#and his mom sucks !!

[vannahrt]

I’m not a fan of something until I’m drawing angsty comics of the tall lanky ones. So of course I had to draw the tumblr man.

I have a headcanon that Jax was a teenager when he joined and has been in the circus for years. Also Gooseworx said Jax receiving a ton of praise would ‘concern and frighten him’. So I took that and ran with it.

[gayeddieagenda]

i know we all joke about buck and eddie and their coparenting of chris, them babytrapping each other and this that and the other, but they've never had 2 navigate their relationship without chris being central to it. which on the one hand is like. cute. chris is such a cornerstone of what buck and eddie both mean to each other, and they both obviously love him separate from their relationship with each other ('do you know how much christopher misses you?'), but also it's genuinely interesting to think about them navigating what that relationship looks like without christopher around. partly because i think sometimes they use chris as shorthand or an excuse between them ('do you know how much christopher misses you?' but bass boosted). eddie defines buck's role in chris's life on paper, bc he can't define buck's role in eddie's life. how much they both love chris is obvious and it's a safe place for how they feel about each other to land. and it's interesting 2 think about them being put in a position to navigate that relationship without the buffer or go-between of christopher for the first time since they met

[starry-bi-sky]

Stuck in the middle of a forest made of

Flesh and bones and they're all scared of

A lost little boy who has lost his heart

Fear's not enough, they have to

Tear him apart —-------

There are two things Daniel Fenton knows that his family knows as well: 

He’s adopted.

He can’t remember anything else before that.  

‘Adoption’ is a loose term, implying that they went through the official legal processes and troubles of adopting a child into their home willingly, and with the full intention of doing so going into it. That is not what happened. What happened is that Jasmine Fenton found a half-dead child, in strange clothing, in the middle of the woods at her Aunt Alicia’s cabin, and then she went and got her parents. 

What happened is that a twelve year old Danny woke up in the same cabin, wearing clothes much too big on him that didn’t belong to him, and with very little memory of before that moment. He wakes up like a spring being set loose, sitting up so fast he scares the daylights out of Jasmine Fenton sitting next to him. He wakes up, reaching for his sleeve for something that isn’t there, and when it isn’t his mind stutters, like he’s tripped at the top of a steep hill. 

When they ask him for his name, he tells them, clearing muddled thoughts from his mind; Danny. He’s twelve.

(He thinks that’s his name, at least. It sounds right; it feels right. If he thinks really hard about it, he thinks he can remember someone calling him that, utter adoration in their voice. So it must be his name.) 

The Jasmine girl convinces her parents to take him home with them, and they give him the spare guest room upstairs. He has nothing to fill it with.

It’s… a strange experience, to go to a ‘new’ home when he doesn’t even remember his old one. 

The official adoption process… happens. He can’t say it’s easy, or difficult. He’s oblivious for the most of it, Jasmine intends on helping him settle in and Danny can’t say he enjoys the smothering. He learns that he is stubbornly self-independent, that’s one new thing he knows about himself. 

His adoption papers say ‘Daniel J. Fenton’. Danny remembers staring at the name ‘Daniel’ for a long, long moment, something curdling sour in his sternum. His name is Danny, that he knows. But it’s not Daniel. But he doesn’t know any other way of saying it, so he keeps his complaints to himself.

(Jack Fenton boisterously claps his hand on Danny’s shoulder and jerks him around, grinning wide as he welcomes him into the Fenton Family. Danny’s mind blanches at the touch on his shoulder, an instinct snapping like the maw of a snake, telling him to cut off the man’s fingers for daring to touch him.) 

(He keeps the thought to himself, tension rising up his shoulders the longer Jack Fenton’s heavy hand stays on him.) 

They found Danny in the summer. It’s a perfect coincidence, Maddie Fenton says before she goes back into her lab with Jack Fenton. She says it’s enough time to allow Danny to adjust; that they’ll enroll him into the school year in the fall. Then she stuffs a canister of ectoplasm onto the top shelf, and disappears like the ghosts she studies back down the stairs.  

(There’s something eerily familiar about the ectoplasm sitting in the fridge, something unsettlingly so. Danny knows what that stuff is, but he doesn’t know where. When the house is empty, he takes a can from the fridge and inspects it.)

Jazz wants him to leave the house. Danny doesn’t want to step foot outside of the FentonWorks building until he has something that quells the feeling of vulnerability he gets whenever he does. He tried to once, and he felt exposed. Unsafe. 

He turned back around and went inside.

—-------

Where do we go

When the river's running slow

Where do we run

When the cats kill one by one

—------

One day, when the house is empty — or, as empty as it can be; the Fenton parents down in the lab, and jazz out with friends. Danny is making a sandwich, and he caves into the urge to flip the knife in his hands between his fingers. A childish impulse, but one he falls for nonetheless. It comes to him easily, like second nature, in fact. The slip of the blade between his fingers is seamless, flowing with an ease like water running down the wall.  

He’s almost startled by it; his body holds memories that his mind does not. Muscles that know which way to move and twist, limbs that know how to hold and how to throw. He continues twirling it, fascinated, as if he were a scientist discovering a new species of animal. 

It’s not for a handful of minutes when a new thought hits him; an impulsive thought that pops in the back of his mind like a firecracker; Danny moves without thinking. 

He turns, and throws the knife. The pull of his shoulder, the flick of his elbow, is familiar like a hug. He knows when to let go, and the blade flies through the air in impressive speed, embedding itself into the wall with a hearty, loud thunk. Sinking into the drywall like butter. 

Danny stares at it in shock, he feels relieved — about what? — before he feels the guilt. He scrambles across the kitchen to pull it out, heart racing in his chest at being caught, and prays no one notices the hole it left behind. 

(He runs up the stairs before anyone can find him, food forgotten, and hides the knife beneath his mattress like a guilty murder weapon.)

After that, he leaves the house more. It’s more out of fear of being caught than the desire to leave. But Danny is quickly learning that among all things, he is someone who was dangerous, before he lost his memory. Even with his mind in fractures, he is still dangerous. 

He’s not sure how to feel about that — he thinks he should be scared. He feels a little proud, instead.

—------

Hazel beneath our claws

While we wait for cerulean to cry

Unsettled ticks run through time

Enough for the hunt to go awry

—-----

There’s another thing he learns about himself. That he knows about since he woke up. He knows that he left someone behind. He doesn’t know who, but he knows they must have been close; he’s always looking down and finding himself surprised when the only shadow he sees is his own. 

He thinks that he must have sung to them a lot; he finds himself humming familiar melodies when he’s lost in thought. Lullabies lingering at the tip of his tongue, an instinct to turn and sing them to someone beside him. He can’t remember the lyrics, but his mouth does, it tries to get him to say them when he’s not thinking. He can’t. 

Danny’s found himself humming under his breath more times than he can count, trying to recall whatever it is his mind is trying to claw forward. 

(“That’s a pretty song, Danny.” Jazz tells him at breakfast one day, Danny screws his mouth shut. He hadn’t realized he was humming. “What is it?”) 

(Something mean and possessive rears its head on instinct, uncoiling like a snake from its ball. His shoulders hunch defensively, he bites his cheek to prevent himself from baring his teeth. He doesn’t know what song it is, but it’s not for her. “I don’t know.”)  

He misses his person. Dearly. He knows, the longer he is without them, that they must have been close. Otherwise, he wouldn’t feel like he’s missing a chunk from himself. He wouldn’t be turning to someone who's not there; reaching for a hand that’s missing, birdsong on his tongue, a story to tell. 

A dream haunts him one night. Warm and familiar, he’s holding onto someone smaller than him, they’re tucked into his side like a puzzle piece. He’s humming one of his songs that is always playing in the back of his mind, an unfinished tale of a harpy and a hare. Danny can’t remember their face, not all of it. He remembers green eyes, hair dark like his own, skin brown like his. 

He loves them more than anything else in the world, a fact he knows down to his soul. He loves them so much it fills his heart with sunlight. Danny squeezes them tight, nuzzling into their hair; he makes them laugh. Then, he proudly boasts something. That when he takes something of their father’s, that his person — a sibling? That feels right — will be… the word fades from Danny’s mind before he can make sense of it. 

His person hugs him tight, his… brother? And their mother — a woman whose face he can’t remember either, but who he loves like a limb nonetheless — appears, smiling. Her hands reach for them both, voice calling them, ‘her sons’. There’s ticking in the distance, it sounds like the fastening of chains.

Danny wakes up cold, tears streaming down his face. The details of the dream already fading from his mind like the cold pull of a corpse.   

—-------

Harpy hare

Where have you buried all your children?

Tell me so I say

—-------

When school starts that Fall, Danny joins the sixth grade class, and quickly learns more things about himself. One of those things being that he’s smarter than the rest of his grade, whatever education he had before, it was better than the one he’s getting now. 

Everyone knows he’s adopted right off the bat. He tells them when the teacher forces himself to introduce himself, but it’s not like they needed him to tell them for them to know; he never existed in their little world before now, and the Fentons are pale as they come. Danny is not.

He befriends Sam Manson and Tucker Foley; they ask him about the scars fading up and down his arms, they ask him about the scar carved diagonal across his face.

Danny, as politely as he can, tells them he doesn’t remember. He thought kindness would come second nature to him, his dream burned into his mind where he hugged his brother so sweetly. Apparently, his sweetness is only second nature to people he considers his own. 

(It becomes even more apparent when Dash Baxter tries to bully him later that day, and Danny ruffles like an eagle threatened. His mind whispers, hissy and agitated, sinking like a shadow at his shoulder, several different ways Danny could kill him for talking to him like that, and fifteen more ways he could cripple him.)

(Danny ignores those thoughts, up until Dash Baxter tries to grab him. Then he breaks his nose on the wood of his desk. It’s easy how quickly the rest of his grade sinks him down to the status of social pariah.)

(At least Sam and Tucker still talk to him after that. When Danny goes to the principal’s office later, he wisely doesn’t mention the worse things he could’ve done than break Dash Baxter’s nose.)  

—--------------

It clicks and it clatters in corners and borders

And they will never

Hear me here listen to croons and a calling

I'll tell them all the

Story, the sun, and the swallow, her sorrow

Singing me the tale of the Harpy and the Hare

—-------

More dreams come, of course they do. Each one halfway to forgotten whenever he wakes up, ticking faint in his ears. He is many different ages. He is young, shorter than a table. He is older, holding onto his little brother. He is singing in almost every single one. He is singing to his brother. 

Danny can barely remember the lyrics, he’s begun leaving a journal by his bedside so that it’s the first thing he can write down when he wakes up. He’s a storyteller, he learns. He feels like a historian, trying to piece together a culture long dead and forgotten. 

His most vivid dream-like memory is not a happy one, and for once he’s almost relieved he barely recalls it. He is somewhere that isn’t home, but his mother and brother are there. He is dressed in black, blades keen in his hands. 

They are atop a moving train. They are fleeing something. His brother is struggling to keep up, he is small, and young. It’s beautifully sunny, they are somewhere green and lovely. 

It is a fast dream. 

His brother stumbles on something, and Danny, fast as a whip, snatches him by the back of his shirt and hoists him up to his feet before he can fall. “Watch your feet, habibi.” He murmurs low, a hand on his back. It’s hard to hear, there is wind in their ears.

His brother, face obscured in all but his eyes, which are green as emeralds, nods. 

The dream blurs, but Danny falls behind. His foot catches on air — impossible, it should’ve been, at least. He never trips. — and he lands against the roof with a thud and a grunt. His mother and brother stop, and turn for him. 

The train hits a turn before Danny can get up, and he shouldn’t have, something pulls on him, he swears, but he slips. He can’t find the purchase to pull himself up, cold fear hits him as his nails scrape against the metal. 

His mother and brother’s horrified faces are the last thing he sees before he disappears off the side of the train. 

(The ticking is at its loudest when he wakes up, pounding against his inner skull. He only manages to write down ‘train fall’ in his journal, before he’s flipping over to press his head into his pillow to get the pain to stop.) 

—---  

She can't keep them all safe

They will die and be afraid

Mother, tell me so I say

(Mother, tell me so I say)

—-------

When Danny is fourteen he is still humming songs he can’t remember, his mind still in a broken puzzle. But his room is now decorated with stars and plants in every corner. He has a guitar he keeps in the corner of his room, and he plays the lullabies in his head on the strings over and over again. 

The ectoplasm in the fridge still unsettles him, still reminds him of a past he can’t recall. The knife beneath his mattress has returned to the kitchen — he doesn’t need it. He found a box in the attic last year, it had his name on it, and inside he found familiar, strange clothes, and more weapons than he thought was possible to carry on one person. 

(Even without knowing that the Fentons prefer guns to blades, Danny knows, instinctively, that they were his weapons. He was — was? Is — a dangerous person. He takes the box down to his room to sort through. The weapons all fit into his callused hands almost perfectly — the grooves worn to fit his palm. They’re just a little small.) 

(He tentatively takes a small blade with him to school one day, and feels much more comfortable with it sheathed beneath his shirt. He’s kept it on him ever since, like he’s reunited a lost limb to himself.)   

Danny doesn’t have a name for his person, his little brother, nor does he have a name for his beloved mother. He’s haunted by dreams every few weeks, many of them repeating. He’s ingrained the words he can remember to memory, and the ones he doesn’t, he writes down in his journal. His little brother; Danny calls him a bird, he can’t figure out what kind. His little bird of some kind; when Danny takes something from their father — what, he can’t remember what — then his little brother will be a little bird. 

(He doesn’t have a name for his brother, yet, but he’s calling his birdie in his head. It’s better than nothing.)

—------

Seeker, do you ever come to wonder

If what you're looking for is within where you hold

Will you leave a trail for them to follow a path

You'll soon forget

Home

—---------

When he’s fourteen, Danny dies. It does nothing to fix his fractured memories, much to his consternation. It just confirms something he already knows; that he was someone dangerous, and that he still is. 

When the shock of death has worn off, Danny inspects his ghost in the metal reflection of the closest table. It’s blurry, hard to see, but shock green eyes pierce back at him, green like the portal. Lazarus, Danny’s mind whispers, and he blinks rapidly.

‘Lazarus,’ he mouths to himself. It’s familiar. Sam shows him with her phone what he looks like, joking that he looks like an assassin. Danny doesn’t think she’s that too far off. 

He doesn’t tell her that. He tucks the thought away with the rest of his secrets, and fiddles with the hood gathering at his neck, attached to a cape with torn edges swinging down to his ankles. He pulls it over his shock white hair. It shadows over his face impossibly so, until all you can see are his green-green eyes peering out like a wolf hiding in the brush.

He ends up calling himself Phantom. 

(Maybe now he can start putting lyrics to his lullabies; his memories may not have returned, locked away with the sound of a clock, but the dead can talk. One of them may just have answers.) 

----------

Home is where we are

Home is where you are

Home is where I am

-----------------

Dedicated to @gascansposts for being the one who introduced me to the band Yaelokre, and thus being the whole reason I was inspired to write this in the first place >:] Those lyrics at the line breaks are all from their album Hayfields.

[kaereth]

Me wrow I'm so excited to finally have some more freetime for the next few weeks!

also me taking in a new 2 week old foster kitten suddenly:

[dirtytransmasc]

Alicent being ignored as a parent during those first few years. Alicent being expected to take care of aegon, while also allowing Viserys to take him whenever he so pleased, to show off and pass around like a model toy. Alicent being denied her child whenever lords and ladies were around. Alicent only getting him back when she was at her wits end, stressed after being separated from him for so long, watching people hold him wrong, play with him wrong, touch him wrong. Alicent only getting him back when he is fussy and no longer a source of entertainment for Viserys and his guests. Alicent holding her baby close to her chest during outings or events, stiffening when people ask to see him, hesitant to release her grip on him. Alicent biting her tongue when people ask to "give her a break" when she really wants to tell them that it's her baby and she's perfectly capable. Alicent being so exhausted from guests and Aegon being so little and full of energy, and her second pregnancy, causing her to doze with Aegon in her arms, only to nearly lash out when someone tries to slip him from her arms, engulfing him in her arms as if to fend him from hungry wolves. Alicent carrying him around, even as she grows tired, her arms burning and back aching, so she knows he is safe, away from prying hands and acrid whispers, away from his father's attempts to use him for amusement purposes. Alicent feigning a smile, feigning composure and enjoyment, when really, she just wants to be home, in her chambers with her son, where no one can bother them, where they aren't props meant to smile and wave for a man who does not love them.

(inspired by this reblog of my post from earlier. cause yes, @squgs [hope you don't mind me tagging] is right, she would very much go to war for her baby)

[samscompliment]

ballad of a deangirl

[gatogotica]

psych is actually so fucked up for the mommy issues they gave shawn. like idolizing her for so so long simply based on the fact she’s not henry (which is a whole other can of worms). she’s never in a single childhood flashback. she’s never mentioned even off-handedly. nobody calls her when shawn got shot, or really any of the other countless times shawn was hurt or in danger. like she sincerely in every sense of the word was a deadbeat and shawn refused to allow himself to see it because he had to hold on to the belief he had his mom to cling to because, again, she wasn’t his dad

[aquickstart]

ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.

another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!

farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.

but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.

but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.

but the important thing is this.

farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.

farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.

the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.

as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.

but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.

and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.

to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).

to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.

and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?

but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.

the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.

so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.

[oceanwithouthermoon]

imo everyone who insists that saikis life was perfect and he was a spoiled brat complaining about nothing are just purposefully ignoring and misinterpreting the whole manga simply because they like other characters better and want to make up scenarios to make their fav seem like a precious little victim in every situation

its hard to explain but i see it happen a lot with specifically people who have dedicated accounts for other characters and constantly misattribute every issue to "saikis such a baby, my character has it way worse!" "saiki hurt my babys feelings once so i hate him!" "saikis such a spoiled brat, my baby has a way shittier life and never complains about it!" "saiki hurt my poor precious fav once so hes an abusive monster!"

and said "shittier life" that they "never complain" about is either the persons headcanons (literally made up) or... the character DOES complain about it and the person takes those words at FACE VALUE but ignores everything else, including things that actually HAPPEN right in front of our eyes

[tequiilasunriise]

When Steph and Cass get married they don’t take the last name Brown (Daddy Issues™️) or Cain (Daddy Issues Prime™️) or even Wayne (Steph absolutely REFUSES to become a Wayne nosirree), but a secret fourth thing (Gordan).

[ghostlywhiskey]

single girl dad simon. that's it, that's the thought. either you agree with me or you don't. stay well x

[specialbluehens]

i think it would be very silly, a little hee hee funny, if shane ended up put in an older sibling role (without trying) to the younger bachelors/bachelorettes

[extra-somethin-somethin]

ik ppl hate fictional deadbeat moms but im an avid enjoyer. my feminism knows no bounds truly/j

like i get it she did a bad job. but shit she still did a job that's for sure!! like. she did it do you understand. 14 year old girl is pregnant. it's disgraceful. a shameful stain on her family. yusuke doesn't seem to have grandparents or anything so besides yusuke's bio dad she's got no one. and then when yusuke is a toddler the father disappears and considering who he is and what he's like that's probably for the best. gonna go out a limb and say that yusuke was maybe 4 or 5 when his dad cleared out so. at 18 and entirely alone. atsuko looked down at this little thing. this baby because he's still a baby to her this is a baby who only has her. Not even 4 feet tall with the biggest brown eyes looking to her for everything because he quite literally has no one else.

he doesn't know she's a failure yet. he doesn't know people will look down on them just because he exists as he is. he doesn't know how hard this is going to be from now on. all he knows is he loves his momma

so she doesn't cry. she just meets his big innocent eyes and goes "it's just you and me kid" and yusuke doesn't know that that's a sad thing.

so she takes care of him the best she can and it still sucks but yusuke doesn't know what the standard she should be held to is yet. for a small time she is the greatest and best person in his world and he's the only one who thinks so

then he meets keiko and her parents and finds out that his normal is actually dysfunctional and that his mom actually isn't all that great. that living day to day in the bottom of a bottle isn't healthy. so she's no longer praiseworthy but this person he's responsible for. just like that the roles reverse. because while she was all yusuke had yusuke is also all atsuko has. he doesn't respect her but he still punched the motherfucker in the mouth that called her a tramp. she taught him how to do it.

atsuko comes to terms with the fact that Yusuke doesn't really need her anymore, probably never did so she doesn't bother to care when he skips school or beats whoever he wants to a pulp or gambles because at 14 she was expecting so what the fuck can she really say about him. he sneers at her as he makes her coffee. atsuko lights another cigarette

it feels like betrayal when her son dies. at 14 she had him so how can he die at a sorry age like that. i wasted my teenage years on you for what? so you can die and leave me here? you fucking brat. how can she recover from this? yusuke was all she had. he hadn't looked up at her with an admiring gaze since he was 7 and stopped hugging her goodbye soon after but still he was hers he was hers and then he was gone

but then he comes back. and she doesn't get much better as a mom or as a person really. she tries harder than before maybe (keeping him in school) but yusuke never expected her to. he's made up of her bad habits and uncaring attitude but he's so much better than her. became something good something strong despite how shitty of a job she did raising him.

she's not proud because she has no right to be but something like it tugs in her chest when she sees him feeding the people he cares about at his little ramen cart looking as happy as the first time she'd taken him out to park.

yusuke's dad suggests taking another crack at the whole family thing and she wants to laugh in his face. the only family she'll ever have is that little boy who's stronger and braver than she'll ever be.

she doesn't want to see him laying cold in a casket ever again. he's meant for life, a soul as bright and durable as his. atsuko hopes he lives to see the sun explode

[clockwork-carstairs]

I think the reason why TID’s found family aspect feels so intense to me is because most of the main characters really had NOTHING else in the world. Tessa was orphaned with a missing brother, Jem was orphaned, for most of the series Will might well have been an orphan, Jessamine was an orphan, Charlotte if I recall correctly was also an orphan. The London Institute was all they had. Hits hard when you think about it.

[eerna]

me on December 20th happily wondering why they decided to go back on the HoO-ified "LET'S FIGHT HAND IN HAND WITH OUR DEAR KIDS <3<3<3" gods VS me on January 31st realizing they didn't and they actually made it even worse

[voxmilia]

Sire! the people plead for inkblade headcanons and scenarios! Will thou not have mercy???

The peasantry demand inkblade, do they? Very well, I shall oblige!

My dear friend Nick @starlingcity just added a new song to our inkblade ship playlist and I got baby about it so these are gonna be more tender and more on the love half of enemies to lovers but!!

Oisin left a note in Adaine's locker asking her to prom freshman year. It was at Ivy's insistence. However, it was right before the bad kids ended up in jail for the death of Johnny Spells. So after days turned to weeks turned to months, that sliver of courage left and Oisin asked Kipperlily to break into Adaine's locker and steal it back. (It doesn't take much for Kipperlily to hate any of the bad kids but this is something she quietly judges Adaine for for years.) Oisin doesn't tell her until long after they've started dating.

It's 3 am and Oisin wakes Ivy out of trance to text her frantically, wondering if she thought it would impress Adaine if he got SO good at glyphs, he could write a message to her inside the giant orb she carries around. Ivy calls him a twat and tells him to go to bed. (The dragon in him, two years later, hopes she's impressed when that same magic throws her into the maws of his distant relatives.)

A headcanon Nick has is that Oisin is a leather worker as a hobby, making things like Ivy's quiver and his spellbook holster. He makes another spellbook holster (it's NOT a courting gift, Ivy, shut up) and leaves it in Adaine's locker early senior year (Kipperlily grumbling as she unlocks it). Adaine knows who it is by the clouds and lightning bolts etched into the leather. She does not thank him but she does wear it when she doesn't want to wear her backpack. (She thanks him belatedly, eventually)

Their first moonar yulenear as a couple, he makes her a sheath for the sword of sight. She thanks him immediately this time

Demi aroace Adaine had never had a crush before Oisin; she thinks the moment at Fabian's party is just the alcohol. She thinks it's a low grade panic attack when he waves at her in the hallway, when he messages her an apology for his party. (Embarrassingly, when she discusses it with her doctor, said doctor tells the young oracle that she likely doesn't need a higher dose of her medication because this isn't that sort of panic. She doesn't tell anyone about the mistake.)

Oisin ended up with an awful stomach ache after the party at Fabian's - he was NOT built to process milk. It's karma, and even he knew it.

Adaine admits to no one that Oisin is partial inspo for why she gets a magic tattoo between junior and senior year, instead crediting only Ayda and Fabian. She and Oisin do get matching tattoos after they get together - the design Nick and I have atm is the eye of the sword of sight surrounded by lightning bolts. (She's the oracle that survived the storm, after all)

EVERYONE knows about Adaine speaking draconic and how Oisin thinks that's very hot, and how they banter and snark at each other with it. But Nick and I have decided that Adaine speaks it almost exclusively the first couple of times Oisin visits Mordred Manor - the sheer love in that house overwhelms him and speaking in a language only Adaine knows makes it feel private and he can breathe a little easier. (Aelwyn teases her relentlessly for this)

Adaine doesn't trust him afer he's revived and he's mostly understanding. It gets old, how much she assumes the worst in him - deserved but still tiring. However, he never stops her when she casts Detect Thoughts. Is it invasive? Yes. Does he believe he owes her that much? Also yes. (She finds ways to disbelieve him anyway, for her own sanity. He gets it but he hates it.)

Eventually, when everything is love now, Fig suggests a double date with Ayda (Fig, who had always been so trusting, so willing to extend a hand, is one of the first bad kids to swallow her pride and try and make begrudging amends. Lucy's presence helps.). Oisin and Ayda get along like a house on fire and Adaine "I never really felt like a kid" Abernant, gets the very sweet teenage experience of sitting in a booth at a crappy dinner, with a boy's arm around her shoulders, laughing with her friends. Content. Happy. Silly. Young.