the dubenich mini-scene wasn't very important. but there's another reason, too -

nate smiles and claps a hand on hardison's shoulder before heading back over to the pool game. it's a fatherly moment! a lot of the nigerian job is dedicated to setting up nate's relationships with the trio (the fact that parker gets mentorship instead of fatherliness in this ep is kinda long goodbye job foreshadowing, even if likely unintentional), and this reiterates that he's gonna be a father to hardison. it's placement just before this conversation with eliot is also telling us that this relationship with the team is going to be the thing that heals nate, which eliot all but says aloud a minute or so later (i'll get there).

right, so the next beat of the scene is eliot offering nate a beer and nate refusing. which is... interesting, given as nate was practically drinking himself to death at the beginning of this episode and will spend the rest of the season doing just that. he clearly has an issue with alcohol and that's clearly being set up to be a large part of his arc. so refusing a drink is significant, and we cut from a wide shot (featuring some truly adorable parker lockpicking, parker picks locks like other people knit) into eliot and nate's game because like eliot, we're curious about this.

nate takes his pool shot - eliot looks to nate, to the beer bottle, and back to nate. he's not paying attention to the pool game because eliot is very smart and has just picked up on the thing i pointed out to all of you a second ago - that refusal of the beer is weird and significant. nate's doing better - which eliot says.

nate almost looks up at eliot but takes his shot instead, and eliot continues. nate mutters a "yeah," without looking at eliot. which eliot again notices, and points out that it bothers nate.

eliot's turned around and sat on the pool table now. his focus isn't on the game anymore, it's on nate. it's really hard to critique this scene from eliot's perspective because the whole point of the scene is to get us as the audience inside nate's head, and eliot's needling is the vehicle through which we do that - he's asking the questions and making the assumptions that we as the audience are doing here. nate's a prickly bastard.

nate does, however, admit that it bothers him. with another of those despondant yeahs. he moves away from the pool and towards eliot, but still isn't looking eliot in the eye. "I mean, this isn't supposed to feel-"

"Good?"

camera change on eliot's line there so we get a better look at eliot's face, and nate's finally looking at him. "good" is likely not the descriptor that nate would have stammered out if his sentence had been allowed to continue, but eliot's a blunt person and more importantly eliot's not wrong. he then smiles, which catches nate off-guard, and after a beat eliot continues.

"It's not hard to figure out. Dubenich screwed ya. He cheated by stealing from that other company and your good guy brain sees him as the bad guy. Your conscience is clear."

midway through that speech, we cut to nate's reaction so we're watching him instead of eliot. he's stony. everything eliot's saying is correct, and most of it is explaining subtext that the audience should already have picked up on. but, y'know. nate is a prickly bastard.

(side note on the script again - the change from "ripped you off" to "screwed ya" is a great example of the kind of edits that get made on the fly after you cast actors with certain affects. not relevant here but i think it's cool - WISH we had the scripts for the rest of the show, because the amount to which this one is useful for analysis and insight cannot be overstated.)

now's when it gets interesting. without a change in facial expression, nate asks eliot if he wants to take his shot - he's not quite interrupting, but he's also clearly trying to cut the conversation short. there's two possible meanings to that line - one, nate's meaning, of shut the fuck up and keep playing. two, the subtextual meaning and what eliot takes it as, which is; get to the point.

eliot takes another swig of beer, nods, and we cut to a close up of him as he pauses and reconsiders the tack of the conversation. i very very much read this as eliot trying to figure nate out here - he had a hypothesis about the state of things, and nate's response let him know he was on the right tack. it's worth remembering that (despite what people tend to percieve him as) eliot is an extremely emotionally intelligent character, and that's being established here as well as everything else.

so he starts out another speech, looking nate in the eye - it's the most intimate moment of the conversation so far, and that's important. "Listen, I'm sorry about your kid."

to me, it's abundantly clear that eliot could have kept talking from there, made whatever point he was about to. but he leaves the space open for nate to respond. small talk is the wrong word for this, and eliot's not exactly feeling out an emotional connection; but he is clearly and deliberately giving nate the opportunity to open up and respond, both out of genuine empathy and (as we already saw) a desire to unpick a little more of what makes nate tick. that's part of eliot's job, after all. he is being a nice person here.

and nate... well, nate's expression doesn't change. the sensible and expected thing to do here would be to say, y'know, thanks, and then move on with the game. but, as i've already said, nathan ford is a prickly bastard. worth pulling up the script again here:

because yeah, he shuts down. we're two thirds of the way through the pilot episode and once again this is serving as exposition for the viewer - nate is in a lot of emotional pain, and he doesn't exactly do touchy-feely feelings. he'd much rather hide at the bottom of a bottle than sort out his issues. anger, and grief, and anger.

now, eliot says that "everybody knows." he half whispers that line, which i think is a really great touch - it's a lot more tender in tone than the response could have been, and i don't think nate picks up on that. my reservations on them as people aside, christian kane and timothy hutton's acting throughout this scene is superb. it's hard to explain, but eliot's affect changes for the next line - "Guy like you goes off the street, a lot of people notice." he's still almost whispering, but he's trying to tug the conversation a little bit towards levity. the emphasis on "a lot" is almost jokey - people smarter than me have pointed out that eliot in early season one has a soft sarcastic vibe that isn't present for a lot of the rest of the show. it's a continuation of what we saw earlier in the episode in the hospital scene.

but once that's said, he halts, and we see his eyes soften a little - he stops quite meeting nate in the eye.

it's a soft little moment of comprehension. eliot has lost a lot of people close to him, and has witnessed the deaths of many innocent children. he absolutely does know what nate is feeling. arguably, bereavement destroyed eliot's life infinitely more than it did nate's. so we get a genuine flash of empathy here. he's thought about this, after hearing of it, maybe before even taking the job for dubenich. "And it was a bad story, too."

we cut back to nate for a second there. he's lost - trapped in a hospital in los angeles rather than a penthouse in chicago. as a first time viewer, though, we don't quite know what he's thinking.

so eliot asks. "How'd they justify that, huh? The insurance company, just... not paying for his treatment?"

and the thing is, coming from someone who's watched seven seasons of eliot being unfailingly protective of every child and vulnerable party who's crossed his path... i genuinely think eliot meant that. yeah, not as an actual question, but as comiseration and sympathy for what he can tell is an awful situation.

but this is nate's show. and we're in nate's head. so we follow nate, across three years of anger and pain and into that hospital room. we see for the first time where nate's standing here, the depths of that sorrow in the moments before it manifested.

worth noting that it's not the full scene - nate running in to grab sam's body was filmed with the pilot but cut back to be saved for the finale, which was a damn good choice. but even what we see here is enough to fully ground us in nate's backstory - we've been watching him dance around in chaos for most of an episode, clearly greiving his son, and now we see the cause of all that hurt. once again, this exchange makes much more sense from the perspective of the writers trying to establish and expand on crucial emotional beats.

when we flash back to nate and eliot, the camera angle has changed. noteable, because we were on a solid back-and-forth talking shot for a minute or so there, and this fully segments the scene instead of plopping us back where we just were.

we've just experienced first-hand the spiral that nate's thoughts have gone down. he answers eliot, still lost in thought - "They claimed it was experimental."

from eliot's perspective, that's a response to his question and an accepting of his empathy. from our perspective, it's an anguished statement of pondering, the re-rotation of a thought that's been trapped in nate's head for three fucking years. they claimed. he is, as we will see in the david episodes, so, so, so angry.

eliot smirks, then drinks. we cut back to his face and the original camera angles. his is where the pilot rewrite between scripting and shooting is the most obvious - in the original script, nate picks up the beer, and that's what prompts eliot's next line.

in the filmed episode, we stick instead on nate's face and let eliot continue. the emotional beat is identical, but it places a greater emphasis on nate's pain and eliot's powers of perception. it's an unimportant script edit, but an interesting one.

what happens next... "Should have kept one of those Monets you found, hm? You fence that -" and it's only at this point nate actually interjects.

i don't think eliot here is deliberately being insensitive nor do i think he's directly trying to just raise nate's spirits. you gotta remember that we as the viewers in nate's head for this scene, not eliot's, and from eliot's perspective the tone has just gotten less gut-wrenching, not more - but eliot's also, as i previously noted, an extremely emotionally intelligent person. it's why i've gone through the whole scene instead of jumping directly to this bit you asked me about, because i really do think the full context is needed to understand.

so, nate interrupts. "Eliot, you and I are not friends."

this is again where context is so important. it's not that he cares about what eliot's actually saying (though i could write a very different essay about how that line of eliot's is lampshading a pretty obvious plothole) but that he's just had to forcibly pull himself back to the present day and he thinks eliot's being annoying and would like him to shut up now, please. not all that different from him asking eliot to take his shot earlier, really, though i think eliot picks up on the curtness.

nate raises his eyebrows. it's a nice attempted reversal of power dynamics - yes he has just interrupted and been rude, but he also immediately attempts to swing the conversation's psycoanalysis onto eliot and why are you talking to me about this i don't know you. of course, we as the viewer can tell nate's in deflective mode, but we'd expect eliot to take it at face value -

which. he doesn't. we get this super interesting little "oh... right." face, and i think it's less eliot realising he's struck a nerve (though it also is that) as it is eliot properly clicking in to what nate's thinking here. i stress again that eliot really is a tremendously emotionally intelligent character, definitely moreso than nate is, and that's reflected in this scene. both of them bounce off one another here a little bit differently to how you'd expect them to just looking at archetypes, and it's this kind of thing that makes the leverage pilot so good.

because eliot picks up on the messaging nate's putting down, the prickly i'm-not-having-an-emotional-conversation-with-a-criminal-i-just-met facade, but he also kinda sees right through it. "...Right. 'Cause you have so many of them."

and it's again this softly sarcastic vibe that's pretty unique to early season one eliot, but it really works here in reestablishing that A) eliot's more observant than nate is giving him credit for, B) he's not going to let nate get away with being tacitly kind of a dick, C) he's really not easily rattled and D) eliot is as much of a chaos gremlin as the rest of the team. this is not the affect of a man actually hurt by what nate said.

all in all, good stuff. but now for the reason i dug the script out to begin with - the ending. it's a well-known piece of trivia that they shot the pilot without a defined ending for the next nate/sophie beat only for aldis to improv the world's best "oooooooh," but what's really fun is if you know that this is because the nate/sophie beat here was actually a late addition. in the script, eliot and nate's conversation finishes like this:

and end scene. eliot still gets the final word, so as to speak, but nate gets a lot more quiet reflection and a much more overt point that nate and eliot are at least peers if not friends right now. but here, instead, sophie presumably starts walking towards nate off-camera and eliot steps back - "Incoming."

and then we're on to nate and sophie, and the scene continues with a new focus as nate is left reeling.

but i really, really like the ending we get because it's that same establishment of peership, of eliot calling out nate's crap, but also of the fact that the power dynamics here aren't as they'd first seem. nate's greiving too much. eliot understands but isn't gonna let it get to him or impact the team. this... is all crucial as far as character establishment is concerned.

this answer got long. i think that this scene is just so, so important for establishing both nate and eliot's characters - and i think people miss an infinite amount of nuance when they take the surface-level reading that eliot said something which annoyed nate and nate was mean. that's very much not what happened, but it also kinda is, and it's what makes this so fun to pick apart. eliot and nate have a fascinating relationship, and it's one that's all too often overlooked. here's john rogers's take on it:

and... yeah!!! you can see all that really clearly in this scene. they respect one another, but that doesn't mean they have to like one another, at least not yet. it's good stuff.

[retquits]

would you ever consider drawing our queen elsie... please... 🥺🙏

i've actually been wanting to draw elsie for a long while - here's a wip 💎

[fima11]

YOUR ART IS SO CUTE AUGH…….. love the way u draw scarabia it makes my heart go 💗💗💗💗💗💗

I am curious if you have any Scarabia HCs… mayhaps Jamikali HCs?

Thank you!!! <333333

tbh I don't have many headcanons for Scarabia, but imo that's the chillest dorm, even with all the parties. Like, have you seen their dormitory? I wouldn't act up if I lived in a comfy place like that too.

But jamikali. Uhhhh

this is my own sort of turkish palace tv drama. More under the cut. It's gonna be long.

I like to imagine their relationship developing after a nice piece of timeskip (despite most certainly having feelings for each other in college), when they finally learn how it is to live apart from each other, growing out of their destructive behaviors at least for a bit.

My main headcanon and maybe the most delusional one that Kalim would mature up with time, getting more independent when Jamil leaves, though without losing his canonic positivity - in fact just growing up.

While Jamil learns how is it to be simplier and less demanding towards other and himself, traveling alone, not setting down anywhrre for too long. Though the main thing is that they cannot in fact forget each other, and break the attachment despite getting used to each other's absence, and their feelings finally getting some particular shape - and it's impossible to fully let go, no matter how hard they (mostly Jamil) try ;)

I rarely think of a particular reasons that could bring Jamil back to Asim household, though I have one little au concerning this matter which includes long distance between them with no communication, and even some kids, so I may share it one day. so I just keep it on the level of flat concept - Jamil returns after traveling, to either serve again or for Viper family matters.

I love to imagine Jamil's confusion and shyness at the sight of even more confident Kalim after a period of being apart from each other, and Kalim being happy to finally make Jamil look at him differently, which he consciously or subconsciously has been keeping as a goal all the time.

For some reasons I feel like Kalim would take lead in their relationship because he seems bolder to me when it comes to making decisions - Kalim just knows what he wants :/

So it's a hard for Jamil to process all the non-casual compliments, gifts and obvious advances (but not rejecting them, still afraid of his own feelings), just like in this post. Under these circumstances I believe Kalim is the one who attached the most, just because I love crazy devotion and loyalty :P (and Jamil is too used to lie to himself to admit his attachment aloud.)

It's a strange concept, but mostly it's just a huge headcanon I always keep in my head when I draw them - an emotional bond that just won't break, no matter if there's distance, time or silence between them.

It's hard for me to imagine them trying each other out during college years - too many predicaments and prejudices, they are too used to each other, and for their relationahip to work out they both need time to emotionaly mature up and... just have a rest from each other.

Anyway loving them endlessly.

it would be easier to just list the goddamn headcanons but I always talk too much I am so sorry

[taylortruther]

all her fuckin' lives flashed before her eyes is one of the main themes of ttpd actually. like, all those men with many faces, all those stories, they all return when she emotionally plunges through the ice.

[isacksteban]

bitch i am not the one.

[0vergrowngraveyard]

AU idea:

Tails is found by Werehog Sonic instead of regular Sonic. He thinks he's gonna get mauled, that his life ends there...

... but no. No it does not. The little orphaned fox cub, instead of being made past tense, gets scruffed, as the Werehog carries him off to their den. They found this kid, and they were adopted now.

adoption 👍

but this is a really cute au idea anon

[deerspherestudios]

AAAA I’m always too shy to come off anon, but because I don’t have to for the moment, I just wanted to say that I love Mushroom Oasis so much!!!! Mycheal is just such a well fleshed out character - he isn’t the embodiment of a trope or presented as solely good or evil, but is both consistent and contradictory in a way that feels (ironically) very human. He is shown to act in accordance with a deeper set of core values rather than just the surface level opinions or feelings which might present themselves more obviously. He also has multiple of these core values that inform his decisions, which is shown very well in how he fights with himself and comes to conclusions in order to remedy those internal (and external) conflicts. He lies, he’s aware and unaware of certain aspects of himself, and he responds differently based on his current state but is always loyal to his underlying motivations and character traits. He’s good at certain things and bad at others, even within the same field, but has core strengths that inform these proficiencies. It’s hard to describe in words what all I’m referring to, but if I had to summarize it: Mycheal has a set of core, largely static values and capabilities shaped by his experiences that inform all of his decisions and behaviors. He also has temporary states of being, informed by his interpretations of past experiences and core values. You are able to keep these core values stable (while changing them, which is even harder to accomplish convincingly) as he responds differently to different situations, which is something I don’t think I see often in most characters. Mycheal is just so layered and his complexity is written beautifully!

Hopefully at least some of that made sense akdjdjs - ultimately, I just wanted to share the sentiment that your writing is phenomenal and that I explode every time I think of your mushroom man! He is beautiful both as a specimen for character study and as an individual to simp for, so thank you for sharing him with the world!

A shorter, but no less earnest, comment on Astronought: I ADORE how subversive it is! I never thought I’d see a VN where the love interest turned out to be multiple entities. Well. Kind of?They’re a Hivemind, so they’re only multiple entities in a sense. Gah, Atom is so cool! I can’t wait to hear more about them, even if only in asks every once in a while.

Genuinely, thank you so much for sharing your games with the community - I think I speak for all of us when I say that I really, really enjoy them. Have a wonderful rest of your day :)

Anon where are yuo anon come off anon so i can hold ur hand and thank you peersonally anon

Also, as I double check the queue I just realized today (22nd Feb) is the 2nd year anniversary for Mushroom Oasis!! So it's only fitting that it's my turn to thank the community alongside this person, for being here as I continue working on this project!

You're all wonderful people and I can't express enough how much the support means to me! ❤️🍄🎉

[sboochi]

I know you are focusing on your new Big Four Au but I remembered your old one, the one that inspired Heirs, and like, I remembered your Moondrop! Jack design and it was so beautiful and then I was like, what if the moondrop went even further, because imagine a fight scene where Cassandra breaks Jack's staff and he used not only his ice powers to repair but the black rocks, only this time they are glowing eternally white, and when he needs to fly the moondrop decides to just, give Jack wings.

Basically I'm saying winged Jack Frost

I wasn’t very excited at the idea of wings at first, but then I thought...... moth wings......

(He's kinda lost the moondrop armor aesthetic oops)

[gremnda]

hello yes i would LOVE to see your transfem pangi doodles!!!!

sir yes sirrr!!! it's just a little doodle page but i love her so much, i love to think that tr!ros lent her the makeup and helped out getting her ready :]]]

tr in tr!pangi stand for transfem !! just so everyone knows ^-^ <3

[pokeberry5]

If you are still taking requests, may I please inquire if I could have a drawing of Jason and Tim working together as a team, please?

this probably isnt exactly what you had in mind, but i think that red robin and batboy from that one death in the family movie ending are so precious

the cowl in question:

bonus:

[xiewho]

could i get a fabian pretty pls… possessed would be cool but anything with him is fine

based on that one fake bad kids twt thread that i Cannot find for the life of me

[ahappydnp]

I have a theory on dip and pip's public relationship status. I think they have intentionally hard launched, to everyone except for phannies. Not specifically people they know irl, but random people who don't know the lore, like that older australian interviewer. To anyone who isn't being frog-boiled, their relationship clearly isn't a secret, which I'm sure is on purpose. But they also know that we (phans) are not actually waiting for confirmation, but instead for permission to acknowledged it.

i know this isn't what you meant but i read this as them walking up to strangers on the street like "hello we're married and no one knows teehee have a good day"