please be true
[ID: Digital Trigun Stampede fanart of Vash and Wolfwood cradling each other. Vash is facing the viewer with his face buried in Wolfwood's shoulder, one hand grabbing at Wolfwood's neck and the other grabbing his arm. Wolfwood is facing away from the viewer and is slightly leaned away, one arm wrapping around to Vash's back, but his hand is hovering, not touching. The background is black with white and red confetti-like and petal-like shapes falling around them. ID END] ID CREDIT
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that 'have you ever been punished as a child?' line Pen drops hits different when you realize that in the books, Colin was horsewhipped by his father the morning before he died and then went to Eton where they literally had something called 'flogging Fridays' during the time he attended
like Julia, Miss. Quinn, what do you mean you just threw that information in as a random throwaway line that is never mentioned again? do you not realize how WILD that makes Colin's background?
He was twelve years old??? His dad saw him hitting Eloise and then horsewhipped him, and after horsewhipping his twelve. year. old. son. he then goes to comfort Eloise by taking a walk with her and the bee stings him and he fucking dies
Colin would be out here blaming himself for that death forever are you kidding me???? Wondering if he didn't hit his sister (when they're children playing together), would his Dad still be alive? Would he still have gone on that walk? Would he still have passed away as Colin sat sobbing in the stables, hurt by his hand?
And then he goes to Eton where the only time he had off was 3 weeks around Christmas, but still has to stay there, and 3 weeks in the summer when he can finally go home to Aubrey Hall?
This timeline is BONKERS. Like. . .we know Edmund dies not too long before Hyacinth is born, and she's born May/June. Colin's birthday? Yeah, it's in March. So you mean to tell me, the order of events of all this mess could be as followed: Edmund horsewhips Colin when he's 12 years old (sometime before March), he DIES that same day, Colin turns 13 (in March), Hyacinth is born (in June), and not a few months later Colin has to go to Eton (after the summer break. Social season is Spring and Summer, and ends either July or August, so let's be merciful here and say he leaves in August) and doesn't come back for an entire year?
You mean to tell me this boy has had what? Half a year to get over his father's death after he whipped him for a minor infraction and then he's waltzing into an institution where canings and whippings and floggings and bullying are the norm when he's a teeny tiny little boy?
How is this man not filled to the GILLS with trauma???? No wonder he's so close to his mum and listens to the women around him more than the men and never talks about his dad. And he still turns out so nice and empathetic and kindhearted? He still listens so much to Pen and is so gentle with her and has a good sense of humor and cares so deeply?
That man is never raising a hand to their children. He probably won't even raise his voice at their children. Oh my god.
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Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....
And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.
The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.
And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.
Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.
HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.
But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.
That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:
His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.
Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.
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[ cw: nightmares / trauma / ]
Post-invasion, Mikey sneaks into Leo’s room and when asked by Leo what the problem was, Mikey just smiles and says since he’s awake and knew Leo would be too, he didn’t want either of them alone. Leo laughs and lets Mikey stick around, both of them clumped together on Leo’s bed, watching grainy compilations of old Lou Jitsu commercials on Leo’s phone.
Technically, Mikey didn’t lie. He just didn’t explain everything that led him to Leo’s room. He didn’t explain the nightmare of his arms burning up too bright, too fast, destroyed before Raph and Donnie have a chance to help. He didn’t explain how he woke up with a wail caught in his throat, phantom pain in his arms and chest alike chasing away any semblance of exhaustion. He didn’t explain how his mind made sure he knew, vividly, that if one thing went wrong with his portal, then he would have never seen Leo again.
He didn’t explain, and he didn’t have to. Leo knows his brothers better than he knows himself, and Mikey has always been easy to read. So it’s no trouble to let Mikey know that he’s still with them, that Leo is here and alive with everyone else. And when Mikey finally regains his exhaustion and falls asleep leaning against Leo, Leo simply maneuvers him into a more comfortable position and stays by his side.
He doesn’t move, doesn’t go to sleep - not that he could, anyway. He just mindlessly scrolls on his phone, the soft snores of his little brother filling the room. He stays in place, awake, because he wants to be sure that when Mikey wakes up again it’s to the immediate sight that Leo is alive and well and home.
And, if Leo’s bring honest, that’s a reminder not just for Mikey’s sake.
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who knows how long eddie would’ve kept that affair going but all it took was buck going “you have to tell her” and there eddie goes “damn now i have to tell her.”
walk him like a dog buck
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Previous // Next
Byrd: Dad?
Oscar: Morning, bud.. miserable day, huh? I’m not looking forward to packing up in the rain.
Oscar: Did you sleep okay?
Byrd: Erm…
Oscar: GO GET YOUR HEARING AIDS!
[Byrd fidgeted guilty, implying that he’d lost yet another pair]
Byrd: [sobs] Why do I have to be deaf without them, papa-.. s’not fair.
[Oscar held Byrd tightly, stroking his back until his sobs subsided somewhat]
Oscar: LET’S SEE WHAT WE CAN DO…
[Oscar plonked Byrd outside as he rummaged through his bags, eventually producing a backup pair of hearing aids]
Oscar: Better?
[Byrd nodded gratefully, burying his snotty nose in his father’s hair as he threw his arms around him]
Oscar: Maybe you ought to think twice about learning SSL.
Byrd: What’s the point? No one else knows it.
Oscar: Robin does, and we all know bits n’ pieces, don’t we?
[Byrd grumbled disinterestedly]
Oscar: I think it’s long overdue, pal-.. what if we all learn it together? Properly this time.
Byrd: I guess…
Oscar: All I heard was yes.
Byrd: Are you deaf too?
Oscar: [snorts] C’mon, we’ll probably find the other pairs as we clear up.
Wren: Daaaaad, it’s raining!
Oscar: The faster we get goin’, the faster we’ll be in the car-.. I bet Wren can pack up faster than you.
Byrd: [gasps] NO WAY!
[rain pattering]
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