#but also that he can see Light and is making Light aware of aspects of himself he'd rather not be

[multifandomlandfill]

Watching the death note musical and man, I just want to give Light some tea and terrible unlicenced therapy.

[heartswithinreach]

LaDS with an autistic MC

a/n: another one i’m writing for me. but i tried to touch on different symptoms so others can feel included 😊

Xavier

He’s been asked if he’s on the spectrum more than once so he’s aware of what autism is but not much else.

That quickly changes when Xavier finds out you’re autistic. He does as much research as he can, both through books and online articles, and then subtly does his own study with you.

If he’s on his phone, you can bet he’s noting your preferences (food, texture, smells) and your interests for future reference.

Pleasantly surprised by how you start to change as you become more comfortable around him. He’s very glad to be allowed into your inner world.

Xavier never wants you to feel like a burden or you’re broken somehow. You are simply you. And he wouldn’t change a thing about his beloved partner.

Zayne

Autistic!MC 🤝 Autistic!Zayne

Zayne was diagnosed before you but didn’t pay it much attention until you got the same diagnosis in your teenage years. He added autism to his studies for medical school, learning how to care for you and himself at the same time.

When you come back into his life, he surprises you by remembering all the strategies and signals you made to support each other when you were young.

Masking has always been difficult for him. Hiding aspects of himself exhausts him so he makes sure you know you never, ever have to pretend with him. You can be yourself around him.

Zayne is in no rush when it comes to how your relationship evolves. You can both take your time in figuring this out and he’ll always be there.

Rafayel

“Yeah, I knew you were a weirdo from the day we met.”

Rude! But if you were worried telling him would change how Rafayel sees you, you have nothing to worry about. He’s loved you for so long, it’s just something new about you he gets to discover.

He loves how radiant your smile is when you talk about your interests. He could listen to you for hours, just basking in your light.

Rafayel also loves the opportunity to play hero.

“What’s wrong, cutie? You’re anxious and wanna leave early? Eh, this party was boring, anyway. Come on, I’ll get you something sweet on the way home. Don’t worry about offending anyone, I’ll take care of everything — you just breathe, okay?”

Sylus

With how rocky the beginning of your relationship was, it’s not unreasonable to think he would get frustrated with you the same way he did when you couldn’t resonate with him.

But no. Sylus is actually your most fierce and loyal advocate and very protective of your peace of mind.

He takes care of potential issues before you can even think of them and is slowly turning his home into a place of comfort for you — while keeping his aesthetic, of course.

Sylus happily allows you to cling to him in public, taking pride in how you go to him for protection. And if you have to go somewhere alone, you’ll hear Mephisto’s cry following you.

Never touches you without warning and always stops at the first sign of discomfort. Anyone who doesn’t do the same is swiftly handled by Luke and Kieran.

[vigilskeep]

when you first start the cousland origin, you can have some conversations with arl howe, teyrn cousland, and duncan that shed some interesting light on the political situation in ferelden. it’s definitely the origin where you get the most context on the rebellion and on cailan and his father. while howe isn’t exactly the most trustworthy of sources, he is also one of the most openly critical of cailan that we have access to, which i think is worthy of interest

howe remembers maric with what the toolset describes as “genuine fondness”: “your father hasn’t spoken of our time with him? that man took care of his friends. as they say, he was large as life and twice as tall!” i think we should pay particular attention to that man took care of his friends.

what howe’s talking about is a really important aspect of kingship, where you win the consent and enthusiasm of the nobility for your rule by offering rewards like wealth, land, and prestige to the loyal. kingship is always less stable than it’s portrayed, and this is one of the ways that kings must essentially sell to the nobility that answering to them is worth their time, which would be especially important in ferelden given everything we know about its culture. fereldans believe someone only has power when it is given by the loyalty of those below them, who have the right to freely rescind that loyalty. the dao codex says that “the sight of [fereldan kings] asking for—and working to win—the support of ‘lesser’ men is a source of constant wonder to foreign ambassadors.”

i suspect howe is remembering a maric fresh from the victories of the rebellion, who was able to reward those who had followed him with the spoils of those victories. at the end of the stolen throne, we see that in the final days of the rebellion, maric was killing those who had betrayed his mother to the orlesians even when they arrived under truce to meet him on holy ground. in dao, we see no lingering orlesian nobility except for those who married in and continue to be met with marked hostility. i think we can safely surmise that maric elected to make no conciliatory measures and give everything to those who had followed him; with the orlesians on the run and his people out for blood, he was in a strong enough position to do so, and it certainly served to win the fond memories of men like howe.

by contrast, howe goes on to say, “it’s too bad cailan isn’t half that.” the toolset notes establish very clearly that it’s the same issue, elaborating on howe’s thoughts: “bitter turn, i don’t get as much from the current king”, and “disdainful, i have no use for him, he does me no favours”. this isn’t a minor character detail, if howe’s last words when killed by the player are anything to go by. “maker spit on you... i deserved... more...” whatever it is that howe feels he should have been given, by the crown or anyone else, it characterises his actions and his defining treachery.

it’s in these same conversations that we see another side of this demonstrated. there are two points where howe can openly criticise the king, and bryce immediately admonishes him for both. one even has the toolset note: “speaks sharply, as a lord to a lesser man, not a friend to an equal”. it definitely comes across that way; the way he tells howe “that’s enough” is not far off the voice he uses when the player, his child, displeases him. bryce can’t tolerate any criticism of cailan, as the couslands in dao are ardent supporters of the king. to venture some hc, i suspect that this is not merely royalist fervour, and that howe’s resentment for having been given less is matched by bryce’s awareness of the precariousness of having more.

over the centuries, the theirins have consolidated their power and eradicated almost all the teyrns (the noble rank that is second only to the king). with the only other lingering teyrn being loghain, who is essentially part and parcel of the royal family, the couslands stand alone as the only real rivals to theirin power within ferelden. there are rumours that bryce was once considered for king instead of the theirins; he too could have decided to believe he “deserved more”. but unlike howe, and perhaps understandably given his strong position and happy growing family, he is satisfied with what he has. he will not take the risk of even the slightest challenge being made within his hall

(i expect that bryce’s satisfaction with the current situation further spurred howe’s dissatisfaction to its heights, given the complicated cousland-howe history and the fact that he was expected to accept a friend he had fought beside as a superior for the rest of his life.)

i don’t think howe’s judgement on cailan is likely to be without basis. we don’t hear about any victories the young king has to his name, from which he could have passed around spoils. (to be fair, cailan had harder luck than maric in this regard. a king who raises a successful rebellion gets to bring glory and prestige to everyone who follows him, whereas a king trying to rebuild after that rebellion mostly gets to bring, uh, taxes probably. especially on wealthy centres of trade like howe’s amaranthine, one might assume.) cailan also takes a far more diplomatic approach to the question of orlais, which perhaps predictably did not win over many nobles of howe’s generation. it makes sense that cailan’s strongest supporters would instead be men like bryce who hope for things to simply continue, peacefully, as they are. perhaps in another world where cailan had won the battle of ostagar, he might have earned wider respect. (you could actually argue on this basis that there’s more sense and purpose to cailan’s glory-seeking than he usually gets credit for.) but howe already acts before ostagar, which can only demonstrate his certainty in cailan’s failings at this point: his belief that even if cailan could win, he would not be stable enough to pursue justice for the couslands

[lovemomhatepolice]

drew starkey nswf alphabet (part 1) (minors DNI!)

navigation taglist requests

A = Aftercare (what they’re like after sex) Drew is very caring. You can never complain about lack of attention or proper care. He even forgets himself sometimes so long as you are well taken care of. Fortunately, you are able to balance the middle ground so that both of you are maximally satisfied and cared for. After sex, he is even more cuddly. He is constantly following you, never leaving your side B = Body part (their favorite body part of theirs and also their partner’s) I don't know if he has favorite body parts, both with you and with himself. Drew is really a person who admires the whole body. He realizes that he's damn handsome and well-groomed, so he likes himself in general. With you, he has the same. He likes, loves your body as a whole. Okay but how do you connect during sex in this one place. GOD!!! C = Cum (anything to do with cum, basically) He's a fan of ending up inside you.JYou eatIfIf mIf youIf he onlyIf he has only If you just let him, of course, he seizes the opportunity every time. It probably connects with his breeding kink, but you have no problem with it. You even quite like it... D = Dirty secret (pretty self explanatory, a dirty secret of theirs) Everyone is familiar with this popular tweet about spitting in the mouth. And everyone is well aware that it was certainly memorable for this man. Surely he won't let go of talking about it, and maybe he'll wait to talk about it himself? E = Experience (how experienced are they? do they know what they’re doing?) Well he is experienced, although he hasn't had many girlfriends or side hook-ups in his life. He knows perfectly well what he is doing, how he should move, what to touch. A good knight with good weapons. It can work wonders with your body, even without much care (although he still tries hard) F = Favorite position (this goes without saying) A fan of the classic missionary! It could be simple, but no, the missionary gives him plenty of options. He can change his angle in you, kiss you wherever he wants, he can perfectly see the place where you connect. Well, he has to pamper his pillow princess and he doesn't mind it at all G = Goofy (are they more serious in the moment? are they humorous? etc.)

Drew laughs a lot, oh, hearing his throaty laugh during sex is something else. it often happens to him, but you don’t protest. You also have moments of silliness, and your whole act becomes a place of silly text. However, more often he happens to be serious, grown man behave like this, right? (kidding aside this man will do anything to make you laugh. Well unless you happen to be crying from arousal)

H = Hair (how well groomed are they? does the carpet match the drapes? etc.) Little hair on top = little hair on the bottom. He likes to keep everything well trimmed. Even his hands happen to shave, so what's the surprise that he's shaved in his intimate areas. I think with you, he would also expect you to have it neat so he could dive in there without a problem I = Intimacy (how are they during the moment? the romantic aspect) He can really be affectionate during sex. If you feel that way, that's how he will be. He loves to give emotion into it, not to show that it's carnal pleasure alone. He likes to tell you all sorts of compliments, to show that he cares, that it feels good. If you want rose petals, you'll have rose petals J = Jack off (masturbation headcanon) Oh, he doesn't have to worry about that. You're both aroused at the same time, and if you're not, let's not lie to each other - one word and you're already on your knees. And if you're not next to each other? He keeps it inside and waits until you meet, then your act has even more power K = Kink (one or more of their kinks) Breeding. The beautiful man is now over thirty, and a light has gone on in his head about starting a family. And when you showed up, he can't stand it all the more without a vision of you with a belly full of his baby L = Location (favorite places to do the do) Wherever you want. Drew is quite submissive about it. The bed, the countertop, the wall, the shower. Wherever you want, really. And he'll run after you like a stray puppy. But sex in the tub, oh, just a word, and he's already there. Ready and compact for action. Bubbles, warm water, steam rising in the bathroom, oh god M = Motivation (what turns them on, gets them going) You in his too-big-for-you T-shirts with nothing underneath, oh god, this man is already on his knees for you. Or the sight of your hips moving to the beat of the music, especially close to his crotch, oh, it's too much for him

A/N: part two will be here soon BUZZ CUT DREW I'M CRYING

please do not copy and translate my works! in case of any issues related to this - I invite you to discuss privately :)

[anxious-witch]

I think the reason why there are so many amazing ships in Dead Boy Detectives is because the show manages to show different versions of love/lust/devotion through different relationships all characters have.

Like, love triangles have been doing the whole "a girl has to choose between two guys who each being out a different side of her" for over a decade in popular media, some more, some less successfully. But the pitfall they often fall into is that those differences seem very shallow and often ignore the other aspect of the main person who have to choose between the love interests.

Dead Boy Detectives makes sure to not do that.

When we look at how Charles is with Crystal vs how he is with Edwin, we can clearly see the difference. In the beginning of his and Crystal's dynamic, he is flirtier and puts more if a bravado, but he pretty quickly opens up to her. Because he sees that she very quickly sees past his facade he puts up with his constant happy-go-lucky persona. Only when he starts opening up to her and showing his emotions does their relationship progress. Because after David, Crystal needs someone who can be emotionally vulnerable with her and in turn, Charles offers her the same, and offers her a safe space.

In contrast, we see that Charles is more at ease around Edwin. They know each other deeply, and are also woven into each other at this point. It's easy, like breathing. One thing it doesn't do is challenge either of them from the status quo they have built over the years. But there is a sense of ease there, and such devotion. There is no question about what they would do for each other because the answer is everything.

That said, while they both bring out different sides of Charles, those sides of him feel intricately linked to one another! Which is why Crystal coming into the pictures begins changing Charles' relationship with Edwin as well! It brings to light things they have ignored. And in turn, Charles' clear and unwavering devotion and loyalty to Edwin prompts Crystal to learn it herself. To quote Jenny in ep 8, "you were about to leave and never see these boys again, but now you are going to save them"? And yes, she does exactly that.

This even has influence on Edwin and Crystal's rs directly, which I can't recall ever seeing in a love triangle before, at least not in a positive sense. But it's so clear that Charles loves both of them that the other learns to love them too, and they realize their own similarities through it, too!

As for Edwin and his many love interests, well. I know there has been a lot of debate, especially around Cat King vs Charles dyankics with Edwin, but the thing is-you are comparing apples ajd oranges here.

The Cat King is enamored, fascinated by Edwin, and yeah above all, attracted to him. This dynamic serves to challenge both of their characters' beliefs and shake up the power dynamics between them. Whenever you like the Cat King or not Edwin clearly reciprocates the attraction part, at the very least.

Charles loves Edwin and is devoted to him and Edwin to him turn, as discussed above. What is difficult about their relationship is that it became stagnant due to lack of communication, which is why they needed other relationships to shake up that dynamic.

But to address the most prominent comparison I saw, which is the Cat King saying he'll wait for Edwin vs Charles going to Hell to save him.

Both are types of devotion, is the thing. A profession of love, if you will. To this day, we consider Penelope a faithful, loving and devoted wife for waiting for Odyssey for 20 years. Cat King saying he'd wait for Edwin isn't any small confession, given he is aware it could take decades, if not more.

Don't get me wrong, Charles going to literal Hell to save Edwin and succeeding where Orpheus and Eurydice failed is an enormous success and a way to show you love someone. I am not minimalizing that at all.

I am just saying that, for who these characters are and given their rs with Edwin, they did exactly what they were supposed to. They expressed in which ways Edwin had influenced them and what they can offer him if that dynamic becomes romantic.

Cat King represents experience, patience. As an immortal he has all the time in the world to wait for Edwin to return from hell, because he believes Edwin is strong enough to return on his own.

Charles represents love that breaks all obstacles in their way. He goes to save Edwin because he believes Edwin deserves to be helped in the way he helps others. He deserves to be saved.

My point is, there is no better of worse way of loving someone. The character in the love triangle choose the person that better alignes with who they are and who they wish to be as a person. So yes, you are absolutely allowed to say "I think this character would choose person a because it alignes better with their character development" but comparing the two as one being superior is kinda pointless imo? Exploring different dynamic of a character is the goal here, right? Either through canon or fanon.

...I was gonna talk about Crystal/Niko and Edwin/Monty too but this post got away from me to uhh. Might do another one if anyone is interested but in their way! I adore the way DBDA explores different sides of characters while still making them feel like a fully rounded person and doesn't shy away from letting one rs influence other rs character has.

[servingrobin]

Hello lovely, hope you're doing well! May I ask NSFW Alphabet with Zoro?

Thank you!!! Was already in the midst of writing this for myself as I adore the moss head

A= Aftercare (what they’re like after sex)

Look let’s be real here, this man loves you more than anything but he can barely stay awake normally. Zoro will kiss your forehead, help you clean up and then roll on top of you and zonk out.

B = Body part (their favorite body part of theirs and also their partner’s)

On him it’s his arms - Zoro knows these are what help him be the best swordsman he can. He’s also very aware of the way you stare at the veins running along them.

He is an ass and thighs man through and through, loves looking loves using them as a pillow. Bonus points for thick thighs too (I fully HC Zoro as the type of gym bro that’s crazy for a plus size woman I can’t lie)

C = Cum (anything to do with cum, basically)

Zoro will either cum inside or paint your ass with it, no other place appeals to him that much, and there’s no better feeling than filling you up

D = Dirty secret (pretty self explanatory, a dirty secret of theirs)

Listen I full believe this man wants to try anal and is desperate to see your ass jiggling while he fucks it

If that’s not your thing - he would also very much like to fuck you with one of his swords in your mouth, muffling your squeals

E = Experience (how experienced are they? do they know what they’re doing?)

Knows what he’s doing, but Zoro is not ridiculously experienced, he’s always been more focused on training and never met a woman before you that has appealed to him so completely

F = Favorite position (this goes without saying)

Doggy, likes to slam into you and watch your ass shake as he does, bonus to also be able to pull you back against him by the hair, back to chest as he thrusts up into you

G = Goofy (are they more serious in the moment? are they humorous? etc.)

Completely serious in the moment but occasionally does something that will make you giggle unintentionally

H = Hair (how well groomed are they? does the carpet match the drapes? etc.)

It’s a jungle down there let’s be honest, Zoro has never thought about trimming it, and is not particularly bothered whether you do either

I = Intimacy (how are they during the moment? the romantic aspect)

He’s got a lot of passion but not the most romantic, will kiss you hard and leave you panting, all rough grabs and nips across your skin with his teeth

J = Jack off (masturbation headcanon)

Occasionally when he was younger, but even before meeting you mostly saw it as another method of practicing self control

K = Kink (one or more of their kinks)

Spanking is a big one for Zoro, seeing his large hands wrapped gently around your throat, light bondage, light knife/sword play, semi-public, love bites, light degradation, pure dom energy

L = Location (favorite places to do the do)

Literally wherever he feels like it - usually the nearest closet or cupboard, either of your rooms, nearby alleyways, and one memorable time in the kitchen when Sanji had pissed Zoro off particularly badly

M = Motivation (what turns them on, gets them going)

Seeing you fight, short skirts, trousers that are super tight across your ass, bending over in front of him, cleaning his swords for him

N = No (something they wouldn’t do, turn offs)

Shower? 😂 no but seriously anything you’re not into, Zoro is pretty rough and tumble but if you ever say no then it’s never happening again

O = Oral (preference in giving or receiving, skill, etc.)

Zoro is a demon at eating you but much prefers receiving, there’s something absurdly sinful for him knocking into the back of your throat as he gags you with his thick cock

P = Pace (are they fast and rough? slow and sensual? etc.)

Fast and rough most of the time, even his slow sensual fucks are still hard and bruising, Zoro’s hips are just pure power

Q = Quickie (their opinions on quickies, how often, etc.)

Loves them, nothing better than bending you over the nearest surface and leaving you dripping with his cum

R = Risk (are they game to experiment? do they take risks? etc.)

Enjoys risks but without any real danger to you - for example he loves semi-public fun, showing people who you belong to, but if anyone came to close or really saw you, he’d have a big issue

S = Stamina (how many rounds can they go for? how long do they last?)

Zoro makes it a contest to see how many times you can cum before he does, is a one and done guy but can hold of cumming for a long time - another way all his training comes in handy

T = Toys (do they own toys? do they use them? on a partner or themselves?)

Not the biggest fan, likes ropes etc but anything that goes inside you makes him weirdly jealous 😂

U = Unfair (how much they like to tease)

Not big on teasing, doesn’t mind a little build up but would make rather just fuck you silly

V = Volume (how loud they are, what sounds they make, etc.)

Very quiet, low grunts and whispered filth are his specialties

W = Wild card (a random headcanon for the character)

Man has thought about sharing you with Sanji a few times - not in a nice way but in a ‘im gonna show this stupid cook how to really make my woman come” way, it’s part of his competitiveness - though I don’t think he’d actually ever bring it up in fear of you actually being fond of the chef

X = X-ray (let’s see what’s going on under those clothes)

Definition of Fat cock - Zoro is thick as a can and a good length (6 inches), deep tanned and poppy red at the tip, green curls at the base

Y = Yearning (how high is their sex drive?)

Very high but not to the point of always fucking -Zoro wants you all the time but again sees it as a self-control thing, he knows the more he waits the better it is when he finally lets loose

Z = Zzz (how quickly they fall asleep afterwards)

Again we know this man will not stay awake long, deep sleeper and will be like a radiator on top of you all night, buckle in because there will be no movement

[ironcroft11]

In defense of Gwen in Across the Spider-Verse

Okay. First of all: This post is gonna be super long and have tons of spoilers so if you don’t want to get spoiled for Across the Spider-Verse then don’t read this post. I have seen way too many people hate on Gwen because of her actions and her behavior towards Miles in Across the Spider-Verse. I’ll show you why that hate completely misses her arc in the movie and her true intentions/relationship with Miles. This post will also delve into Gwiles/Ghostflower since that is a big part of what shapes her intentions.  Many people say Gwen betrayed Miles and doesn’t really care about him. They say Miles shouldn’t forgive her and that she is a snake for what she did. I’ll show you why the opposite is true by going through the events of the movie in cronological order: The movie literally starts off with Gwen talking about Miles. She is drumming away, which is, mentioned by herself, a way for her to cope with her feelings. That opening from Gwen is a small glimpse into her head. We see how she feels and what she thinks. The interesting thing is that it’s basically Gwen broadly narrating the events of the entire movie. We even see glimpses of future scenes in that intro. The line of narration that is most important here is Gwen saying “I didn’t want to hurt him. But I did. And he is not the only one.” This shows us IMMEDIATELY that Gwen did not intend to hurt Miles AT ALL. Quite the contrary. It also shows that she is AWARE she hurt Miles. She knows she fucked up. That is going to be important later on when she needs to make the tough decision regarding Miles/The Spider Society. 

We then follow her as she goes home, still thinking about Miles and then, of course, her Peter. Note that this is roughly 1 year after Into the Spider-Verse. 1 year after she met Miles she still thinks about him daily. “I haven’t really made any friends after that [Peter’s death], except one. But there is no way to get there.” She misses Miles and wishes there was a way to visit him. Obviously she still very much cares and thinks about him.

At Gwen’s home we are first shown what her conflict with her father looks like. That conflict is obviously one of the main aspects of her arc and what drives her actions later on in the movie. You can see it is strained but you can still see that they obviously love each other very much. Gwen struggles as her father is basically hunting her down without knowing its is actually her. What pains her the most, though, is that her father is convinced that Spider-Gwen killed her best friend, Peter Parker. That way he, without knowing, makes Gwen feel guilty about the death of her best friend. Gwen is trying to get over Peter’s death but is held back by her dad, unbeknownst to him. 

Gwen caring and missing Miles a lot is brought up again when she sees the picture of her and Miles that they made in Into the Spider-Verse (which she had made into a polaroid so she can actually have it on her/in her hands). Her eyes look on with sadness and her color is dark blue. The colors in Gwen’s dimension are used to portray her feelings. Dark/blue tones for sadness and light/pink tones for happiness/comfort. At this point, seeing Miles again is probably one of her dearest wishes. Miles understands her and knows who she truly is. This is going to be important later on.

During Gwens fight with Vulture at the Museum we are introduced to Miguel O’hera, Spider-Man 2099, who saves her from Vulture. He introduces himself but Gwen seems unimpressed and uninterested. What she is very much interested in, though, is Miguel’s Dimension Watch. “You can go to any dimension you want with that watch?” She just met an entirely new Spider-Man and all she is interested in is his technology that might allow her to go and visit Miles. That is how much she misses him.

As the duo fight off Vulture Miguel calls for back-up and they are joined by Spider-Woman Jessica Drew. Her and Gwen have an immediate bond which will be very important later on. Gwen immediately looks up to her and sees her as a mentor from who she can learn a lot. Gwen impresses Jessica so much that she asks Miguel if they want to recruit her for Miguel’s Spider-Society. “What about her?” “No.” “Why not?” “You know why.” Miguel and Jessica studied the entire Kingpin collider event. They know who was involved and they know that Gwen and Miles are friends. Miguel doesn’t want to recruit Gwen because she is too close to Miles. Why that is a problem we all know. (Miles being the original anomoly) From the start they knew Gwen’s relationship with Miles might end up jeopardizing their goal of protecting the Spider-Verse.

We then go on to this scene. Gwen confronting her father and her father finding out that Spider-Woman, the vigilante he was dedicated to catching and locking up, is actually his daughter. This is a key moment in Gwen’s arc throughout the movie. Her father accuses her of lying to him. All Gwen wants right now is support from her father. She doesn’t get that, instead her father wants to lock her up for the murder of her Peter Parker. At this point she is immensely conflicted. “I don’t know how to fix this.” Jessica Drew notices that and convinces Miguel to let Gwen join the Spider-Society. 

Gwen seeing no immediate solution to her problem decides to accept the invite. She is not yet ready to confront the problem and walks away from it, despite being conflicted. This will be at the back of her head throughout her entire arc and throughout the entire movie. Until she is ready to confront her dad who, remember, wants to lock her up, she CAN’T return to her home dimension. Her going back would mean her having to confront a problem she is not yet ready to confront. 

The next time we see Gwen is after we are introduced to Miles again. This is Gwen seeing Miles again for the first time after 1 year and 4 months. Her immediate reaction is to tightly hug him. You can, in that hug alone, see how much she missed him. You can also pick up all kind of little things in this scene. One is how awkward Gwen is. She is cringing at herself for telling him he had a growth spurt. There are obviously some unresolved feelings between the two.

Gwen then goes through his sketchbook and finds Miles’ drawings of her. She is surprised to see so many drawings of her but plays it off smoothly. “Missed you too.” It’s obvious that both missed each other immensely. But we haven’t even seen the entire extend of how MUCH Gwen ACTUALLY missed Miles. We only find out about that a bit later.

Miles and Gwen then swing through the city and catch up. Their chemistry is on full display here. I absolutely adore this scene. Gwen tells Miles that the Spider-Society is really strict about where she goes otherwise she would have come to visit him sooner. What’s important here is that at this point Gwen KNOWS about Miles’ “condition”. She knows he is an anomoly and she knows that his father dying is a canon event. And at this time she BELIEVES in these canon events. She thinks they must be upheld or the multiverse collapses. That’s what Miguel told her. 

During their swing Gwen uses a moment in which Miles is distracted to place her surveillance device for Spot. You can see, even with her mask, how much it pains her to keep the truth from Miles nd having to leave him in the dark. We find out: Gwen is not here because of Miles but because she is supposed to catch Spot since Spot is an anomoly. 

What follows is one of the biggest Gwiles moments in the movie and also a very important scene when it comes to Gwen and her feelings towards Miles. They sit down at the Williamsburgh Bank Building and have a heart to heart. 

Gwen tells Miles that it is always so great to talk to him and that he is the only friend she ever really made since Peter died. Miles, knowing about Hobie, says “Other than Hobie, right?” and Gwen answers “That’s different.” This shows us that Gwen’s relationship and feelings for Miles are different from the relationship she has with Hobie. That’s because she literally has feelings for Miles, and she knows that Miles, in some way at least, feels the same. “We’re the same, in the important ways.” Gwen then says a line that literally shows she has fallen for Miles, otherwise there would be no need for her to mention it. “In every other universe Gwen Stacy falls for Spider-Man.” This is Gwen telling Miles that she has feelings for him. 

Hearing that reassures Miles and he moves his hand closer to hers. 

This is important: Gwen sees this! 

And then closes her eyes and flinches. She flinches because she wants to take his hand so bad that it literally pains her that she can’t. We find out why she can’t with her next words: “And in every other universe it doesn’t end well.” Gwen knows about canon events and knows they need to happen. She was probably being told that Gwen Stacy falling for Spider-Man and it not ending will is a canon event. 

She then gives Miles a look that I can only describe as “loving”. She would probably love to tell him more about canon events and everything regarding the Spider-Society. But like she said: She doesn’t know how to. She doesn’t want to hurt him and she wants to protect him.

Miles then tells her “There’s a first time for everything, right?” which makes Gwen chuckle and smile at him. It’s the first time where Gwen is confronted with Miles’ philosophy of going down his own patch and not bending to the rules of canon. Even if canon dictates something, Miles believes there is always a way. 

This rubs off on Gwen as she affectionately leans on Miles, enjoying the sunset with him.  Not only is this overall scene incredibly beautiful and masterfully animated but its purpose is to show us that these two indeed love each other. They want to be together but Gwen, at this stage, feels like canon is against them.

Miles and Gwen then enjoy some food in quiet and keep talking about the Spider-Society and how Miles wants to be a part of it. Gwen, without being able to tell him the truth, shuts him down and lies to him. Again, she is not ready to tell him everything, the same way she is not ready to confront her father. These 2 conflicts go hand in hand as they are her 2 biggest conflicts that she has to overcome. Gwen then snaps at Miles because he was about to find the surveillance footage of Spot which would therefore uncover her true reason for being there. Gwen obviously doesn’t want that to happen because she doesn’t want to hurt Miles. She wants to keep him away from the Spider-Society because she knows he is an anomoly AND because she knows he wouldn’t be safe there.

After she snaps at him she immediately apologizes though. They both get REALLY close after that, closer than I had remembered from my first viewing. They also lock eyes. I’m pretty sure if not for Rio, Miles and Gwen would have kissed here. Rio interrupts them and they have an awkward talk. Rio and Jeff obviously think there is something going on between Miles and Gwen which is the source of the awkwardness. 

Gwen then gets a signal from her dimension watch which is caused by the explosion that Spot caused. She missed her time window to catch him because she was having so much fun being around Miles. Gwen quickly leaves after that, having to lie to both Miles and his parents. 

You can tell she doesn’t want to leave Miles. She wants to stay, but she can’t. She is conflicted. And she is conflicted throughout the entire movie. That makes her arc so interesting. 

What follows is one of the most important interactions in the movie that show Gwen’s motives. She arrives at the explosion and realizes Spot escaped. Jessica Drew, who Gwen looks up to, remember, calls her and asks her where Spot is. Gwen tries to play the whole situation down, not wanting to be seen as a failure. That has one big reason: Since Gwen is a liability to the Spider-Society because of her connection to Miles she has to constantly prove her worth, otherwise Miguel will send her back to her universe. That is one of Gwens biggest fears. Having to confront her father again. She is not yet ready for that so she basically does everything that is asked of her, even if she doesn’t necessarily agree with it.  Jessica notices that Gwen is nervous and asks her if she visited Miles. Gwen again tries to play it down but eventually admits she went to see Miles. Jessica gets angry with her and Gwen tells her she will never see Miles again. Her voice noticeably breaks when she says that. That interaction tells us one very important point: Gwen was not allowed to visit Miles. AT ALL. Miguel has forbidden Gwen to see Miles. He probably also told her why. Miles is an anomoly and him getting entangled with the Spider-Society might end up badly. And Gwen, knowing all that, knowing she might risk the multiverse, knowing she might risk getting sent back to her own dimension and having to confront her father, STILL decided to visit Miles. That is how much she cares about Miles. She literally risked the stabilty of the multiverse for the opportunity to see Miles again. Even if its only for one evening. This alone should end the debate about how Gwen “doesn’t care about Miles”. She obviously does. A lot. 

This can be taken even further.  “You never made a mistake? Never got too close to someone?” This is literally Gwen telling Jessica that the reason she went to see Miles is because she has feelings for him. Jess replies by saying she did but that she got over it, prompting Gwen to do the same. We, of course, know that she can’t. 

This is one of the most emotional scenes in the movie for me. After Gwens dialogue with Jess she knows her only chance to stay on Miguels good side is to follow Spot to Mumbattan and catch him. She has to leave and knows she will never see Miles again. She longingly looks towards the rooftop she and Miles stood on just moments ago, not knowing Miles is invisible and right in front of her.  She whispers a last “Goodbye Miles” as she heartbreakingly decides to leave. As much as it pains Gwen, she thinks leaving now without explaining anything to Miles might hurt him, but it does keep him safe and away from the Spider-Society. It’s a lose lose situation for Gwen. She is fighting a losing battle. On one side she has Miles and the desire to be with him, on the other side the entire Spider-Verse and the conflict with her father. The fact she is even contemplating shows how loyal she is towards Miles.

Miles follows her through the portal and catches her off guard. Gwen didn’t know he was listening and thought she would never see him again. Miles, being in another universe without a dimension watch, glitches and endangers both him and Gwen. Gwen then says that she “never should have visited” Miles.  She obviously meant the fact that NOW Miles is involved and they can’t go back now. She didn’t want Miles to be a part of it and now regrets that she pulled him into this. She is more angry at herself than at Miles here. 

When the canon event approaches Gwen tries to stop Miles from disrupting it. Again, a lose lose situation for Gwen. She knows (or at least thinks at this point) that disrupting canon events can cause universe to unravel. She also knows how dangerous canon events are and that there is a good chance Miles might die if he tries to intervene. 

Miles, not knowing about canon events at all yet, intervenes anyway. (Because he is Spider-Man, duh) While trying to save Captain Singh and the little girl he gets covered by rubble. Gwen and Hobie go down to the scene and while Hobie immediately helps Pav to pull up the bus Gwen literally makes a dash for the rubble and tries to find Miles. All the while screaming his name, her voice breaking while doing so. The relief in her voice when she finds him alive and well is very noticeable. (Great voice acting by Hailee Steinfeld)

After disrupting the canon event, Miles asks Gwen what she thinks of the situation. Gwen, almost affectionately whispering to him, tells him that she always thinks that he is amazing. Another moment that makes these two get closer and it shows how much admiration Gwen has for Miles. Even after disrupting a canon event, Gwen thinks the world of Miles. This highlights her conflict again. While still believing in these canon events, Miles is slowly but surely changing her mind about them. He is not quite there yet but it’s coming.

We then go the Spider-Society HQ where Gwen introduces Miles to Miguel. Miguel immediately becomes hostile and blames Miles for disrupting the canon event. Gwen knows that Miles did in fact disrupt the canon event but still defends him.  “He doesn’t know any better:” Miles has no knowledge about canon events or anything related to it so he can’t be blamed for what he did. Gwen knows that, which is also a reason why she tried to stop him. 

Miles then finds out about the structure of the Spider-Verse and about canon events. Miles also finds out that Gwen did not only try to save him but also stop him from disrupting the canon event. 

When Miles finds out his fathers death is a canon event that has to occur you can see Gwen frowning. She knew this and now Miles knows it.  There is no easy way to tell that to someone. Not if you’re close friends and not if you haven’t seen each other for a year. It pains Gwen that Miles has to go through that, and on top of that she can relate to it as well, because...

... Gwen’s father is also a Captain who’s death is a canon event. This adds another layer to her inner conflict. She believes in these canon events and therefore also believes that her father has to die. Gwen, in that aspect, is similar to Miguel. She accepts it, runs away from it. Similar to how she runs away from the conflict with her father. 

Miles confronts the other Spider’s and tells them he can’t sit back and let his father die. He then tells Gwen, referencing her earlier statement, that she was right and that she never should have visited her. Miles does NOT say that because he hates Gwen. He says that because he is distraught and because of the fact that if Gwen hadn’t shown up he’d still be in his dimension. (Where he wants to be to protect his father) Gwen starts to cry because this is OBVIOUSLY not how she wanted it to go and how she wanted Miles to find out.  The fact is: There was never a right time or way to explain it to Miles. Gwen isn’t an emotionless puppet that never struggles or is perfect. She loves Miles and she simply couldn’t bring it over her heart to tell him that his father will die and that he isn’t supposed to be Spider-Man. She wants him to be happy and to be safe, and from her perspective the best way to do that is to keep him away from the Spider-Society. 

When Miguel traps Miles to stop him from going home Gwen and Peter get really agitated.  “That’s enough.” “Stop it Miguel.” They don’t want to be on opposite sides to Miles. They want to talk it out. Of course the chance for that is now gone. You can still see that both still very much are on “Miles’ side”. Gwen is put into a situation where she is forced to choose between her friend or the Spider-Society. 

While they chase Miles, Jess confronts Gwen and tells her that even though Miles is Gwen’s friend, capturing him is the only way.  Gwen then tells Jess that that’s not what her gut says. This, again, shows her conflict. She KNOWS she is supposed to be on Miles’ side. It’s what her gut is saying. It’s what her heart is saying. Her head is still thinking that the multiverse must be protected, and that canon events must be stopped from being disrupted.

She then listens to her head and tries to grab Miles with her web. The look on her face says it all. It’s pain, love and an apology all in one. Miles destroys the web, symbolic for their trust.  Miles breaks the net, he is saying that he doesn’t trust Gwen anymore.  Gwen knows that, which is why after Miles breaks the net her look is one of complete sadness and disbelief. Not disbelief because she couldn’t imagine Miles not trusting her but rather diesbelief because she can’t believe it has come this far.

She continues the chase for Miles because she doesn’t know what else to do. When Miguel calls for every Spider-Man after they found out Miles’ location you can see Gwen having a look of dread and defeat on her face. She did’t want it to go this far. She still wants to talk it out and make up with him. She feels sorry and is slowly starting to regret her choices. 

While on the train Gwen and Peter keep calling out to Miguel, telling him that he should stop and to take it easy on Miles. Miguel doesn’t listen.

This scene is where the trust between Miles and Gwen is broken completely. Miles finds out that Gwen knew all along that he is an anomoly and that his father is supposed to die. He finds out that Gwen didn’t know how to tell him that and that that’s one of the reasons she didn’t come to visit him. 

Gwen then tells Miles that its for his own good, a lie she told herself to make her feel better. She full on regrets her choices by now. She knows she made a mistake but feels too distraught to really do anything about it. Her world slowly comes crashing down on her.

Miles is able to overpower Miguel and sends him flying down the train. The way Gwen looks down at Miguel is really interesting. Its a look of pride and relief. She is proud of how far Miles has come that he is able to escape from Miguel and reliefed that he was actually able to.

While Gwen thinks that now the way is free for her and Peter to get to Miles and explain everything to him, Miles just gives them a look of hurt, sadness and betrayal. He then says “Goodbye Gwen”, again mirroring Gwen’s goodbye earlier in the movie. Both were sad but for very different reasons.

The change of expression from Gwen says it all.  This goodbye from Miles, in his eyes, is final. He feels betrayed and hurt and just wants to get home to save his dad. While Gwen and Peter probably want to just talk to Miles and explain everything, Miles may think they want to capture him, too. And Miles can’t take that chance.

After Miles decides to jump Gwen, again, has an expression of relief on her face. This time the relief is because Miles managed to really escape Miguel and the other Spiders. She knows Miles will be safe, for now.

Miles manages to escape and Gwen is furious with Miguel. Furious as to how he treated Miles and how he managed the whole ordeal. 

She speaks up and Miguel blames Gwen for the Spider-Society losing Miles.  This is where Gwen starts to see that she actually doesn’t have the Spider-Societies back and that she should have taken Miles’ side from the beginning. She slowly realizes the true extent of her mistake. 

Gwen then proposes to talk it out with Miles, on her own. Miguel refuses, saying they tried that already.

She goes on to tell that Miles is her friend and is starting to question the whole “Canon event” topic. “Do you know for certain what happens when he breaks the Canon?” She is starting to fully side with Miles. 

Miguel tells her he knew from the beginning that her relationship with Miles was a liability. Gwen looks to Jess for support but doesn’t get it. She is now on her own, same as Miles. 

Gwen gets sent to her home universe, the thing she dreaded most. The last thing she tells Miguel is that they are supposed to be the good guys. That shows where she stands in regards to the conflict inside herself. She now knows that what Miguel and the Society does is wrong.  She was on the Society’s side, now she is on Miles’ side. 

She immediately tries to go to Miles’ dimension but she is locked out from using the dimension watch. Miguel denied her access. Gwen is furious and now trapped in her home dimension. 

She returns home and wants to collect the polaroid of her and Miles. She doesn’t want to confront her father yet, but we all knew it was inevitably coming.

Gwen confronts her dad and opens up to him. She pours her heart out and tells him how she really feels.  Remember, Gwen is a 16 year old girl. She carried the burden of her rensponsibility and the conflict inside her while still always trying to do the right thing.  But she says it best in this scene, “She doesn’t know what right or wrong is anymore.” The entire time she believed these canon events to be absolute and followed through with the Spider-Society’s plans because she thought it was the right thing to do.  In the process she hurt and betrayed the only real friend she had. And that was the straw that broke the camels back. Her intentions are now clear.

“I can’t lose one more friend.” She doesn’t know whats right or whats wrong, all she knows is that she can’t lose Miles. 

During her speech her father decides to quit his job as captain, freeing him from the canon event. This is when Gewn realizes that canon events might not be absolute and that they can be disrupted without dooming the dimension. She realizes Miles might have been doing the right thing all along. 

After making up with her dad the only thing left to do for Gwen is to go and find Miles. With the help of Hobie’s watch that is actually possible now.

Gwen arrives in Miles’ universe and finds out that Miles is in the wrong universe. She overhears Rio and Jeff talk about Miles. They mention Miles lighting up when he is around Gwen and that they hope she doesn’t get him hurt. This is where the full realization of her actions become clear to Gwen. She hurt Miles and didn’t help him when he needed her the most, and she hates herself for that.

She blames herself for what happened to Miles, even though it is not her fault entirely. 

Gwen tells Rio and Jeff that she is going to find Miles and bring him back. She also tells them what she learned from Miles. “All is possible.” This is the lesson Miles gives Gwen in this movie. It is a lesson she needed to learn. She now fully believes that anything is possible. This will come into play in Beyond the Spider-Verse when they are going to try and stop canon events from happening. 

She resolves the conflict with her father, parts ways with the Spider-Society and has only one goal left now: To find and make up with Miles. In her arc Gwen faced the conflict of choosing her friend or the greater good. On one hand is Miles, who she obviously has feelings for. On the other hand there is the Spider-Society who tell her how the multiverse works and how dangerous Miles and other anomolies are. In the end, her friend won, though it was a harsh process that damaged their trust and relationship.  Gwen is not perfect and isn’t always right. She is a 16 year old girl with tons of complex conflicts going on. She fights a constant battle with herself and her feelings. She makes mistakes, as do Miles, Peter, Miguel and the others. The important thing is that Gwen learns from these mistakes.  This also shows that she doesn’t hate or not care about Miles like some people have said. If anything her actions show to which lengths she went for Miles to be safe.  She knows she hurt Miles and is going to make up for it in Beyond the Spider-Verse. 

[httpscomexe]

Ensnared 2

Summary: You finally get your room, but a little jealousy check leaves you ending up in Logan's room instead.

(Find What I’m currently writing by checking my pinned post)

Parings: Yandere!Logan Howlett x PlusSize!Reader

Warnings: (Individual warnings per chapter) Blood, violence, jealousy, injuries, Y/N faints around blood, a little comfort, sixth sense, foul language, separate POV, chapters 3 and further WILL include non-con aspects. Logan is an official warning as approved by the FDA (Food and Drug Administration) because Logan is a DRUG. PLEASE BE AWARE that this will be a NON-CON fic. Do NOT get attached if you do not like non-consensual fiction. I will not change my fic plans because somebody decided not to read the warnings. Let me know if I missed anything. Thank you.

Tags: @sammyluvsfics

Word Count: 4099 (Find all chapters here) Chapter 3

P.S. If you’d like to be tagged, ask in the comments, you also have permission to send an ask, but make sure it is NOT anonymous, so I know your username, don’t worry, I’m scared of confrontation too. But this is a SAFE SPACE where I will not judge. Thank you again.

Logans POV

“Hey, watch it-” His voice broke off as soon as his eyes found her, and he immediately calmed down, his hands now gripping her shoulders more carefully as he held her steady.

“I’m so sorry.” She apologised, taking a step back as he reluctantly let go of her. “Where can I find Xavier?” His ears don’t listen to her voice, instead his eyes are watching the way her lips move as she speaks.

He lets go of her. “He’s probably still in his office.” Her eyes softened, and she seemed to study his face.

“Uhm, where’s his office?”

“Are you new here?” He asks her, and she sort of shrugs before telling him “kind of.” Then he turns around, and heads towards Xaviers office, expecting her to follow behind him. Completely forgetting about the beer he had stashed in the back of the fridge, which was the reason he wasn’t in his room in the first place. But then you showed up.

He reaches the door, and notices a change in her eyes as he reaches for the handle to Xavier's office, then she shot her hands out suddenly, gripping his forearm and keeping him from opening the door. He didn’t mind though, just her touch was sending waves of heat through his body. More words spilling past her lips that he couldn’t hear before she lets go and Xavier opens his office door.

He doesn’t remember the conversation after that. He just remembers staring at her as the light shone on her face from the office light, and he was hoping the image of the way her lips moved would be imprinted in his brain. He knew he had to have you.

“Finally decided to move in?”

“Move in?” He wonders, he’d be able to see you.

More of the conversation goes straight through his head.

“You have healing powers?”He asks, trying to see at least a little interest.

Then more conversation as she answered him. Any longer standing next to her and he wasn’t sure he’d be able to keep his hands in his pockets. Then Xavier brings her into the room with him, cutting the conversation short.

Without even a good night, he just walks away, knowing if he had stared at you for one more second, he would’ve busted just by watching her lips move.

The next day wasn’t any better, he had stayed up all night just thinking about her, and when he got to see her again in the afternoon, he immediately felt better, Vincent trying to hang out with him as usual, but Vincent was nothing special like you were. He needed-

You.

Readers POV

You were ecstatic, it was Tuesday and you would finally have your own room, and Xavier tells you that Logan picked out some clothes as well that you might like. You couldn’t wait as you woke up in the morning, immediately searching for Logan, whom you’ve come surprisingly close to in the span of two days, and you normally found him in his room, just relaxing.

You don’t bother knocking, he’s told you to just come in, so you do. Immediately barging into his room and hopping onto the foot of his bed, his eyes watching you.

“So my room?” You ask.

“It’ll be done by 12.” Groaning, you lean back until you’re on your back, the stretch of your skin hurting the bruises on your ribs and stomach, making you wince. “What’s wrong?”

“Nothing.” You say quickly, groaning as you sit back up.”

“You’re lying, something hurts, what is it?” Your jaw tightens as you squeeze your teeth together, and just before you speak, his bedroom door opens. The same brown haired girl coming in as usual, every time you were in there. You assumed she was Logan's girlfriend, or something in that matter, but he talks so poorly of her.

“Vincent, I’ve asked you to knock.” You notice the change in his tone every time he talks to her. It’s soft when he speaks to you, but when he talks to her he sounds pissed every time.

“She doesn’t.” She shrugs, pointing at you before coming to sit on the bed, but Logan stretches his leg out just before she can sit and join.

“Sorry, but you’re going to have to leave. We’re having a private conversation that she wouldn’t want to share with you.” You squint your eyes, wanting to say he’s lying through his teeth, but it was true. You only trusted Logan with this information.

“Fine. Okay, Lo. Bye, and bye hun.” Vincent turns back around, making a disgusted face as she faces you, but Logan's face matches her disgust when she uses his newly acquired nickname.

“Doesn’t sound the same when she says it.” He tells you, turning back to you. “So what’s wrong?” He tries on the subject, watching your chest as you sigh heavily.

“You know the video I sent you?” You recall the video of the men attacking you.

“Yea, the assholes who tried to kick your ass.”

“Yes. The one dude that ran after me did eventually catch up, and…” You voice softens, and you slowly lift your sweater, revealing the purple and blue bruises that were painted across your stomach and ribs.

“Holy shit, he did that?” He sounded actually pissed as he stood up, suddenly laying you down before lifting your sweater further, only stopping when you hold the sweater at your chest. You weren’t wearing a bra. “Those assholes…” He mumbles, his left hand gently gliding over your bruises. Half of your body wants to punch him, but you know he’s just being friendly. You never took him as one to love physical touch, but he adored being touched or touching someone else.

“Yea, but it’s okay now.” You tell him, watching as he shakes his head before his hand finally lies flat on your lower stomach where there were no bruises.

“No it isn’t, this looks painful.”

You shrug. “Can’t do anything about it.” You whisper to yourself mostly, his eyes seemingly getting darker as his eyes move from your skin to the wall, a thought coming to his head.

“Yea, you’re right.” But he didn’t sound confident as he removed his hand from your stomach and helped you sit up.

“Just don’t tell anyone yet. I don’t want Xavier to over react.”

“I won’t but what about your checkup on Friday?”

“I asked if I could keep my clothes on, because I don’t like revealing my body.”

He wanted to ask why. Why wouldn’t you want to reveal your body? It was amazing, it was everything he’s ever wanted.

“Is that true? Or just an excuse?” You don’t say anything for a moment, not wanting to make the moment awkward but ultimately failing at best. “Darling.” He says finally, leaning forward until his face is just a few inches from yours. “You are absolutely gorgeous, don’t ever think otherwise.” You smile a little, basking in the compliment, ignoring the red sirens in your head.

“Well, thank you.” You awkwardly start to pick at your nails. “I should probably get going, I’m sure you're busy, and Xavier needed me for something.” You lie, some sort of sixth sense beginning to poke at your body. “But text me when the room is done please.” You stand, getting off his bed and he watches you move.

“Of course, I’ll see you later.”

Throughout the next few hours, you couldn’t stop looking over your shoulder. Your body was telling you something was off and you weren’t sure what it was. You were supposed to be safe and feel safe in the mansion, but for some reason, your brain suddenly wouldn’t settle.

“Hey.” A voice comes from behind you and a hand is placed on your shoulder.

“Oh, hey.” You mumble, Scotts hand still on your shoulder as he walks next to you.

“So, Logan was telling me he wanted to hand you the key to your room, but I saw you walking so here.” He holds the key out on his index finger, it dangles from a little chain.

“Why would it matter who hands it to me?” You take the key as you ask the question.

“I guess he wanted to see your reaction or something,” He takes his hand off. “I’m not sure.”

“Well, thank you, Scott. I’ll head upstairs right now.”

“Alright cool, if you need anything let me or Logan know, and by the way we also put clothes in the drawer. Xavier asked us to.” He lets you know before nodding to his friend group. “But nice seeing you, hope you like the room.” He finishes, then jogs off to his friends as you split off into another hallway, making your way up the stairs and to your room.

The second you walk in, you freeze, taking a moment before you could actually close the door. The room was nice of course. You loved it. But they had put a LOT more effort into the room than Xavier had led on. It wasn’t plain and dark wooded like all of the other rooms. Your room was lighter coloured, and the bedsheets and furniture were a girly design. Some are adorned with flower patterns or glittered with sparkles. And you’re surprised.

But that wasn’t what your eyes immediately landed on. No.

It was the bouquet on your bedsheets.

Your favourite flowers, all nicely put into a bow tie, were just sitting there, a little tag on it with Logan's name scribbled onto it. You didn’t take him for one with good handwriting.

You lift the flowers, smelling them. They were beautiful, you couldn’t deny that, but it all felt so wrong, inappropriate even. But you walk over to a little desk with your flowers, noticing an empty vase sitting on the table, already filled with water for you, so you cut the tie on the flowers and gently arrange them in the vase before texting Logan.

You put your phone away, your palms placed on the desk as you stare into the mirror attached to the wall. He had wanted to show you the room at 12, but it was past then. It was already 5 in the afternoon, did he not expect Scott to just hand you the keys? Whatever.

You think, examining the room a little further and opening the drawers to see what clothes he’d purchased for you.

In the closet there were hoodies hanging, and a few pairs of shoes including heels were set on low shelves. In the drawers were the pants, some skirts, short shorts, and a few pairs of sweats. In the other drawer were some bras and panties, all neatly folded. They weren’t exactly your style though. You were a more comfortable person when it came to bras and panties, and what he had purchased were all lace, apart from a few sports bras for if you went out exercising.

You didn’t mind it though. It was sweet of him to put as much time in as he did for you, but you still felt like he overdid it, like he had done more than he was expected to do.

Just then, as you begin to become lost in your thoughts, there’s a knock at your door, and not a second passes before it opens, you had forgotten to lock it, and Vincent's face proves it.

“Hey-”

“Don’t fucking play with me.” She cuts you off, closing the door behind her before storming up to you. “I know what you’re doing, and it better-” She pauses, her eyes landing on the vase of flowers, Logan's name still hanging from one of the stems. “He got you these?”

You nod, taking a step back from her.

“He doesn’t even buy me, his literal fucking lover any flowers, but then he gets you flowers?”

“Wait, you two are-?”

“Yes you fucking idiot.” She raises her voice a little as she speaks to you. “For years now it’s just been me and him, but ever since you’ve shown up, he’s ALWAYS around you and he never stops talking about you, so you need to back the fuck off.” Her finger points at you as she approaches you until your back is against the wall.

“I’m sorry, I didn’t know, but I’m not even going at him, I only ever go see him when he asks or if it’s important, otherwise I never actually see him-”

“Don’t lie to me.”

“I’m not.” Your voice finally starts to raise a little.

“Then why the fuck were you in his room on his bed earlier?”

“Because I had a question.”

“He said it was personal.” You pause, your lips slightly parted. “What could that possibly mean?” She scoffs. “I mean are you two fucking?”

“Absolutely not, sorry, I’m not interested in him.”

“Then what was so private that-”

“There was nothing private about it.” It was your turn to interrupt her, and slowly begin to stalk towards her, having enough of her attitude. “I’m sorry that you’re so self conscious about your boyfriend that you have to yell at me and confront me instead of trusting him, but this is not my problem. And for the record, the conversation wasn’t private, so you might want to check in with Logan to make sure he actually loves you, it seems to me he wanted you gone.”

Her face hardens, but she says nothing.

Until her fist collides with your face, pain shooting through your body from the already horribly placed bruise on your cheek.

So you hit back, and it’s back and forth throwing punches, you of course having the advantage from years of hiding and self defence. You punch at her until she’s on the floor before climbing down on top of her, hitting more punches to her face until there’s a shooting pain in the side of your thigh, making you scream in pain and fall off of her as she gets on top of you, leaving her knife in your thigh as it was her turn to punch your face, her knuckles mainly colliding with the already bruised part of your skin. Then she’s lifted off of you, thrown against the wall and you see her fall back to the floor out of the corner of your eye.

Groaning, you sit up. The knife is still sticking out of the side of your thigh making it painful to sit. You look up, and Logan is speaking to Vincent, but you couldn’t hear it. Then you shake your head a little, numbing the ringing sound of pain before gripping your bed frame and hoisting yourself up on the leg that wasn’t injured.

“So you fucking stab her?”

“She attacked me first!”

“I highly fucking doubt that.” He turns around, noticing you were not standing with beads of blood dripping down your thigh, enough to make it down to soak into the shoes you were wearing. “Are you okay? Hey, stay still.” He tells you, rushing over to help you stand.

“Don’t fucking help her, look at me!” Vincent demands, pointing at her face, her nose obviously broken as trails of blood seep past her lips.

“Yea and you fucking stabbed her!” He grits his teeth, trying not to yell since it was already most kids' time to fall asleep.

“She fucking started it.”

“No I didn’t…” You mumble, looking up at her with hate, wishing Logan wasn’t there so you could punch at her again, but you knew he would easily peel you off of her.

"I don’t care who started it, we need to get both of you to the nurse.” He finishes the argument before easily lifting you, making sure to be careful with your wound.

“Oh so you’re not gonna carry me?”

“Shut the fuck up and get the door.”

At the nurse, she doesn’t ask for an explanation. She simply takes care of Vincent, who was lucky she only had her nose dislocated, before asking Vincent to leave as she came over to you, Logan sitting behind you as you stood on your good leg.

“So I see Vincent doesn’t like you either.”

“Either?” You ask the nurse as she inspects the wound on your thigh.

“She tends to believe that every girl is after this boyfriend of hers, but no one knows who her boyfriend is.” You squint your eyes and look back at Logan.

“She said you were her boyfriend.”

“I’m not.” He growls. “She’s a fucking psycho.”

“She sure is.” The nurse mumbles, knowing she shouldn’t be expressing her opinion. “Wish you had broken her nose, then I wouldn’t have to see her.” She admits, grabbing a clean cloth from a counter.

You groan, dreading the moment the knife would have to be pulled from your body.

“So this is going to hurt obviously.” She tells you, bending down next to you and gripping the knife handle.

“Wait.” You say quickly, just before she’s about to. “Uh… I don’t-” You’re suddenly nervous. You knew it would need to be removed, but you really didn’t want it to be. You always got oozy around blood and sharp objects, such as knives and needles.

“Okay.” She nods towards Logan, who reaches forward and wraps his arms around you, holding your arms down to your sides and keeping you still.

“Logan-!” You scream, biting your teeth down in pain as the nurse pulls the knife out of your thigh, and it takes a moment for some reason, making her have to pull with more effort before it finally comes loose, a pained whimper leaving your lips as it comes out, blood pooling down your leg and onto the floor a little before she quickly covers the wound with the towel, Logans arms still wrapped around you.

“See the wasn’t so bad-” She looks at you, expecting to see your eyes fall on her, but they were closed, and your head was limp.

Yea, you’d passed out. You told her to wait for a reason, but she didn’t give you time to explain why. You knew you were going to pass out, and it was a good thing Logan was holding you, or you would’ve already been face planted on the tile floor.

“Oh.” She says, surprised. “She’s fainted.”

Logan's eyes squint in confusion as the nurse turns away and his finger gently is placed under your jaw as he continues to hold you, the nurse wrapping the cloth around your wound as she goes to collect what she needs for stitches.

He looks down at you, moving your head so it rests under his chin as he presses a soft kiss to your head. One you would punch him for if you were awake.

“I'll probably have to medicate her. I don’t know if it was the knife or blood that bothered her.” the nurse tells him, kneeling next to you with a kit to stitch the wound.

“It was probably the blood.”

“Which wouldn’t be too good. She’ll have to replace the bandage in the morning and a few more times, meaning there will be more blood until it heals.”

“I can help her.”

“What exactly happened with Vincent and her?” Logan looks down at you, making sure you were still faint before answering her.

“Vincent just walked into her room, yelling at her. Then she punched her.”

“Oh, Vincent is- well she’s something.” The nurse says, just as your eyes twitch slightly, but you keep them shut, your head spinning as you feel the needle the nurse was using go into your skin.

“Yea, Vincent is annoying, she can be a piece of shit. But Y/N only has a certain amount of patience. I just can’t believe Vincent punched her.” How did he know that?

“Yea, I’ll be sure to suspend Vincent, I know she has a home outside of the mansion.”

“And what about her?” He looks down at you, eyes still closed.

“Well, I know she didn’t start it, but she did still fight back instead of trying to get away. So I’ll have to send out a suspension for her too. Vincent will have her three days, then when she gets back, it will be Y/N's turn, we don’t want them outside both at the same time.”

There’s a clipping sound as the nurse cuts the wire she was stitching you with, and she stands, some blood on her gloves as she looks at you, your eyes finally opening.

“All done darling.” She smiles sweetly, nodding towards Logan so he lets you go.

“Thank- thank you.” How did he know Vincent had punched you first? He wasn’t there and no one actually described what had happened yet. You were with Vincent from when she arrived to when she left, neither of you had told Logan who did what first, only why.

“Of course, now was it the blood or knife that made you… faint.”

“The blood.” You mumble, hating even the word.

“Okay, well are you alright with Logan changing the wrap twice a day? So you don’t have to walk all the way down here?” You nod, and feel Logan take a deep breath, your back still against his chest but you feel too exhausted to move.

“Alright. Well, he’ll help you to bed of course, let me know if you need anything, and let me know if it starts to bleed profusely. As a matter of fact maybe you should sleep in the same room together.” She throws the idea out there as she cleans her area. “It would be smart in case you do wake up in blood, you’ll wind up and faint then bleed out.”

You turn to look at Logan, who only shrugs. It was up to you.

“Yea… I guess that would be a good idea.” You sigh a little, not exactly excited to have to sleep near Logan for the sake of your life.

“Alright then, well you two have a good night then.” Logan shifts behind you, then lifts you again as the nurse shoves a bottle into his pocket. “Only two a day, painkillers, she doesn’t have to take them, but she should only need them for the next two weeks.”

“Thank you, Ronda. Good night.”

“Good night.”

He places you on his bed, making sure you’re comfortable sitting before going to his drawer and taking out a shirt.

“Go ahead and take those off, they’re covered in blood.” He tells you, and you hesitate before looking down, your shorts ruined from blood, then you shift a little to make space and remove them, it’s painful. “Here, shirt too.” You look down again, yes, of course the shirt was ruined.

You sigh a little, pulling your shirt off over your head before quickly taking the shirt from him and replacing your last shirt. “I’m sorry for what happened-”

“How did you know?”

He freezes, and stares down at you.

“Know what?”

“That she was in my room.”

“I didn’t know. I was going in there to see how you liked your room but walked in on her kicking your ass.”

“For your information, I was kicking her ass.”

“This says otherwise.” He points to your thigh, wrapped in bandages, and you chuckle a little.

“Yea, if she hadn’t stabbed me though, I would’ve won.”

“I’m sure you would’ve.” He tells you, moving around the bed after switching off the lights to sit next to you, and he lifts his shirt off over his head, giving you a moment to look down at his toned abs before looking away, his shirt barely covering his eyes for a second.

“Wake me up if you need me.” He tells you, opening the pill bottle and handing you two pills.

“Thank you.”

“Do you need water?” You shake your head, taking the pills dry before he turns off his bedside lamp. “Okay, then good night.”

“Good night.” You echo, lying down next to him after turning out the lamp on your side as well.

And as your eyes close, the pain in your thigh subsiding, he falls asleep way before you, the bed shifting as he moves his weight closer to you. Except he doesn’t touch you like you expected him too, your body stiffening at the thought.

Behind you, his hand pauses as he sees you stiffen, you could feel his hand had gotten closer, the only reason he hadn’t touched you was because of the fear he could smell off of you. Fear he knew he would have to demolish.

[inksandpensblog]

From how much Purple's presence in "The Prank" was being hyped up, I was expecting him to have more screentime, but that doesn't mean I'm disappointed by the screentime he got.

Because it implies that Red's thought process was something like "let's see, who do I know who's really good at hiding their true intentions and pulling one over on people? Who do I know whose proven skillset involves trickery and luring people into traps? Oh yeah—!" and then he just. Called Purple over like hey, you're good at deception, I need some help here.

And I just. love that that facet of Purple's character is being reinforced. Also it's incredibly funny to me that his entire role in the episode is based on this aspect of his history with the color gang XD

But it's also faintly touching in an odd way, because...Purple has always been framed in a bad light, before, when making use of these traits, because in the past they've fueled much of the conflict between him and the color gang; but now it's a known thing about him, it's a part of him that Red is fully aware of...and Red deliberately seeks him out for those traits, for all the things that made Purple an antagonist in previous episodes. Red actively invites that "undesirable" side of Purple.

And in the episode, it's not treated like a huge deal at all. Because there's nothing complicated about it. It's not a question of morals, or sides, or intentions, or application, or even framing. It's just who Purple is, it's just how Purple does, it's just Purple. And the answer Red was looking for was found in Purple.

(And, whether you believe Purple really understood Green's message in "Note Block Universe" and took it to heart or not, Red's behavior indicates that the rest of the color gang are practicing what Green preached, in regards to being drawn to and accepting Purple's authentic self. Which, in a way, also means that Green's defeat in this episode can be tied back to his own resolution with Purple, which is also amazingly ironic XD)

[vidavalor]

Great Balls of Fire

Ok, I've got a Final 15 theory on the kiss and the elevator and... pie?

This is for-- and in thanks to-- @indigovigilance, @ineffablelunatics and @somehow-a-human, as their metas reminded me of the idea of something in Aziraphale's mouth after the kiss and their talk of ball bearings and The Bullet Catch has eaten my brain alive and so here we are. Thanks also to @kayleefansposts for drawing my attention to 2/3rds of the metas. 🤗

What, exactly, happened in The Final 15? Maybe this...

As observed by many of us and discussed in the metas of the people I mentioned above, Aziraphale visibly has something in his mouth when he pulls back from the kiss. We also see him move the object around in his mouth-- or, we do, if his expression doesn't distract us first.

Because it's on his tongue, this isn't just light being weird or showing a filling or something. This is, clearly, a piece of metallic-colored something in Aziraphale's mouth. @indigovigilance pointed out how aspects of this parallel aspects of The Bullet Catch and I would agree with that. @ineffablelunatics, off of @somehow-a-human's post on the object, said it looked like a ball bearing and that's actually when I realized that I think the show might have subtly told us over the first two seasons what it is. And if it is what I think it is? The object is the reason for Aziraphale's reaction after the kiss-- not the kiss itself.

So, what is it?

To explain that, we have to start with two scenes, one from each season: 1601 and Crowley in Heaven with Muriel in 2.06.

In the 1601 scene, we learned that Crowley & Aziraphale experimented with their powers after they got tired of canceling each other out and that they discovered Heaven's dirty little secret in the process. That secret is that basically the only differences between them are the colors of their feathers and the lack of immunity to hellfire/holy water. Heaven has been telling everyone that some magic was "demonic" and that angels couldn't do it and they also had told everyone that demons no longer possessed angelic powers. Crowley & Aziraphale realized that this was bullshit-- Aziraphale could do temptations and Crowley could still do blessings. It's this discovery that allowed them to start fulfilling each other's assignments. They didn't tell a soul because of the danger of admitting they knew, especially because admitting it would be acknowledging that they had worked together to figure it out. This means that, with the exception of holy water being dangerous to him since he fell, Crowley is effectively still an angel in terms of the power he possesses.

This would mean he can magically make just about anything he could make when he was an angel. It's relevant because Crowley, as we'll see, made the object he slipped into Aziraphale's mouth during the kiss.

When Crowley is in Heaven with Muriel in 2.06, he opens the file on Gabriel's trial, which we are told can only be accessed by "a throne, or a dominion, or above"-- further showing that the truth is that Heaven actually can't strip angels of their power to do miracles. They're just simply telling them that they have done so as a form of social control and casting some to Hell to use them as way to discourage rebellion. This scene also reminds us of Crowley's awareness of this and shows him using his "angelic" powers to get information to help Gabriel.

The same scene with Muriel and Crowley that showed us that Crowley still retains his angelic powers reminds us again of the rank of throne/dominion in Heaven. (I say "throne/dominion" because Muriel's verbal commas and the way the sentence is structured-- along with the scene in S1 when Crowley goes from his throne to dominate his plants lol-- suggests that it is possible to be both ranks of angel at once, which is another topic so we won't go too far into that right now.) Crowley was undoubtedly a throne/dominion-- and it's not even just the fact that he had that hilariously tacky throne in S1. It's relevant here because of ties of throne-related things to what it is that Crowley made and slipped into Aziraphale's mouth.

Thrones are apparently God's chariots. They are concerned with justice and reside in the areas of space "where matter originates"-- which feels very Before the Beginning, right? They are symbolized by big wheels that rotate and by eyes that change color.

Yes, by wheels and eyes that change color... seems very Crowley, no?

The eyes repeat on the symbolic wheels and are in the position of what we on Earth would call ball bearings, apparently looking kind of like this:

...and remember the interconnected, turning wheels in the scroll that Crowley had Aziraphale hold in the moment they met, at the start of 2.01?...

It could be said that Crowley... a throne, a polymath, a scientist, an inventor... a being whose signature thing is the sexiest old car on four wheels... could make ball bearings from his body when he was an angel and, since we know that he still has basically everything but the ability to make holy water from his angel days, it means that he still can make those ball bearings...

...but we also know what else he can make from his body since he's also a demon-- and not just from his hands but from his mouth...

...hellfire.

Yes, I'm saying that it really was a ball bearing in Aziraphale's mouth-- but it was not hollow or empty. Not by a long shot. It was full of hellfire. It wasn't for Aziraphale's memories as Crowley didn't think that Aziraphale had time or opportunity left to extract them.

It was a suicide pill.

The story was calling back to The Original Ineffable Divorce in 1862...

Think about what Crowley saw when he was up in Heaven in S2...

Crowley is the one who put together what happened to Gabriel. He watched the video of Gabriel's sham "trial" and he saw The Metatron basically order Gabriel killed and cast down through the ranks and he knows that Gabriel only evaded Hell because of how it would have diminished the power of the institution of Heaven to send him there. Crowley knows that Aziraphale does not have this same amount of political power. He knows that The Metatron is a shifty motherfucker and that Michael cannot be counted on. He knows how much danger Aziraphale is in.

So, he takes a page from Lord Beezlebub after seeing that they protected Gabriel with the fly... only it's not exactly the same thing.

Beez's fly was given to Gabriel to help save him. It was a place to store his memories to help protect him long enough to keep him safe until they could make sure he was safe and intact. It worked because Beez and Gabriel had time to make a plan together. By the time Crowley is in Heaven watching the video of what happened to Gabriel and then getting back to the bookshop to sort it all out, there's no time for he and Aziraphale to make a plan. They are not alone again until after "The Metatron" has already shown up and, by then, Aziraphale is already on his way to being lost.

Beez is actually the first character we ever see make their signature thing on-screen and when they do? I mean...

Evocative of a kiss, with that big closeup on Beez's mouth. We watch them push the fly gently out of their mouth with their tongue. It foreshadows Crowley making something in his mouth and ties delivery of it to the kiss. We know that Crowley knows that he can make a single object that is of aspects of both Heaven and Hell combined-- like a ball of hellfire tempered, unless consumed, by a ball bearing.

Plus, earlier in the season, there's Gabriel tying The Fly-- which came about as a result of Beez trying to help him manage his depression by helping him to feel safer-- to metaphorical suicide when he spends the scene where the angels show up chasing it around the bookshop, trying to kill it with one of Aziraphale's Bibles, symbolizing just what Heaven is doing to everyone's mental health here...

But this is just where this possibility starts, really... because why else do I think it's a hellfire-full ball bearing suicide capsule that Crowley gave Aziraphale?

Well, for starters, there is all the holy water that is all over this plot at the end of S2... At the end, Crowley stands in Whickber Street outside The Bentley right across from The Dirty Donkey in a nod to-- among other scenes-- the 1967 scene, when Aziraphale brought Crowley the holy water.

Aziraphale knew that Crowley also secretly wanted holy water as a last resort and Aziraphale initially couldn't handle the idea of losing Crowley and reacted badly before eventually coming around to the idea that maybe Crowley needed to have some supernatural cyanide at his disposal in order to feel safer and that he should have that option. Based on the holy water story, Crowley, then, would be the first person to think that Aziraphale needed a suicide pill as an option if he found himself in trouble he couldn't get out of.

In 2.06, Crowley knows how likely it is that Aziraphale could be harmed by the angels and/or sent to Hell-- which is the domain of Crowley's assailant, who is literally Satan, and who hates both of them for, among other things, turning Adam against him. Crowley knows Aziraphale is a good person who wants to believe the best is possible but he also knows how unlikely it is that this is going to go well for Aziraphale. Crowley can't stand the thought of Aziraphale suffering so he gives him a way out as an act of love because Crowley would sooner lose Aziraphale for eternity than see him suffer.

When it becomes clear that Aziraphale is going with "The Metatron" and Crowley is out of ways to convince him not to, he sees Aziraphale look away and start to cry. Crowley goes back and kisses him as a last resort but Aziraphale is initially resistant-- not because this is their first kiss and not even just because they're upset (though that's part of it) but because to kiss Crowley then would be to let him in... (after all of those symbolic doors and "let me in"s happening in the story)... when Aziraphale making the mistake of trying to shut him out.

Aziraphale eventually, though, can't help but let Crowley in a little...

...because, ya know, it's Crowley...

...and, when he does, he opens up a little, and Crowley slips a suicide pill into Aziraphale's mouth.

It's also definitely worth noting that one of the reasons-- the primary reason, even-- why Crowley kisses Aziraphale is because he needs a cover to both make and give the fireball to Aziraphale without being noticed-- and to do so in such a way that Aziraphale would be assured of the ability to have it on his person when he got to Heaven-- even if he lost his clothes in the process, as like what happened to Gabriel when he was cast out. It has to go in Aziraphale's mouth for easy consumption for it to work and kissing him is the only way to do that. What's really worth noting, though?

Crowley's plan hinged on Aziraphale eventually giving in and kissing him back. He couldn't tongue the fireball into Aziraphale's mouth without Aziraphale parting his lips and Crowley knew he would... because he always does. Not that they're regularly trying to kiss while being super miserable lol but mah point is that Crowley knows that Aziraphale can't ever not kiss him. That's not indicative of this being a first kiss-- that's indicative of the complete opposite of that.

Anyway...

Aziraphale knows what Crowley can make and what it is that he just gave him and that's why this is his reaction after the kiss:

The devastation isn't over the kiss itself. It's because Aziraphale trusts Crowley's interpretations of things more than his own sometimes and, by secretly slipping Aziraphale a suicide capsule out of fear and love and delivered in a kiss, it really hits home for Aziraphale that Crowley thinks they are now in a situation where there probably isn't going to be another way out. It's not because it's a first kiss-- it's because it's likely a last one-- and things are so dire that it came with supernatural cyanide.

It's the realization that Crowley really thinks Aziraphale has been fooled and Aziraphale can't bear it because he knows, deep down, that Crowley is probably right and he's embarrassed. 'Pride goeth before a fall' and all that... Aziraphale is lovely-- an absolute poppet-- but he's imperfect, just like us all. One of his worst traits is that he doubles down when he's been embarrassed as a way of trying to save face and retain pride. It's maybe his worse flaw and it gets very dangerous for him here. Crowley is no stranger to trying to stop situations where it could happen, like this paralleling time in 1941:

Some other reasons why it's a fireball suicide pill before we get to what then happened in the elevator...

There's the fact that the show had a scene set in S2 in The Dirty Donkey-- where the elevator is. (As the start of the scene, Crowley & Aziraphale even walk through the door where the elevator will materialize at the end of S2.) Part of their conversation is very possibly Crowley recounting their first kiss-- at minimum, it's about kissing-- and then Aziraphale makes it also about balls, combining the two to, among other things, foreshadow The Final 15:

The wordplay here is already threefold in this scene off of Crowley's joke that follows Aziraphale remembering Jane Austen's balls: balls (testicles), the phrase that x person "has balls" (is badass), and balls (of the cotillion/dancing variety). This continues into the meeting that Aziraphale hosts-- the disaster of a ball that goes straight into the end game of the season. Here's Aziraphale making yet another ball-related wordplay joke-- this one, during The Meeting Ball:

"We're having a ball" as in they're literally having a ball-- a party-- but also the idiom "we're having a ball" meaning "we're having a great time." We are now up to four different meanings of the word 'ball' in S2, stretched across different scenes, emphasizing the importance of it. One of the missing ones still needed here to complete this idea is a literal ball-- and the ball bearing would not only meet this idea but would then make all of the ball-related wordplay have had the purpose of building towards it. We think it's building towards The Meeting Ball-- and it is-- but all of it, including The Meeting Ball, would actually then be building towards the hellfire ball, which is the actual ending of S2.

Then, there's what this all has to do with the eccles cakes...

Yes, eccles cakes lol... Eccles cakes, as a lot of us already know, are popularly referred to as "fly cakes", off of how the currents sometimes look in them, but the significant thing here is that, despite their name, eccles cakes are not actually cakes at all-- they are really pies.

Ball bearings are also used in Good Omens' favorite metaphor of food to weigh down dough when baking pie crust. Pie weights and ball bearings are basically the same things, just put to different use. It means you literally cannot make eccles cakes from scratch without a jar of pie weights... which are just, structurally, the same thing as ball bearings... and Crowley can make them. You also make pie dough by first rolling it into a ball.

Which is likely why this hilarious moment exists:

Please hold The Cake-Pies of Symbolism, my pie (and Pi)-loving dear...

Crowley's face at having to stand there holding some little pies 😂...

The eccles cakes-that-are-really-pies go along with this theory as well because look how the show presented the forthcoming apocalypse to us back in 2.01:

The horse is Crowley, the rider is Aziraphale, and they're headed for Armageddon-like mental health disaster-- all ushered in by the four eccles cakes, representing Gabriel, Beez, Nina (who suggested & gave them the eccles cakes) and Maggie.

Presumably, The Lords of the Flies are the two eccles cakes that are already canoodling on the back of the plate while Maggie and Nina are the two in the foreground who are aligned but not yet together. Crowley's S2 plot is largely working at the behest of these wonderfully rebellious pies. He looks after Gabriel, finds out what happened to him and connects it all to Beez... and this is after he spent the season on his vavoomy Operation Lovebirds to get Maggie and Nina together. He's responsible for the pie crust-- the containers of the eccles cakes-- in a show obsessed with containers. Crowley is, symbolically, a jar of pie weights in being form by way of his actions-- which is suggestive of the fact that he can probably physically make them. (There's also: "Just a few million years to bake," which Crowley said of his stars-- which he made-- in the opening scene of the season.)

"Nina, what do you sell that calms people down?"

Calm is from the Greek kauma, which means the heat of the day. Heat, as in slang for a weapon. Heat, as in hellfire. Heat, as in what's needed to bake. Heat, as in passion. Heat, as in "bringing the heat." The heat of the day-- the sunny daylight of The Final 15. Eccles cakes-- really: pies-- calm people down... they bring them heat, in every possible way, and it sets them on a path down-- to Hell.

Then, there's Agnes Nutter...

When The Witchfinder Army came to kill Agnes, she hid gunpowder (a weapon) and roofing nails (the construction-related metal that enabled it) in her dress. Agnes blew up-- she became a literal. fireball. Crowley wasn't necessarily suggesting that Aziraphale turn himself into an Agnes-like bomb in Heaven when he gave him the capsule but he was giving him a weapon involving fire with which he could kill himself if he had no other way out.

Then, there's the theme of suicide in examples from earlier in the season:

Crowley saving Elspeth (on the night Crowley was dragged to Hell)... The bit when Aziraphale then calls Crowley from Edinburgh in the present and tells him that he's read that Dalrymple left in disgrace and killed himself... "The Bananafish" being a short story about trauma by J.D. Salinger which ends with a traumatized man suddenly killing himself... Crowley setting Gabriel up to jump from the window and then stopping him from doing it...

There's also the fact that the end of S1 was Heaven and Hell forcing Crowley and Aziraphale into forms of suicide (getting into hellfire/holy water) and the "Aziraphale" in the Heaven part of it was Crowley spitting hellfire-- at Gabriel, no less, whose story is what jumpstarts S2.

Then, there's that the song that is The Clue to everything in S2 is "Everyday", the significance of which is that it's a foundational song of American rock 'n roll. Rock 'n roll is a blend of musical styles that actually wouldn't exist without first the big band/swing that Aziraphale loves that came before it-- symbolizing how Crowley & Aziraphale paved the way for Gabriel & Beez. There's another song, though, that, like "Everyday", is from the pivotal rock year of 1957 that is equally influential and is enormously Good Omens-y, in the sense that it cleverly uses wordplay to the effect of barely disguising sexual euphemisms and often through amusingly church-y language:

You shake my nerves and you rattle my brain/Too much love drives a man insane/You broke my will/But what a thrill...

Goodness gracious... great balls of fire...

[Also: less part of the theory and more just a possible nod but... "The Metatron" brought Aziraphale a coffee, there's a threat of non-existence, and Aziraphale might have gotten a 'kiss of death' from a being who is, essentially, a cherry pie lol... so, those of you who know that other greatest television show to ever television show might see a bit of a nod to Twin Peaks in here as well.]

Speaking of kisses of death... the film that popularized the word "vavoom"-- and which GO S2 is homaging all over the place-- is called 'Kiss Me Deadly.'..

So, after the kiss, Aziraphale gets the capsule and keeps it tucked into his mouth and he's gone too far with the conversation and doesn't want to admit that maybe he's wrong and Crowley is right. Crowley goes out, "The Metatron" comes back in, and Aziraphale keeps looking at Crowley staying by the car out the window and he's a bit more nervous now ("what about, um, my bookshop?"). Even if he still wants to be right, he's beginning to doubt even more that he is.

He almost tells "The Metatron" to go. He almost goes to Crowley. We see him start to say that he thinks he made a mistake but he doesn't go through with it. He's too embarrassed. Fraulein Maria can't face The Captain and is trying to run back to The Abbey over here.

Aziraphale goes out with "The Metatron" and the significant moment is this revelation: "We call it 'The Second Coming'."

This is the moment that Aziraphale realizes for sure that he's been tricked and there is no Supreme Archangel job for him. The Metatron doesn't want to change Heaven or save anybody-- he wants to destroy the world, same as he always has-- and there's no way that he'd ever trust Aziraphale to carry that out when Aziraphale is who stopped the first round. Heaven will never admit they did wrong by Crowley-- to do so would be to collapse the system because then every demon would want to appeal their own status and demand justice and the Heaven/Hell regime would fall, in the sense that their little supernatural empire would crumble. The Metatron would never allow that and Aziraphale realizes in this moment for sure that he has been played for a sucker.

It's still possible that, at this moment, Aziraphale might still believe that this being who has tempted him with the possibility of the justice he wants for Crowley more than Crowley actually wants for himself-- and with false reassurances that he and Crowley could be together forever-- actually is The Metatron. Or, Aziraphale might be starting to get the sense of what's actually happening but, either way, he now knows that he's been fooled. He knows now that while he and Crowley both got some things wrong (suggesting they run off and proposing suddenly were not great moves on Crowley's part)... about this bit anyway? About being in danger if he believes the being who came to the door? Crowley was right.

So, Aziraphale has a choice: does he go to Crowley or does he get in the elevator, knowing now that to do so is to go to a form of death?

He can't face Crowley. He knows Crowley would forgive him and just wants him to be safe but, in the moment, Aziraphale is too ashamed and too embarrassed to admit that he was fooled and to deal with how awfully he just behaved. He's also exhausted from being hounded by the weight of his halo and Heaven for thousands of years. Negative thought cycles in overdrive-- he's never truly believed that he deserves Crowley and he has convinced himself that maybe Crowley might be better off without him. Maybe they just don't get a happy ending and maybe Aziraphale is so tired and can't run and hide anymore and just wants it to end.

Imagine spending thousands of years in service of an organization that also doubles as family and who abused you and abandoned you and who now wants to kill you... and you so hoped that change was possible that you clung to the idea beyond a point of reason-- to the point of hurting the one you love, with whom you have the only real love you've ever known. And you know he'd forgive you in a heartbeat because he loves you and he just wants you to be safe but you can't face him because you can't yet face yourself... that's Aziraphale deciding between Crowley and the elevator.

Aziraphale can barely glance over at Crowley and when, he does, it's also The Bentley he's looking at because he's telling the car to play Crowley their song. Crowley said "no nightingales" but Aziraphale says, in response: "A Nightingale Sang in Berkeley Square." His last moment on Earth and he uses it to basically leave a suicide note for Crowley that says nothing but I'm sorry. I love you.

Their song plays when Crowley starts the engine of The Bentley, which calls back to the first time they met in the Before the Beginning scene that began the season and showed how they started the engine of the universe together.

Aziraphale might be trying to warn Crowley about Armageddon by sending an "engine trouble"-type of message or he might be calling back to when they first met or, as I suspect, he might be doing both but the show, at least, is referencing Before the Beginning here with this, whether or not Aziraphale intentionally is.

So, Aziraphale? He makes his choice. He gets into the elevator...

...and he swallows the fireball. Which we can see him do here:

Or, as this was foreshadowed in S1 by the being whose own fall and subsequent arrival at the bookshop door set all the events in this season into motion:

(The eerieness of the fake grin on Gabriel after seeing how it foreshadows S2 ending with Aziraphale's mad grin...)

Because, when all is said and done, this poor bastard really would have a death-by-swallowing-something story over here, wouldn't he? Can they just hurry up and destroy the Heaven/Hell system so Aziraphale can have food and sex in peace already, please? 😄

Aziraphale knew he'd been played and he didn't want to go through whatever came next. He didn't want to reach the top floor of Heaven because he knows that only forms of death await him there. They'll take his memories. They'll cast him to Hell. Being a demon is no picnic and Aziraphale has seen that in being with Crowley for so long. Satan is not exactly the biggest fan of Aziraphale and Aziraphale, better than most, knows what Satan is capable of. He doesn't want any part of that. He ingested a suicide pill to avoid being captured by the enemy.

Crowley gave him the pill because angels are not immune to hellfire. That's what made it a suicide capsule, right? It was supposed to kill him within seconds. It was supposed to be quick and relatively painless-- a way to escape the horrors that might await him. Even when Aziraphale is at his worst-- as Aziraphale was in their last scene in bookshop-- he is still a pure-of-heart, lovely being to Crowley because Crowley loves Aziraphale as he is-- imperfect. Just enough of a bastard to be worth knowing. It never occurred to Crowley that the capsule might fail. Why? Because Aziraphale is, always and forever, his angel.

Both Crowley and Aziraphale thought the fireball should have protected Aziraphale from pain and suffering by killing him almost instantly once he ingested it.

By that measure, Aziraphale should have burst into flames in the elevator, seconds after he swallowed the pill just after stepping inside.

But he did not.

We watch as the seconds start to tick by... and we see the realization play out on Aziraphale's face as each second that passes is another one where he's still here...

...the look gets more and more unhinged as the elevator keeps climbing until we get the slightly mad dark grin as the last shot of him before a fade to a deathly black... with Aziraphale having spent the final splitscreen since he got into the elevator on the other side of Crowley, symbolizing what's happened.

In the elevator scene, we are watching the dawning realization play out on Aziraphale's face as the fireball doesn't work and there's only one reason why it wouldn't-- because he's no longer an angel.

Aziraphale has been sauntering vaguely downward for the season and maybe for awhile before then. He's been letting the darkness in, more and more, throughout all of S2. We have been watching his fall happen. The 'falling from a great height into a pit of boiling sulphur' part of falling? Ceremonial. An aftermath of sorts-- an additional punishment. It awaits Aziraphale when he gets off the elevator in Heaven but it's something we likely don't really need to see and never have seen in the show yet because that's not actually the main point of a fall. By the time you're literally falling from a great height, you've actually already fallen.

Aziraphale's determined-- but also just really half-mad-- final grim smile in the elevator over his understanding of what's happened is both the pain of thousands of years of religious trauma and abuse-related misery and a bit of completely unhinged I'm gonna burn this place to the fucking ground fury.

Aziraphale swallowing the capsule also parallels Gabriel having to "consume" The Fly to open it. The Fly went through Gabriel's eye and allowed him to "see"-- it give him realization and understanding by returning his memories to him. For Aziraphale, he swallows the fireball and it also gives him a kind of sight-- realization and understanding of what's happened and what's to come... all of this also in the moments before his memories (and, so, his sense of self/his life) will likely be taken from him.

(For a time-- he'll be fine eventually. *mantras* South Downs Cottage, South Downs Cottage...)

"And from his mouth go burning lamps and sparks of fire leap out." The Job quote on the matchbox. The matchbox contained the fly-- it's the equivalent to the ball bearing containing hellfire. Works now on several different levels but one of them then is: And from his mouth (Crowley's mouth/the kiss/the fireball/Aziraphale swallowing the fireball)...

...go burning lamps (the light that goes out in the bookshop when Aziraphale is in the elevator)...

...and sparks of fire leap out. Several meanings:

Literal sparks-- in that Aziraphale can now spit hellfire, like how Crowley did in his body in Heaven in S1.

Sparks of fire leaping out, in the sense that Aziraphale has made the leap-- he is a demon now.

Lastly, though... sparks of fire leap out... as in, Hell (and Heaven) hath no fury like this very, very, very pissed off Angel of the Eastern Gate whose whole thing is freeing those imprisoned by corrupt systems...

Visually paralleling the elevator with a grey wall behind him and light/darkness alternately striping Aziraphale is the 'Aziraphale and God' scene in 1.03, setting up its sister elevator scene in 2.06, where Aziraphale realizes that he has been tempted by Satan and has fallen. (Ironically, a realization about having fallen that happens while going Up in an elevator.)

God: "Aziraphale. (dryly) Angel of the Eastern Gate. Where is the flaming sword I gave you, Aziraphale?"

Aziraphale, unintentionally foreshadowing the fuck out of the plot:

"...must have put it down here somewhere."

Yeah. 😉 Give 'em hell, Aziraphale.

Bonuses:

The awning of a new age/Dawning of a New Age joke. An understanding/a daybreak that begins a new era...

"Oh, listen, I think it's about to happen-- the 'awning' of a new age." Yes, indeed, Crowley. A dawning of a new age was imminent...

...and, finally, if you substitute 'Aziraphale' for his parallel of 'Job' in these sentences, Bildaddy summarized the season endgame quite nicely in 2.02:

[chaoticace2005]

Spiders, their senses, and Angel Dust implications

I already screamed to @xxqueenofdragonsxx about this but figured I’d put it out there because I was doing research and I can’t stop thinking about it.

While we don’t know how canon it is to the show, this does have some implications for fanfics and is fun to consider.

Spiders don’t have ears. Or noses. Or tongues.

People have already made jokes about Angel’s lack of a nose, but it tracks with that fact. We also don’t see his ears, although we have seen his tongue (which, given he isn’t an actual spider there can be some allowances made.) Yes, he doesn’t have pedipalps to act as a substitution for his nose/tongue, but that isn’t the only place they can smell/taste things.

It’s their legs/feet(?). Their legs and bodies have sensory hair cells that allows them to detect vibrations in the air, as well as changes in electrical fields (which… Vox and Alastor implications? Can Angel sense them.) Humans hear via sensory hair cells too, but those are concentrated in the cochlea of the inner ear and surrounded by the outer/middle ear system (eardrum, etc.) Spiders don’t have that. They also have chemoreceptors that can smell and taste things.

Now, as someone who didn’t know much about spiders it’s cool to think about in terms of a character with some spider-like characteristics. But then I thought about this other aspect of Angel

His clothing

More specifically his constant usage of gloves/long sleeves/boots. We know he hates his spider feet, and yeah, the usage of gloves and his blazer can be to fit his style, but it’s also fun to think that maybe him wearing them is an active attempt to reduce sensory input? He’d still get some vibration input because the fabric won’t block everything, but it won’t be as direct. But since spider sensory organs aren’t localized like humans are, this could essentially be the equivalent of wearing a headphones. (Also do you really want to taste every single thing you touch?)

Which brings me to the second order of business: when he DOESNT wear his gloves. We do see him have to be bare for the camera, and if you consider him wearing clothes as a way of sensory modulation, he could essentially be forced to get all that input. Sensory overload would already be so ways in a place with so many sounds, lights, smells, etc. but imagine if you also have to do that when not used to such a level of exposure?

In humans there’s a condition called hyperacusis, which is basically a reduced pain and discomfort threshold to sounds. Some everyday ones can cause pain. Some neurodivergent people also have sensory sensitivities like that, in both cases sometimes headphones can help to reduce input.

The thing is though, if you constantly wear them you’re reducing your own threshold. It’s not recommended for people with hyperacusis to wear earplugs all the time because it makes them even more sensitive when not wearing them.

So, if you apply the same principle here, there is even more reason to consider the idea Angel would have some level of overstimulation just from not having his clothes on, combine that with the work environment, what he has to do, and the emotional turmoil of it all and that just makes it worse.

Which… with me anyways I’ve found when I’m too overloaded my brain tends to nope out and dissociate. So that could be what happens to Angel as well.

Then, there is one time outside of the studio we see him with uncovered arms and that’s the battle at the hotel.

Here, he’s wearing gloves but his arms are exposed. So it could be said that he’s allowing himself access to more input while also not overwhelming himself. He still has a buffer with the gloves on, but he also has heightened awareness for things around him.

Again, the amount of this actually being applicable in canon is hard to say. Sense we don’t know how spidery Angel really is (since again, he does have a tongue) and what level of research went into that aspect of their character designs. But I think it’s a fun thing to consider.

So uhhh… yeah. Totally normal about this all as someone who totally isn’t interested in audiology, hyperfixating on hazbin hotel, and neurodivergent myself.

(Update: there is now a fic)

[8hsaturn]

-- my astrology observations pt.1

Aquarius risings with Neptune on the ascendant can be extremely popular for their appearance amongst their peers, they’re also pretty influential and can be copied very often if Uranus is conjunct the ASC. They tend to have an immaculate fashion sense especially if paired with Taurus placements.

What separates Libra from Taurus is their way of expressing Venusian energy: Taurus, fixed earth, expresses it through a beautiful voice and coveted seduction, they’re down to earth and aware that they’re naturally attractive, acting chill and not being a try-hard is their trick. libra, cardinal air, on the other hand, isn’t scared to shake things up and keep people on their toes, they’d flirt to see how well their charm works and would change “tactics” to hook people in. they’re cardinal and so know how to spark someone’s interest but their air nature can make them pull away before they feel trapped. Taurus alternatively might prefer to simply sit because they know they attract people without moving a finger. Both can be very charming but also difficult to pin down especially as they grow older and more in tune with their Venusian nature.

As someone who always does readings for my friends, I noticed people with similar majors tend to have similar placements! law/political science majors tend to have a lot of Libra or just Libra on the angles and even 7th-house placements. IT/coding majors tend to have a lot of Scorpio/Virgo/Aquarius. actually, you can even guess why they chose the major from their chart.

My Capricorn friend chose software engineering because of the job prospects and because he enjoys working hard on a program and seeing it come to fruition which is very Saturnian.

8th house synastry is a complex matter but I believe the issue lies in people looking for that one overlay that guarantees a perfect relationship: there’s no such a thing. each overlay will have different results depending on both people’s charts and how they use or abuse their own placements. 5h synastry with your 5h stellium crush can seem incredible until you realize their Saturnian nature makes them see 5h energy as inherently immature and repress that nature, and have their ego drive them to see all fun they don’t initiate as cringey. 7h synastry can seem like a promise for marriage until you realize your person hates how they lose themselves in their relationships and distance away from you. In short, you can’t promise anything even with a synastry chart in front of you if you don’t know the trauma and experiences of both people. Makes sense, because astrology is truly just a tool to understand better, it doesn’t control or define anything.

8th house moon synastry can make the moon person very attuned to the other person’s feelings and want to know how their deepest emotions. Bad intentions can make the moon person use their knowledge to manipulate the house native though. it can be an aspect for understanding but if the house person has a Scorpio or Saturnian moon, or a natal 12h/4h/8h moon, or moon aspecting Saturn they might see this desire as annoying and could put them off, especially if they’re emotionally unavailable/stunted: they see the connection as making them too vulnerable and will escape it.

Sun conjunct Saturn… might make the sun person feel as if the Saturn person is repressing them, dulling their light, and just dampening their mood. In what exactly? that depends on the sun sign and house where the conjunction happens. e.g: if the sun conjuncts Saturn in Gemini in the 9h: sun person might feel that Saturn isn’t as enthusiastic or excited about the things that they’re passionate about or doesn’t understand their jokes or interests, shuts down convos or doesn’t let them talk. They might feel mocked for their beliefs or that the Saturn person doesn't take their philosophies and deeper concerns seriously.

I disagree with the notion that certain placements indicate intelligence or otherwise lack of. Intelligence is so complex and difficult to define, and I don’t mean eq vs iq or mathematical vs linguistic Intelligence, I mean that people’s experiences can push them to hone certain intellect over the other: having a libra stellium doesn’t mean all you got is street smarts, but that’s what you found yourself focusing on developing due to the cards you were dealt in life. I believe your chart will indicate which skills and intelligence you had to use, or need to use, be it something you have to learn from scratch or an instinctive talent, rather than natural skills.

that’s all, thank you for reading this far <3

[fear-is-truth]

Hey Jacky!

I wanted to ask you if you're writing Spencer Reid/ Matthew gray gubler stories...if so! Would you do one like..in a reunion with friends, and just: reader and him holding hands, him stroking your legs and stuff. I've been wanting to read something like that.

I love your writings!

pairing: spencer reid x f!reader genre: fluff tags: kind of suggestive but sfw, reader’s “friends” casually checking out spencer. wc: 764

The restaurant was busy with its lunchtime crowd, the sound of clinking cutlery and conversations filling the air. Your group had snagged a cozy booth, slightly removed from the main bustle. Seated beside Spencer, your hand rested in his beneath the table, his long, slender fingers entwined with yours—warm and reassuring.

Though Spencer was usually reserved in social settings, he was here for you, making an effort. He listened attentively as Rachel recounted her latest work drama, nodding at the right moments. You gave his hand a light squeeze, a silent thank you for being there.

“So, Spencer,” Mackenzie began, her gaze lingering on him a second longer than you liked,

“what’s it like working at the BAU? Must be intense with all that… action.”

Her tone had a flirtatious edge, and the way she subtly adjusted her posture to enhance her cleavage made your stomach tighten. Spencer tilted his head, considering her question with the thoughtful expression you loved. He shifted his grip on your hand, his thumb brushing lightly over your knuckles.

“There are times when it’s challenging to separate work from personal life,” he began in a measured tone, “but I’ve learned to compartmentalise. Finding balance is key—ensuring the more disturbing aspects of the job don’t bleed into everyday life.”

His words were reminiscent of Hotch—clinical and matter-of-fact—but there was a warmth in the way he glanced at you, and you realised that he was referring to you. That you were his anchor in maintaining that balance. Mackenzie nodded, feigning interest, while Spencer’s thumb traced small, comforting circles on the back of your hand, a silent reassurance meant only for you. You returned the gesture with a gentle squeeze. Rachel leaned forward, a saucy smile playing on her lips.

“And what about you? How do you handle dating an FBI agent? Can’t be easy.”

You opened your mouth to answer, but Spencer chose that moment to shift his hand, letting it glide down to rest on your thigh. The touch was deliberate but subtle, just enough to make you hyper-aware of him in a way that sent a warm flush through your body.

“Oh, um,” you began, your voice slightly unsteady as you refocused on the question,

“it has its moments, sure. But we make it work. Spence is really good at keeping things balanced.”

Nodding in agreement, he gave your thigh a light squeeze, and you had to bite the inside of your cheek to keep yourself from moaning out loud. You guessed he wasn’t trying to distract you outright—just testing the waters, seeing how far he could go. The slight upturn of his lips hinted that he knew exactly what he was doing. Mia, who had also been eyeing Spencer with interest, chimed in,

“Sounds like you’ve got it all figured out. Must be nice to be able to handle anything.”

“It’s all part of the job,” he replied smoothly, his fingers now tracing lazy patterns on your thigh. You swallowed hard, resisting the urge to squirm as his touch became more insistent.

“It helps to have a strong support system.”

Satisfied, Mia turned to you with a smirk.

“And you, how do you handle it when your man is out there saving the world?”

You managed a smile, and answered in a voice that was only slightly shaky.

“I just try to support him the best I can. We both understand each other’s work, and that makes it easier.”

Spencer’s hand slid a little higher, creeping under the hem of your skirt. You shot him a warning look, but he returned it with an innocent expression, as if he wasn’t driving you crazy under the table. The conversation carried on, your friends thankfully oblivious to the silent game being played between the two of you.

When the check finally arrived, his hand slipped away, leaving your skin tingling from the absence of his touch. You let out a quiet breath of relief, standing to gather your things as your friends did the same.

As you made your way toward the car, Spencer stepped in closer, his warm breath ghosting against your cheek.

“You handled it pretty well back there,”

You shot him a glare, your fingers tugging at his necktie, pulling him even nearer.

“You’re evil, you know that?”

Spencer chuckled softly, a sound that sent a shiver down your spine. He dipped his head, pressing a brief but tender kiss to your temple.

“Maybe,” he conceded, his voice a low hum. “But I think you enjoyed it more than you’re letting on.”

 fear-is-truth 2024 — all rights reserved. do not modify, repost, translate, or plagiarise my content.

[omaano]

SW Hades AU July Update

Other updates: May - June - July - August

I've made a lot more progress with my Star Wars meets Hades AU project than I'd imagined - and absolutely none in other aspects, so let's see how the past month has been!

I have finished the character illustrations both for Maul

and Omega, (look how cute she is in her pocket sized version! ^^)

and I have also finally rounded out my Din collection, so that I now have 6 variations on his character art (helmet on and off, with Grogu and the darksaber, and with and without Grogu and the beskar spear in hand).

Aphra has lines and flat colours too, as well as the very basic lighting layers on her!

I'm real hyped to start working on her! I'm very proud of the dynamic pose I picked for her, too. I'll likely up the red in her jacket and gloves for a bit of a pop in colour, because all this brown everywhere is growing a little boring tbh. Like with certain other characters...

There has been some progress with Obi-Wan, but it's going suuuper slow, and I continue to preemptively worry about how I should completely redraw him for after his reunion with Cody, too. (Iirc Patroclus is standing with his spear in hand after he's reuinted with Achilles in Hades, and I also very badly want to draw him with his lightsaber ignited, but I feel that wouldn't be very good for him just, you know, hanging out in front of his little house on Tatooine...)

And now I'm going to add my first ever poll for the next month in case anyone wants to weigh in on the order in which I add characters to this project:

I'm making no promises, but I thought this could be fun :)

This post is growing a little long, so I'm putting the rest about Obi-wan's background re-draw, and some musings on picking colours for Omega under the read more ->

There was no room for it in the previous update, but I'd fully redrawn one background finally for Obi-Wan's chilling spot!

It is the same setup as where you can find Patroclus in game, with the walls and the chasm and the doors out, but I added Obi-Wan's hut and a desert envisonment. (I've watched so many videos on how to draw in an isometric grid, because there was always something that just wouldn't work... I'd thought there was a trick to drawing squares and circles in this grid that I just couldn't figure out for the life of me - and it turns out that I was just careless and my grid wasn't tight enough so I had to eyaball distances and the width and length of things too much lol.) And now I'm faced with the difficult task of picking colours and figuring out if the character shading tricks also apply here or not.

For now these colours are more for just to block in certain elements in the background, but I have some more desert/desolate looking backgrounds saved from other Supergiant games (they've got some really vibrant and dark colours, like wow!) as well to hopefully help me out moving forward.

I'd redrawn those bulbs you can find over the door leading out of various chambers in-game, because I might as well go in full re-design mode bit by bit, and after some deliberation and googling I picked the Mandalorian Crusaders symbol as inspiration for it.

And now back to Omega for a bit:

While I was working on the character illustration for Omega and Batcher I became very aware of how weird it is to pick colours for me. (I very heavily rely on preexisting colour palettes; I have multiple saved just for the Hades project like for Rex, Ahsoka, Cobb...) I'd been working on Rex and Cody last (Maul doesn't count because he doesn't have very human colours, so picking reds and purples and browns for him wasn't so shocking tbh), and aside from the armor paint and hair colour they very much share the very same colour palette. That was easy, I'd picked the skintones off Boba and the little portrait icons already, upped the saturation a bit because seeing the base skintone laid down scared me, and off I went.

(Laying down the first layer of flat colours is always super scary because they too often seem too dark and too grey/green, which I know will change after the complete shading is done but it still looks very off putting...)

So. The way the colouring in Hades made sense for me is that it works with pretty desaturated colours, there is a lighter shadow colour that's a bit more desaturated and the hue is shifted cooler but is still pretty cool to the original base colour (so much that I'd often have to turn it darker so that I'd see it laid down if I'm not sitting right), and another darker shadow layer that is a tad more saturated and warmer in tone. And there is also (a possibly slightly cooler shifted) and lighter highlight, and another more saturated colourful highligt (in the skin that is the bright, peachy orange for example). (and the little super bright pops of colour at the very very end. I hate adding them so much, but they are very important!)

But while I could pick the skin tones off of Rex, the problem I'd tumbled into was when it came to shading her hair (it's very important to me that Rex and Omega shared all these colours). Omega has a lot more hair (shocking, I know), and so shading that required a lot more than Rex's simple two-tones, and the "shadow" colour from Rex just didn't work, it was too saturated and warm in a larger quantity. So I tried to find another blond character in Hades, picked some colours off of Theseus... and those didn't work too well either, because those colours looked too pale and washed out compared to how lively her skintone was. There had been a lot of adjusting - I'd colour picked all of Theseus' colours and watched like a hawk where my colour marker moved both in hue and saturation a couple times in every which way and tried to mimic that in comparison to my base colour... and then you already saw how she ended up.

Here is the visual representation of the process:

I do a lot of these swatches.

You can see them there next to Omega with the blues and the gold/metallic detail colours (the latter of which I'd ended up using in her crossbow), and up above with the Obi-Wan wip as well (I needed to pick a lot of colours from Chaos and Aphrodite to figure out how to go about his pale skin), but I also worked like this with Din and Achilles in the beginning, as well as trying to pick the greens for Boba's armor. Usually the first and biggest hurdle I run into is choosing my base colours... that's something I really need to work on; but after that this method really helped me feel a lot more comfortable with cell shading.

I hope it made sense to you, and it was at least a tad bit entertaining (or if I'd ruined the word "colour" for you for a while, I'm sorry XD, I know I'd used it a lot). This was really the first time I'd truly seen how I changed around the colours I worked with in a piece, and also tried to go a bit more consciously about shifting them around here (that's why I have all the screenshots XD) and thought I might as well share them here in this monthly update.

I've also switched over to using CSP and a display tablet, in the hopes that I can familiarize myself with them without the pressure of needing some fancy or very specific brushwork and work process. No texture, little need for pressure sensitivity - I hope to slowly pspsps my brain into accepting working with these, and build up some success and good experiences before I try sketching and drawing on it and maybe trying out some new unfamiliar brushes as well ^^;

[shreddedleopard]

Okay back on my bullshit and I need to talk about these —

This to me is a direct call back by Sherlock to Liam pre- William James Moriarty. Baby Liam, before he stained his hands with all that killing and stole the identity of another child. Can you see the way Sherlock gets down on his knee like that? Know what it reminds me of?

How you speak to a child on their level.

“You’ve taken your first step …”

Also feels very child-oriented to me. And painting an ideal future …?

Sherlock is appealing here to the boy who never was; the boy who never got the chance to grow up and learn about his true self …

“My own self …”

Liam’s entire life has been spent behind a mask. His whole existence was that of a ghost; the shell of a dead child. He never gave himself permission to consider who he truly was; him him, and not William Moriarty, because the old him had to die in that fire all those years ago. I cannot even begin to think about what that must feel like.

And then along came Sherlock Holmes, and with a simple look during a moment of rare honesty from Liam — his genuine, child-like inquisitiveness at the sight of that spiral staircase provoking a trait that was truly his — his love of mathematics — Sherlock was able to effortlessly reach out and take the hand of the person who existed behind the mask.

A mathematician: one of the most elementary aspects of Liam’s character, indeed. His love of mathematics shone long before he committed his first act of violence. To be judged so quickly and found not to be the devil, but just a man who loves numbers — that was a glimpse of his true self that he’d almost forgotten about, amidst the pressure of his plans on the Noahtic.

Sherlock is also, aside from Louis and Albert, the only person to my knowledge who is aware of Liam’s true name — and because it was Liam’s choice to gift that knowledge to him. Recalling that Liam believed he was about to die, him giving Sherlock the evidence of his birth, as he was truly originally supposed to be, feels like a painfully poignant and intimate gesture.

Even we, the readers, are not privy to that information. It’s granted only to Sherlock; a secret they share.

The theme of rebirth is very present in the climax of the story, and Liam even states in his letter that if only he could be born again, this time he thinks he and Sherlock would be true friends. It’s desperately sad that he can’t see at that point that he doesn’t need to be reborn to get back in touch with his old self, because he’s still there inside of him. Sherlock is the proof of that, because Sherlock hasn’t found a friend and, dare I say it, a soulmate in William Moriarty, or the Lord of Crime. Sherlock has found that connection with the man beneath the mask.

During the moment on the Thames, William James Moriarty did indeed die a second time. But this time it was so that Liam, as his true self, could re-emerge. This is why he suddenly sees all those colours again — that which was buried is now brought forth towards the light.

Another small point to make is the decision to have Sherlock use Liam almost immediately. It’s a name that feels a lot more removed from the identity of William Moriarty than for example, Will. It’s new and something that’s very much separate from the dead boy Liam embodies. It’s a tiny glimpse of the branch in identities beginning once again after years of suffering his sins in silence.

I could go on and on about all this. It’s probably just obvious stuff to most people. But god damn is it the most beautiful story of losing and finding oneself again, even in the darkest depths of despair, because someone cared enough to reach out a hand.

Might just be my favourite.

[spockandawe]

You know what I can't get enough of? Speculation about what the fictional novel Proud Immortal Demon Way says about its fictional author. Because it would be completely possible to make a story like this without that connection. I'm not sure I've read any other transmigration story where the author was a character, so just that addition adds a lot of interesting texture to the situation even without getting deep in the author's head, but it's so interesting how deep I can speculate in so many directions if I think about getting in his head.

And oh man, I could talk for AGES about how Shang Qinghua and his iconic protagonist reflect each other, but a lot of people have written about that already! Including in the medium of fic, which is my favorite way to consume that kind of crunch. So let's talk about familial neglect and mistreatment and the author's favorite character.

Honestly, when I look at how iconic this ship is, I'm astonished there aren't more hit novels where the author gets yeeted into their own book and has to navigate platonic or romantic relationships with their own characters. A lot of the parallels between Shang Qinghua and Luo Binghe are about them being alike in ugly and vulnerable ways, ways I don't think either of them likes about themselves, and regarding aspects of their personalities that I don't think they'd be happy discussing period. Like, Binghe very much hates himself, that's right there on the page. And Shang Qinghua is a ridiculous character, he's very funny, but he's also not stupid. He's very aware of who he is and what he is, and makes a decision to behave the ways he does. I'm typing this up because I was scrolling through an old chat looking for something and tripped across a conversation about shang qinghua and fawn trauma response.

He knows he does this thing! He has an easy opening to turbokill Mobei-jun while he's unconscious and decides to go the route of begging for his life and trying to ingratiate himself after Mobei-jun wakes up instead, which is a much trickier process. He says it himself, that Mobei-jun is his ideal, that he embodies everything Shang Qinghua wants to be, that etc. And that's hilarious and all, especially in light of the eventual romance and the clownery it takes to get there, but in classic svsss fashion, it also becomes a lot sadder when you add up all the pieces and see everything Shang Qinghua hates about himself.

In some ways he's an even more avoidant narrator than Shen Qingqiu, he deflects and jokes like a motherfucker, so it really is a matter of assembling all the pieces and seeing where there are gaps. But what really underscored the connection for me was Mobei-jun's reaction to parental neglect. Because that's what pushed Shang Qinghua into being an author in the first place, his parents divorced and remarried and kinda just.... forgot about him.

Mobei-jun's dad doesn't exactly do that, but he is operating without a mom in the picture, and rather than remarrying, he just chooses to ignore the thing where his shitty brother is persistently trying to kill his son. That really sucks! But Mobei-jun never shows the smallest hint of weakness or vulnerability over this, even when it would have really helped to use his words, like 'hi my uncle is coming to kill me and i trust you to protect me.' He's everything cool, aloof, arrogant, proud, all a bunch of adjectives that really do not apply to Shang Qinghua. Mobei-jun honestly looks like a boring character if you just stick to the main story, because he's so self-contained and controlled. Compare and contrast to Shang Qinghua, who accidentally outs himself as a transmigrator like two minutes after showing up and proceeds to be hilarious for the rest of the book.

(Brief aside to say that I don't think Mobei-jun is necessarily a happier or healthier person for all of this, lmao. The conversation that fawn reaction thing came from was talking about freeze (tee hee) versus fawn in response to threats or stressful situations. But that goes along with the svsss theme of people used to engaging with this universe as a fictional property coming to terms with the depth and complexity of other people's emotions and not just seeing them as simplistic not-real characters in a book)

(Additionally, this makes the ship hilarious as a take on 'opposites attract,' but also it gives me actual Emotions that Shang Qinghua's ideal who he wishes he could be, purely incidentally, he is able to value and love Shang Qinghua in a way that Shang Qinghua can't and doesn't seem to totally understand)

And what's very interesting here. Is that Shang Qinghua made these two characters, Luo Binghe and Mobei-jun. His protagonist ultimately reflects a lot of his own vulnerabilities and insecurities (secretly and quietly in pidw, much more.... overtly in svsss), and Mobei-jun corrects for his vulnerabilities and insecurities. He's the person Shang Qinghua wishes he could be, which is basically... the opposite of Shang Qinghua, to an almost comical degree. And he then gives Mobei-jun the VERY BEST plot armor he can devise. It's hard for a male character to exist near a stallion protagonist without getting swept up in rivalries/suspicions/etc and getting killed by the protagonist, but he makes sure that his favorite character is safe from these things. He's protecting the character he wishes he could be from the character whose faults most reflect his own. That is very sweet and weird and sad, and that's very reflective of the svsss experience, I think.