#*rambles endlessly*

[tatekane]

Bdubs!!!!!

[naamahdarling]

When I was very small and I didn't feel good, my mom used to make up stories to tell me. Books were nice but didn't tell me the things I wanted to know about most. I didn't get to explore them unless it was in my own imagination. And that's fun, but being told stories is better in a lot of ways. So I would ask her to tell me stories about Peter Rabbit or Robin Hood, or any other character I really loved. I would tell her what I wanted the story to be about, and she would make it up, and I could stop her anytime and ask her for more details, or to change something. I'm sure this was occasionally frustrating for her, but it's something I really enjoyed. I think it was probably part of what made me want to become a writer.

I don't feel good tonight. I'm too drained to read. Audiobooks aren't the same as somebody sitting with me and telling me a story.

I don't wish for my mom to be around very often, and I'm not really wishing for that now. But I do wish I had somebody to sit with me and be kind and make up stories for me until I feel well enough to get up and do it for myself.

[bizlybebo]

i have GOT to make that fictional character aroallo

[catnippackets]

my queen alissasmagic on tiktok inspired me to actually go to the deli counter instead of just buying a package of deli meat and I have to tell you...it's a game changer. I've been working on my social anxiety for a very long time to the point where I feel fine going up to the counter instead of just meekly avoiding them and going for the pre-packaged stuff and it's like...so much cheaper and yummier. I don't eat a whole lot of meat but sometimes I like it in sandwiches and it's always so off-putting to browse the meat aisle because they're always swimming in juices and like $10 a package and it's unappetizing all around but you can ask for however many grams you want at the deli counter and the selection is better and it's not soaking wet and you can get little bits of whatever you want and it's awesome. I've been eating so many sandwiches lately and I'm loving it

[salty-an-disco]

I have fallen into the swap au trap

Narrator got the fledgling gods mixed up. Putting Change in the role of the hero (making her 'The Adventurer'), and Stagnation in the role of princess ('The Royal'). And because none of the echoes have reason to believe anything is amiss, they still proceed with the script as usual, guiding the Adventurer into slaying the Royal to stop the end of the world.

some scattered thoughts copy-pasted from discord under the cut:

– Shifty still has Hero with her because he's the representation of choice here, and she's the one making choices in this AU, but that's the only voice she ever has besides Narrator. Quiet still get to be a stuffed clown car in person form, cuz she still can't really change herself

– the main gimmick is that Adventurer will slowly change as she makes choices and/or react to Quiet/Narry

for example, as soon as she decides to take the knife or not, she'll either become 'sharper' or 'softer' (smth Hero notices, and maybe even Echo describes)

and as this keeps happening, Echo may eventually realize who she actually is and freak out. Saying she's a monster, that she tricked him into putting her in the hero's shoes, etc etc etc

and it's usually in that moment that the Adventurer will fully transition into whatever identity will be predominant in Chapter 2

for example, I have this idea of Royal, seeing the Adventurer acting weird because of the Echo, and acting outta fear to stab her in the back and run away, and that's how we get Witch

– Hero being with Shifty here means he's more like her than like Quiet, so he also changes slightly to accommodate to her new personality

tho when Narry freaks out, he gets very confused and a bit caught up on the "Wait…… so– we're not a hero?" thing to help much

tries to make up for it in most chapter 2's by promising to make sure Narry doesn't pull anything like this again

[ilumel]

crow’s cloak being gifted to him by cayde & having ribbons & a beak similar to osiris’ robes/hood is something i will never recover from. i adore when a character’s design becomes a tapestry of the people that have impacted their life (whether possessed at the time or otherwise)

[unorganisedalienrubbish]

Fuck olive theory, fuck big spoon little spoon. Fuck all of the little rules that determine who loves the other like a 'giver' or like a 'taker'.

I want to talk about how over just the month that I've lived with my boyfriend, we've both given our own 'favourite pieces' to each other, time and time again.

We baked brownies and I always took the center parts because I like the edges and I want him to have the best part. Turns out he had been taking the edges because he thought I liked the centers. How silly we are.

He'd been offering to sleep in the dip of the mattress even though it hurt his back and shoulder because he didn't want to make me uncomfortable. I prefer the dip because it means I don't push him off the edge of the bed every night as I try and get impossibly closer to him..

We both feel like we're giving the other the 'short end of the stick' when it comes to chores, because I prefer the prep when cooking and he likes the seasoning. I prefer washing up but he prefers putting the dishes away. I don't mind the charlie work and he doesn't mind vacuuming.

But that's just how it's supposed to work, we pick up each others slack and we work better together than we do apart. We both get satisfaction from our chores and are glad that 'I don't have to do the worse one'. It's so silly that we feel guilty about this.

I want to talk about that kind of love. Where just like we fit together perfectly. No matter the situation. I like citrus and he likes berries so we split candies and drinks straight down the middle. I keep him warm in the winter and he keeps me cool in the summer.

[galdrgobrrr]

I love Ruby as a protagonist actually. She is hard carrying the message of having hope despite the odds in this show and is so sweet w her family and friends. I love that the ramifications of shoving a 15 year old into a centuries running eternal war w monsters messes her up a little. I love that she comes back from it. Plus gun scythe is a radical weapon concept.

[cloudbends]

It's been rotating in my brain for a while, so I decided to compile my thoughts about the parallels between anaxa and sunday in terms of the way their writing, personality and themes align with one another. At this point, I don't believe this is coincidental.

Anaxa sees reason and emotion as coexisting concepts instead of opposing ends. he rejects himself but he doesn't reject his humanity. he rejects his life but doesn't reject his personhood. he debatably has more faith in his students than he does in himself, because he puts so much trust in them to continue his work. to question everything. to forsake everything. to prove everything he can because he has nothing to lose. he guards his theories with his life because its literally all he has left. and i just like how antideterministic it is. they're doomed but he proves its not humanity being doomed by the gods, its humanity's ability to both doom and save itself.

the parallels between sunday and anaxa are best summed up by these two quotes from their respective trailers:

sunday: knowing there were no gods who could save people unconditionally. to change anything, you can only rely on yourself.

anaxa: gods, decry it as blasphemy - if that is all you can do [...] we alone are the true gods of this world.

How can they believe there's such a thing as a god after all they've lost? A line that particularly stuck out to me in anaxa's stories was cerces's goading of anaxa, asking him if he prayed to the titans upon seeing his hometown ruined and his sister dead. It disclosed a deeper, more personal sentiment anaxa has towards the titans than a mere desire to erase their existence. For anaxa, forsaking the gods means to wrestle control back to humanity's hands, to his hands, in the face of an uncontrollably tragic fate.

In this sense, both anaxa and sunday must deal with a desire for control, doing so by getting their respective gods out of the equation. I think Sunday's words at the grand theatre are incredibly important to this point, and indicate just how similar (if, of course, different circumstantially) their characters and arcs are:

Sunday: My desire is not to resurrect a fallen Aeon, or become one myself... my sole objective is to create a paradise free from Aeons, where the Order ensures the dignity and happiness of all humanity. A paradise exclusive to us human beings".

Sunday, for all his religious theming and imagery, wishes to forsake the gods in favour of an order of safety, to be the sole person remaining awake to guard the dreaming. I think it's very interesting that thematically, anaxa is framed as chaotic, wishing to disrupt the status quo, a perceived opposite to sunday, who in fact shares many more similarities with his mindset than you'd imagine. They both want to liberate mankind from the gods, so their fates won't be inextricably tied to the gods' whims, having grown disillusioned with them. Here however, the stark difference in their methods comes into play: while sunday's desire for humanity's happiness is regrettably robbing it of agency, anaxa's desire for humanity to gain its agency back is knowingly robbing them of their faiths.

Sunday doesn't have faith in humanity's ability to overcome hardships, and in order to be their protector, he decided to usurp the role of a god - he saw horrors so severe, that he felt he had to shoulder their protection for himself. Sunday operates by his sense of anxiety which inadvertently disclosed his lack of faith, taking things into his own hands to ensure they will go as well as possible - he can ensure the success and happiness of humanity only if he takes the burden upon himself and sees it through with his own hands. He feels only he can, or really must, be the responsible person who can shoulder the burden of protecting humanity, which inadvertently strips them of agency. Meanwhile, anaxa's entire thesis is based on his own disillusionment with the gods and faith in humanity, that his plan and eventual usurping of the titan position was in service of proving humanity's agency over the titans by their being identical beings. Anaxa has so much faith in humanity, to the point of disregarding his life and physical existence and completely trusting his students to continue what he can't finish. The blasphemer is driven by faith in humanity, while the believer is driven by distrusting the gods.

To their respective ends, they both decide to pose themselves as antagonists in the eyes of the public in order to ascend to a higher position at the expense of their own lives and well being. They're both themed and viewed as performers of sorts (depicted in stage settings, the performer and the conductor), which on the surface level, epitomise sunday as an organizer, a puppeteering figure, a follower of Order, and anaxa as the wild stage performer, a soliloquy giver, disrupting the audience's understandings of the world into chaos. I contend, however, that the complete opposite is true, making these parallels all the more compelling. Sunday's performance is entirely puppeteered and driven by his sense of anxiety, desperation, and an urge to escape reality, not being able to withstand its horrors - the order hides personal chaos. On the other side of the coin, anaxa's performance is the epitome of calculated, an argument and theory decades in the making, meant to be his final proof so he can leave the world that pained him behind to his students to nourish and give a final sacrifice for his equivalent exchange - the chaos hides personal order.

These two opposing ideas disclose the paralleling approaches anaxa and sunday take in regards to their ideals, and their differences in mental fortitude and personality. Anaxa is very self assured that his method will lead to his desired outcomes, marches entirely to the beat of his own drum, passing his thoughts to his cherished students and trusting them to continue what he doesn't believe he can survive to accomplish. Sunday, on the other hand, is defined by his insecurity, being surrounded by the hostile environment of the family, the younger figure thrust into a position of power through manipulation, and being forced to conform to it. Anaxa's figure is that of a teacher, an authority, while Sunday was inherently stuck in the position of a novice political figure, forced to sway according to the authorities around him.

Probably one of the most dominant aspects paralleling anaxa to sunday is both of their incredibly meaningful and impactful bonds they share with their sisters. While in sunday's case his bond takes central stage and in anaxa's stage we can only infer based on the little that is mentioned about it, I think it is no less significant to a thorough understanding of his character and motivations.

In both cases, two young siblings are left to fend off for themselves as their parents either die at the hands of war (sunday and robin) or decide to abandon their children (anaxa and his sister). And as such, they're each other's most meaningful connections in the world. Sunday owes robin his dream of a utopia, her ever supporter because her happiness is his, cementing his dedicating his life for the sake of others. In a similar vein, anaxa owes his sister his education, his access to knowledge, to experiments, to what is going to shape his life ambitions. However, I think what ties these characters further together is this sense of debt towards their sisters, in a way that feeds their selflessness and becomes their central means to achieve their goals.

Anaxa, in what I can infer from his character stories, genuinely views his life as disposable after his sister's death. His philosophical emphasis on equivalent exchange is, in large part, a reflection of his guilt towards his sister and her sacrifice - allowing him to study at the grove, at the expense of her own life the moment he left. In order for him to be worthy of her sacrifice - or the exchange to be equivalent - he must give away everything in order to achieve his goal. He must continuously chip away at his body, and his spirit, while insisting on retaining his heart and person, in order to make her death have meaning, for the rules of the world to make sense.

They're both so riddled with guilt, to the point it becomes their driving force. Both of their most significant human connections were to their sisters, feeling such an intense amount of debt towards both of them, that this sense of owing encourages them to keep chipping away at themselves in a subconscious effort to live up to both of their sister's "sacrifices" (robin's is more metaphorical). The kindness they received makes them eager to sacrifice more and more of themselves, creating a core of guilt that serves as their motivation to keep losing themselves for their grander goal.

The following portion of anaxa's 'chrysos' volume drew more parallels between the two in a way I can only interpret as being intentional, at the foremost through the use of the songbird motif. While sunday's charmony dove allegory bears no need to repeat, and I could write about it for hours, the following quote by anaxa is meaningful:

anaxa: I once carved a songbird that miraculously flapped its wings and took to the sky, though it circled five times at low altitude before falling...

As it is explicitly told, sunday's turning point in his life and ideology was finding charmony dove and having to confront the moral dilemma, a choice he viewed to be between freedom and security. His anxiety began to take root, as he had to watch the bird he nursed back to health attempt to fly again, and watch it plummet to its death, cementing in his minds that the weak, those he cherishes, are better kept secure than free. Ironically, he doesn't realise that he himself is stuck in such a cage, terrified of flying, and how his thought process ends up straining his relationship with the same person he so wishes to protect.

I don't think it's coincidental that anaxa chooses to emphasize the fact that the bird he manifested into life, also met its death a short amount of time after it was created by his hands. They're both left unsatisfied - they both must strive to do better, to either preserve life (sunday) or to create life (anaxa), so long as they can make sense of death. Both of these incidents end up solidifying and crystallizing their worldviews: they must sacrifice more of themselves in order to achieve their dreams. Be it a boundless utopia in sunday's case - posing himself as the sole guarding figure who shelters humanity from the terrors of existence regardless of the gods; or achieving transcendence and reaching an absolute truth in anaxa's case - by, similarly, posing himself as the one who must chip away at himself in order to prove, and give meaning, to humanity's existence regardless of the gods.

And perhaps most tragically, eventually, both sunday and anaxa were forced to sacrifice a part of themslves and lose the things they were most scared of losing. Anaxa, who was willing to sacrifice his physical well being, is forced to sacrifice his imprints on history and theory, sacrificing others memories of him, his legacy, his achievements. Sunday, whose drive for the betterment of others arose first and foremost from how much he cherished his only family, had to sacrifice his connection to her, the person closest to him, so he could protect her - they are torn apart, while ever present in each others' minds.

Something about these two, and their relationship to faith, the gods, their families, and worldviews, is deeply compelling in its similarity. They should meet up.

[lonelyoleander]

i'm front row at their wedding sobbing violently and shaking like a frightened animal

[oathkeeper-of-tarth]

Time for a long Aylin ramble, because I haven't indulged in a while.

I'm actually really invested in Aylin being an aasimar! I do not think it is a misnomer or mistake, as I've seen people suggest. She was referred to as a celestial explicitly in some older builds of the game, but this was changed at some point during development. And I noted aasimar enjoyer Oath, quelle surprise prefer it this way for a variety of reasons. Primarily, I think, because it lets her be larger than life, have a touch of that other-worldliness and otherness, while keeping her very much "of this world" still, very (physically and otherwise) present and part of the prime material plane, and ultimately far more human than I believe even she herself would sometimes like to be.

To bring up the most basic and rules/mechanics-bound "creature type" level of categorisation, as an aasimar she is a humanoid, and not a celestial - outsider. Her outsider status is absolutely there and a goldmine of things to explore, but that's a different post sitting in my drafts for far too long that I'll get around to one of these days (but for now you should read this post that I love). Yes, she is in a very real sense above it all, she will outlast everyone around her and whatever she gets involved with. We also get to see her dramatic poetic archaic speech idiosyncrasies (Ho!), her odd sense of the passage of time, and, of course, her oft-discussed and joked about apparent lack of filter or regard for current social graces.

(Endlessly amused at her just going: I'll do it when my mum tells me to.)

All things combined, Aylin feels more like a being of two worlds to me than a guest visiting this one, even as she is called the emissary of a goddess. She embodies a blending and an odd balancing act between the lofty divine and the mundane, duty and preordained purpose and personhood, and touches on the many ways this balance can be tipped. A classic D&D aasimar struggle, really, and a well I am happy to keep returning to.

Balthazar: She was a unique specimen even before I began my work. Aasimar. A god's blood united with mortal flesh.

She honestly isn't even that far from a regular aasimar stat- and ability-wise - Aylin does have several special abilities, but these are flavoured as blessings from her divine mother instead of an inherent property of her as a creature - though, notably, Aylin herself at one point claims she is always reborn because "it is [her] nature".

“Blessed with the favour of a goddess, Nightsong cannot be permanently killed. When unconscious, at the start of her turn she recovers 1 hit point.” “Nightsong will be resurrected by the powers of Selûne whenever she dies.”

Importantly, she does not get to reincarnate, or get a new body, or flit away to her "home plane" or anything like what celestials get to do. She is anchored to this one physical existence (again, very human of her), tied and limited to this one body as it painstakingly repairs itself over and over and over (to a sometimes extreme extent, e.g. the all but outright stated regrowing of amputated body parts in a frankly horrifying context), insistently and indomitably but ultimately imperfectly. And I think that's part of why the kintsugi design drives me utterly wild, why her immortality setup is more interesting to me than, say, a mutant healing factor, or something like the characters in The Old Guard. Her history is pretty literally engraved on her skin, and when she, in the role of a power-granting artefact and the object of a ritual sacrifice, tells you she will feel every wound you inflict upon her, it is so easy to believe her. And I'm not even that invested in physical suffering, just that it means it's all still very palpably there, forever, and she doesn't get to magically restart with a clean slate in this sense, nor does she get to forget past lifetimes as some creatures like devas do. It's just a flavour of immortality I personally find far more engaging than most.

(I mean, yes, I am also a known hurt/comfort sucker and if you're going there in order to set up a scene where she's, I dunno, getting doted on by Isobel who's invented new scar tissue pain relief massage techniques, you know I'm going to be all over that.)

I'm also not sure I'd say she can just pop over to Argentil to hang out with her mum at will. I mean, planeshifting is not that hard to achieve, and also she can just… ask Selûne, ultimately, I guess. But I wouldn't say she has spent much time there, and I think she takes her role as Selûne's champion and representative in the Realms too seriously and too much to heart to be away from them for very long.

Which also calls to mind the issue of the obvious and "simple" answer to Isobel's eventual death - namely that with Isobel picked up as a petitioner soul they'll all just go live out the better part of an eternity in Selûne's realm. Probably in some form they will - it's never guaranteed, but this time, yeah, probably something like that will happen, and there will be, as Melodia says, no loss, only temporary separation. But I'm really not into just handwaving or stripping away most of the mortal/immortal pairing issues inherent in the relationship. If we're going for the "hang out in a different plane of existence forever" option, I think at one point Aylin would have to "complete" her duties and lay down her sword, in a way, and pick between Faerûn and the Gates of the Moon - meaning she herself is effectively moving on to a completely new phase of her existence as well.

And while Selûne carving a lovely marble statue and bringing it to life and similar takes are fun and beautiful and interesting, I'm very invested in an Aylin who was born, raised, and had to actually grow up and learn and be trained. I have a ton of headcanons of Aylin being a weird glowy baby at some point (with all the Disney's Hercules jokes I've seen folks make, of course), being entrusted to a series of Selûnite enclaves and temples and cloisters, hounded by Shar and her agents pretty much all her life.

(Neither here nor there, but Aylin also comes off as a fairly "young" immortal to me - note that I am basing this on absolutely nothing but a general impression and there's no actual hint anywhere about how old she really is. Just vibes.)

To finish up, I'd like to shout out Isobel, and the big humanising factor she is presented as. For instance, a very concrete bit of motivation for Aylin to eventually "humanise" her perception of time, if nothing else.

Aylin without Isobel is horribly depressing to me mostly because she seems to distance herself from her humanity and err on the side of holy duty (see: her epilogue letter, ouch). And Isobel is definitely the person who (invaluably, imo) explicitly and consistently insists on Aylin's humanity and personhood, who cares for her as a woman and not a divine weapon, who actually treats her well-being as a priority, and who understands her so very well and so deeply. Who does acknowledge the gloriously resplendent Dame Aylin, daughter of the Moonmaiden herself in all her awe-inspiring presence and occasionally amusing foibles, but who never fails to look past the titles and fronts even Aylin herself is so keen to put up, and focus on what lies behind it all.

A moment that sticks out to me in particular is her bemoaning Aylin's disregard for her own safety, then actually getting very angry if you suggest Lorroakan can't hurt Aylin:

Isobel: Even after all she's been through, she thinks herself unstoppable - invincible. It all feels like recklessness to me. Player: Lorroakan can't harm her. Have faith. Isobel: He can harm her. Just as Ketheric did. She'll survive it, but she can suffer like any of us - and for longer.

Using Isobel's words verbatim is a good conclusion to my thoughts here, I think: the truth of Aylin being "singular among us all" coexisting with all the ways Aylin is "just like any of us".

And now I'll pay the cute Aylin screenshot tax one last time.

[naamahdarling]

Hi. I’m feeling sad too, I think that tends to happen late at night. At least we can be sad together lol

Yeah it's just a 3:00 thing. Literally I call it the "three o'clocksies". One of the best mental health things I've ever done for myself is learning to look at the time, and if it's after 3:00 a.m., I just tell myself I will put those feelings away until the next day, and I can feel them then if I have to. It doesn't work every time, but it works about 70% of the time, which is a lot better than the maybe 15 or 20% of the time I managed to deal with it by just powering through. Big fan.

Learning to approach strong negative emotions not arising directly from a currently unfolding crisis as temporary, and strong positive emotions as gifts and memories that I will get to have later has been really helpful. "All things pass" can be barbed, because that means good stuff too will pass. But that's just the nature of things, and we have a lot more control over what memories and feelings we keep with us than we think we do.

That is part of why I try so hard to find goodness when badness is around me. Because it really does make bad things easier to bear. I don't mean like spinning bad things into good things, or saying that bad things happen for a reason, I just mean things like moments of common kindness between strangers (which are actually a thing we can create ourselves instead of waiting to have happen to us or to observe), or a beautiful sunset the day you break your ankle, or the very very small child in the corner at urgent care who won't stop talking very articulately and at great length about how much he fuckin' loves chicken nuggets, or the person who took one look at me and didn't charge me anything at the gas station the night we lost Raleigh, no questions asked.

These moments aren't actually insignificant. They're the fabric of our lives, and by observing them even in the bad moments, we prepare ourselves to see them the rest of the time, it makes things easier. It's like putting flowers in a hospital room inside your mind. I may feel like dying, but somebody brought a miniature goat named Tom Brady to PetSmart with them and I got to pet him.

I'm not full of shit here, I have really been through it this past year. It really is worth it to struggle to look and see ordinary life around you as full of small surprises and little kindnesses. It isn't about some kind of bullshit healing through positivity thing (I think "positivity" as it is pushed at us is toxic bullshit) it's not going to cure your mental illness or whatever, it isn't going to take you out of the terrible circumstances fucking you over, it isn't going to undo your trauma, it's just seeing all the small good things that are easy to overlook, and realizing that some days, seeing the small good things really can be enough. That isn't pathetic or bleak, that isn't trying to fill your belly with nothing but crumbs and telling yourself you're lucky, it's just an underlying kind of warmth that it would be really unfortunate to not look for and allow yourself to feel.

It's a way of inhabiting life deliberately, and not just suffering through it. And it's taking me years to develop, and no, I can't always hold on to it, it isn't something that you can be successful at 100% of the time. But man, things got a lot better for me when I started taking pictures of the sky almost every time I go outside, and admiring strangers' questionable fashion choices, and wondering about things like what kind of person would buy this puzzle featuring a John Deere tractor, and enjoying small brown birds having a dust bath next to the drive-thru at Sonic, or taking pictures of interesting graffiti, or noticing the single mirror-spangled drag queen platform high heel on the side of the road, all of that. Things got better for me when I started to really care that I got to see those things.

IDK this got long. But I think...it's all right to be sad, I think sometimes we just have to be even when we aren't sure why. And that can and should coexist with the rest of the world being out there and ready to be seen, even through tears.

[floralprintsharks]

"say it in initiative, asshole"

[werewolfsmile]

So I rewatched The Card Game Job today and oof this scene at the end really hit me in the guts this time.

I know this scene is so much about Breanna and her identity struggles and I don't wanna detract from that, but this was the first time I've really noticed Parker glancing off to the side.

She's not looking at Springer or Cordozar, she's looking at Eliot. And I can't help but think that she is thinking about herself and Eliot and Hardison. How she's been called crazy her whole life and never really had a place to fit in. How Eliot lost his identity to the one thing that was meant to define him. How Hardison is well adjusted but still went through those same struggles of being different and strange and not fitting in.

Parker is thinking about how she found a home with not just the Leverage crew but with Eliot and Hardison. She knows how deeply, intrinsically important that home is to her, and this helps her understand Breanna better. But this is also a moment of Parker missing Hardison, of wanting him to be here to share in Parker's revelation and Breanna's triumph through vulnerability.

I love that we see the reactions of the team to Breanna taking this stand, especially the pride on Harry and Eliot's faces. But Parker looks not only proud of her mentee, she looks a little heartbroken. Because Breanna just said, 'Like we do belong' and now Parker can't stop thinking about Hardison and how he was truly the first person in her life to make her feel like she belonged somewhere but he's not here to share this moment and ...

Idk it's just this homage to Hardison for me. He's not physically present for most of the series and we miss him. But his influence, his presence is still felt. And I love that we get to see it even through moments like this.

And yeah, I'm like Parker in this moment. I wish Hardison had been there to watch his little sister with pride.

[welcometogrouchland]

I know Damian's only volunteering at the hospital and not an actual doctor because he is 14 but seeing him in the hospital scrubs this issue and knowing he could perform open heart surgery if he wanted just made me think "Doogie Howser M.D but with Damian". And I've been cherishing that thought ever since

[thetwilightroadtonightfall]

family visit 🏝️

(ghosts can be haunted too)

[Scala script translation in alt text]