#especially for reasons not covered in this post

[gabrielleragusi]

For Artists: My Experience with Commission Platforms and Illustration Agencies

Hi there! I’ve been wanting to compile a list of commission platforms that I’ve personally used for the longest time, and I finally did it! I’ve highlighted the still-active commission platforms in bold and struck those that don't exist anymore so you can jump to the sections that interest you without needing to read my entire story.

Let me start by briefly introducing myself.

I’m Gabrielle, a fantasy illustrator. Since 2014, I’ve been working on book covers and illustrations for publishers, authors, and book subscription boxes. Early on, work wasn’t as frequent as it is now. I had to search for opportunities myself, and even small private commissions were important for building my portfolio and earning some money, which I’d spend on materials, books, and online courses. Like many other artists, I started out by trying my luck with the biggest art community available at the time.

DeviantArt

2009-2018

Once upon a time, there was a virtual haven called DeviantArt. To my teenage self, it was a magical place. I signed up in 2009 and thought I’d never leave!

At first, I created an account just to share my work and learn. I didn’t even think about commissions for four or five years. But when that first inquiry finally landed in my inbox, things took off! My mum swears she remembers my excitement when I got my first commission, but for some reason, I’ve completely forgotten about it. I can't remember what it was or how much it paid. It might have been a portrait of a fantasy character.

Commissions on DeviantArt were fairly frequent, especially considering my cheap prices at the time. I used to offer discounts and post my rates in my DeviantArt journal, or in Commission groups that featured artists either monthly or weekly. After checking out my profile, a client could simply send me a private message and from there, we’d discuss payment, deadlines, and other details, and the platform didn’t take any fees, much like how ArtStation works today. Everything happened through private messages or email, with direct contact between artist and client.

The downside of this process was that there was no dispute resolution system on the platform. I had to handle all issues myself, and unfortunately, problems did arise sometimes: there were clients changing their minds about commissions, asking for refunds after work was delivered, refusing to pay, or just ghosting me. These issues didn’t happen because clients were evil, but rather because I was inexperienced and allowed some to take advantage of my naivety.

However, all that frustration helped me develop my commission process through trial and error (mostly error). And despite the challenges, I can say with satisfaction that most of the commissions I received through my DeviantArt profile were positive experiences.

DeviantArt eventually introduced a commission feature for Core (Premium) users, which came with a platform fee, but I didn’t use it much, and I’m not sure if it still exists.

The real beauty of dA, though, was the connections I made. I was able to meet people, both artists and clients, that I’m still in contact with today, and some of whom I still collaborate with.

I closed my account in 2018 or 2019, but by that time, I hadn’t really used it for a couple of years. The new user interface was a bit of a turn-off for me. I had always loved the geeky, and dare I say cozy, look of the old green and grey aesthetic, with its customisable panels that you could move around and personalise with HTML code... But I digress.

Artists and Clients

2013-2016

While taking small commissions on DeviantArt, I discovered Artists & Clients. It was a nice platform for clients to get things like their D&D characters or groups illustrated for relatively cheap. I think my highest price was $50 for a single character portrait, with the platform taking a 15% cut. I used it for about two or three years before the platform started to change.

As more artists with hentai art styles flooded in, the homepage shifted, and so did the clientele. There’s nothing wrong with drawing naked anime girls, of course, but you can understand that if a client is looking for a fantasy, semi-realistic painting of their female orc character, or a realistic portrait of their spouse, it's more than likely that they won't bother sifting through a sea of anime girls to find the style they want, imagining it isn't here. Let's just say that, at the time, the website took a definite direction that wasn't in line with my genre, but this direction didn't make the different, more realistic art styles stand out either.

Soon, commissions slowed down for me, so I closed my account, but by then I was already working elsewhere.

That said, this platform could still be a useful tool if you’re looking to take on smaller commissions.

DreamUp

2014-2015

DreamUp wasn’t an AI generator back then. It was actually a subsidiary of DeviantArt, where clients could post projects and artists could apply. It was a competitive platform that offered well-paid work–very well-paid. I remember seeing jobs posted that ranged from $300 to $1,200. DreamUp was a very professional platform for clients with a mid to high budget.

I believe I landed my very first book cover commission through this website when I was in my last year of high school. I remember getting the job and going to school the next morning, excited to share the news with my classmates. Everyone was super thrilled for me (we were a really close-knit class!), and I felt like I was walking on air.

Unfortunately, as far as I know, that book was never released, but it didn’t matter because I was moving forward, and fast.

I’m not sure when DreamUp was shut down, but I do know that DeviantArt held onto the copyrighted name, assigning it to something so anti-old DreamUp that it still boggles my mind.

ArtCorgi

Now Artistree

2014-2019

When I received an invitation to join ArtCorgi from its founder, I already had a somewhat consistent portfolio. I was painting portraits and fantasy illustrations, and the clients on this platform were looking for both–your typical wedding and pet portraits, as well as book covers, which were what really interested me. To get to the latter, I had to do the former. Over the years, I’ve painted so many realistic portraits that now I have a strict rule for my own sanity not to do them any more. I have great respect for portrait artists, but it’s just not me.

When I first submitted my prices to the person I was in contact with, she kindly suggested that I raise them... a lot. That was a major step forward in my professional career. I went from charging $50 to $100/$200 overnight. And to my surprise, people actually wanted to commission me at those prices!

From 2014 to 2019, I took nearly every commission that came my way. I never spoke directly with the clients; all instructions and feedback went through my point of contact, which helped maintain a level of professionalism, although now that I’m used to working directly with clients, I’m not sure I’d want to go back to having an intermediary.

Sadly, as with all good things, this chapter came to an end. My point of contact eventually left communication in the hands of someone else, and shortly after, the commission fee changed to, I believe, 30%.

Simply put, 30% is an unrealistic cut for a website like this. For an agent that gets you all kinds of big work in the publishing industry, sure, but since this was not the case I had to stop taking commissions. Despite that, my overall experience with ArtCorgi was very positive.

Today, ArtCorgi joined another platform, Artistree. As far as I can tell, Artistree doesn’t take any fees from artists, with clients covering a small cost instead.

Sketchmob (?)

2016-2020

This was probably the platform I used the most. I’ve lost count of how many commissions I received through Sketchmob. Many. Enough to generate a steady income at the time. With reasonable fees and a variety of art styles available, clients contacted me almost daily. Communication was direct between artists and clients, and payments could be split. The review system also worked very well… for a while.

Once I raised my prices, requests became fewer and farther apart. But by then, I was already working with my own clients.

Is this platform still active? Who knows. The website is still up and the chat feature works, but I’ve seen users complain that money available for withdrawal never arrived via PayPal (the only payment method the platform accepted, if I remember correctly). Personally, I wouldn’t risk completing a job through Sketchmob right now, at least not until they release an update.

If you’ve used the platform recently and successfully received payment within the last six months, please let me know, and I’d be happy to update this section!

Upwork

2017-2019

In 2017, I was determined to break into the book publishing industry. After trying out Fiverr and Freelancer.com with no success (the competition was too fierce for someone just starting out), I decided to give Upwork a shot. The platform looked very professional, and while the process sounded a bit complicated, I wanted to land the interesting projects I saw featured in my category. I really wanted to work with a big client… but big clients didn’t seem to want me, despite having the Rising Talent badge.

In two years of bidding for jobs and submitting proposals, I only landed two projects: a small commission from a private client who actually reached out to me, and another project that I bid on.

Don’t get me wrong, I was ecstatic at the time and truly appreciated every opportunity that came my way. But looking back, I can see why Upwork didn’t work out for me. The platform just wasn’t the right fit for my style and niche, which is fantasy illustration. Graphic design, however, was (and still is) in much higher demand.

The commission process on Upwork wasn’t as simple as on other platforms. For instance, at the time, costs were calculated hourly, which was a challenge for someone like me who prefers working with flat fees (having already calculated my average hours spent on an illustration). From what I’ve seen, this has since changed.

One positive aspect of Upwork is its current 10% cut on what artists earn. I don’t recall if this has changed over the years, but 10% is quite reasonable in my experience. Of course, 0% would be even better, but for a platform as large as Upwork, 10% is fair.

Illustration Agency

2019-2021

By 2019, I had built a solid, consistent portfolio thanks to my personal work and commissions. I had a simple website in place, my Instagram following was growing… I was steadily working toward my goal of illustrating covers for big publishers (which didn't happen until two years ago).

So, when an illustration agency reached out to me one day, I was over the moon. I had always heard that artists were the ones who had to approach agencies, not the other way around.

Well, that should have been my first red flag.

I won’t name this agency because, unfortunately, I have nothing positive to say about it. In fact, the word “nothing” perfectly describes my involvement with them. Nothing came of this barely there experience.

The agency invited me to sign up, not on an exclusive basis, but they assured me they’d get me work. That work never came. Once in a while, I’d receive messages saying they were trying to pitch my portfolio to a French publisher or another client, but... nothing.

Please understand that meanwhile I was already working directly with shops and authors, so I don’t believe my portfolio was the problem. The real issue was something I didn’t realise at the time: some agencies do this. They feature talented artists in their catalogue without having actual clients lined up, just to appear more professional and credible to potential clients. Did this strategy work for them? Maybe. I’ll never know.

In 2021, I politely asked them to remove my portfolio from their website, and that was the end of it.

After that, I never actively sought out an agent again. By the time my portfolio was strong enough to approach a serious agency, I just didn’t need representation anymore.

Hireillo

2019-2022

My experience with Hire an Illustrator, or Hireillo, is mixed. At the time, Hireillo was a platform that hosted artists' portfolios, featured artist-submitted news, provided useful articles, resources, and directories of artists and agents. I joined the site hoping to catch the eye of publishers, but I was mostly contacted by authors and one fellow artist for a graphic novel.

Unfortunately, most inquiries didn’t go beyond the first couple of messages due to budget constraints. I did, however, have fun sharing news about my painting process and projects I landed on my own, which were often featured by the website. Additionally, if I had questions about 'complicated' things like copyright, or just needed advice, I could ask the website’s owner and that was incredibly helpful.

Despite these benefits, I didn’t see any real results, which was a little disappointing. The subscription fee was also... odd, for lack of a better word. $5 per week. In the end I just couldn’t justify the cost, so I stopped using the website altogether.

Reedsy

2019-2022

Finally, we come to the turning point.

I remember stumbling upon Reedsy randomly. It wasn’t very well known at the time, and I think it still isn’t. I was nervous when I submitted my portfolio because their catalogue features the best of the best: designers who’ve created covers for bestsellers, THE bestsellers, people who’ve worked on Stephen King covers, or George R.R. Martin's. Designers, editors, and marketers who are veterans. I didn’t have high hopes for my application. So, I was in shock when it got accepted.

I had an introductory Skype call with a representative from Reedsy, who explained how everything worked. Before the call ended, I remember asking if there was a good chance I’d get work through the platform. The rep laughed and said, “Yes.”

A few weeks in, I understood that laugh.

Reedsy has an overwhelming demand for book covers and commercial projects. For every designer there are many more clients. In peak seasons, I was getting requests almost every day. I’m not exaggerating.

Reedsy transformed my portfolio and my pricing structure. Thanks to the income I earned through the platform, I was finally able not to take everything that came my way but be selective and choose only the projects that really interested me.

The commission process is simple: artists pretty much decide how to split payments, what to include in agreements, and the best part, the most beautiful and helpful feature of all, they can request and adjust deadlines. For someone like me who's terrible with deadlines, this feature was a lifesaver. The admins are also very kind and responsive, available via email or chat.

Unfortunately (this is my last 'unfortunately', I promise), my time on Reedsy came to an end for personal reasons. I’ll explain since it’s no secret.

All my images on Reedsy were watermarked with my signature (my full name), which apparently violated the platform’s rules. Why? Because if a client saw my last name, they could contact me directly and bypass Reedsy, which meant the platform lost potential fees. I’ll admit this did happen a few times, but I had the good sense to redirect the client back to Reedsy.

After three years, an admin finally noticed and asked me to remove my full name from the watermark and any text on my profile. It was a simple and reasonable request, but here’s where the problem started. Profiles on Reedsy are public, and images appear in search engines like Google Images, meaning anyone could download my work and use it without permission. Sure, watermarks can be removed, but uploading my work without one in the first place felt like a bad idea. Btw, not only do I use watermarks, but I also use Glaze to protect my illustrations before sharing them online.

Anyway, for this reason, and also because I couldn’t get over the fact that full names were public at the time, something I won’t get into because, believe me, I tried over email, and my reasons went into the void (now, last names are just initialised, like Gabrielle R. Okay. Sure.), I had to close my account–they would have done it anyway because it was already 'flagged'.

Overall, if you’re willing to overlook the last name conundrum, I can’t recommend Reedsy enough. If you have a killer, solid portfolio and a love for books and editorial projects, go for it!

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

I hope you'll find this useful! If you have any questions, please don't hesitate to ask (: Oh, and here's an old article I wrote in 2020, titled:

Tips to freelance illustrators to avoid being screwed over

Who knows, maybe I'll write another 'article' post in four years!

Instagram  - ArtStation - Website - Inprnt - Etsy - TikTok

[amiti-art]

HI! I’m here to ask honest opinion on….Lore Olympus. I’m sorry for putting my opinion here….but I hate it. I’m sorry, I try to see it in a good way….put it paints Apollo as a horrible person. And there are other things that I’d respectfully don’t like about it.However, I want to see your opinion. That is if you’re willing to share it. BTW, I fricking love your drawings., especially the ones about Apollo and his myths! Have a good day or night!

Hello!

I'm glad you like my art 🫶���

So, Lore Olympus.

This probably won't come as a surprise to most people, considering how much Apollo art I've made, but I hate Lore Olympus. And not only because of how poorly Apollo was portrayed there.

I'm going to be honest with you: I never read much of it. I read maybe a few chapters some years ago because it was advertised as Greek mythology retelling, but I didn't continue because it was boring to me.

Much later, I saw a lot of posts pointing out all the things wrong with Lore Olympus, and boy oh boy, it's bad.

From what I've seen, it’s hardly a retelling; if the names of the characters were changed, nobody would realize this is supposed to be myth-inspired.

And look, I'm not saying you can't change anything when making a Greek mythology retelling, because it's simply impossible to keep everything the same as in the myths—especially when you want to create a story that covers many myths. The math isn't mathing when it comes to Greek mythology, because the myths changed over time, and different city-states had their own versions of the stories, so it's pretty impossible to make a cohesive timeline without changing something.

But from what I've seen, there isn't much Greek influence in this Greek mythology retelling. From the way the characters dress and speak to the food they eat, there is nothing Greek about this comic, it’s completely Americanized.

And I hate Americanization so much. I remember watching Netflix's "The Witcher" and being so disappointed because there was nothing Slavic about it. They kept Jaskier's original name from the books and called it a day. They turned it into another generic fantasy show.

I know that many Greek people feel the same way about Lore Olympus and other American adaptations of their myths. I love Percy Jackson, but the whole "gods moved to the USA because this is where Western civilization is" is just so icky to me. Greece still exists, hello??????

Back to Lore Olympus. For some reason it's fans think that the comic is a valid source for mythology, and they spread so much misinformation.

For the last time: Persephone was abducted in the myths. There is no version where she goes to the Underworld on her own.

Demeter is a heartbroken mother looking for her beloved daughter, not some evil helicopter parent standing between Persephone and her happiness. Justice for Apollo and Demeter.

Also, Persephone is sometimes drawn like a child and looks more like Hades' daughter than his wife. Why?????

And from what I've seen, Persephone is ridiculously powerful for some reason and fights Kronos or something???????

Also, apparently, Leto is portrayed as a manipulative mother????? Leto??? The Titan goddess of motherhood??? Why????

I don't understand why this comic got so popular, to be honest. Probably because of the artstyle.

[punkalope]

Financial Emergency - Please share

Hi everyone, this is tea's partner shiloh @hotsugarbyglassanimals. I'm posting on their behalf as their family is experiencing a financial emergency which has resulted in their power being shut off - so tea does not have access to their desktop computer. Where they live, the temperature is estimated to reach 90 - 100 degrees this week. As you can imagine, that's not sustainable without eletricity, especially when it comes to their pets.

Their father seems to believe their situation isn't dire and for some reason thinks if he ignores it, it'll work itself out. It very much won't. No one in their family is employed right now. Because of this, their family is at significant risk of homelessness. The power company has also been acting shady and won't send documents confirming what the extra charges are and are demanding 8k.

They have a gofundme campaign open to cover the costs of the electric bill along with gofundme fees:

Tea also is opening emergency commissions to help with the cost of everything, with 25% off the original prices. You can find their commission info through this link.

[anisespice]

“ there’s a reason why i walk like this ”

pairing: fem!reader x shinichiro

warnings: mature content ahead. MDI. suggestive themes

notes: something short and sweet for my second favorite sano :)) i am a sucker for “secret relationship w resident loser loverboy just to spite his nosy friends” lol

tagged: @fantasycantasy, @illegalspacecow, @captaincyberqueen, @fushiqruo, @gunslxtz

His friends tease him about the pretty girl who frequents the shop to ask trivial questions regarding her friend’s motorcycle he fixed months ago, and how he needed to shoot his shot already.

But, Shin made excuse after excuse for himself not pursuing her…

It was strange, but amusing to watch the ravenette struggle to hide just how flustered he got whenever you came around, his face pure vermilion while wearing a goofy-ass grin as he tried his hardest to act cool. Any more obvious and he’d probably have hearts floating around his head. Not to mention, you weren’t exactly helping either in terms of your obliviousness. There could’ve been a whole sign over Shinichiro’s head that said: Big-dicked single, ready to mingle, and you would’ve acted like you couldn’t read.

The figured it was a lost cause.

Especially, when you stopped by one day with a rather…peculiar walk. A bit of an exaggerated sway in your hips, if you would. The hickies you did a piss-poor job at covering up painted your neck and collarbone with purples and blues, some on your inner thighs peeking at them from beneath the short skirt you pranced around in, too.

It was all the explanation needed for them to conclude that, clearly, somebody’s already hitting that shit.

…

“Do you think they’ve caught on?” You giggled, draping yourself over his back while he finished his post-sex cigarette. Shin hummed in thought, leaning back into your hold as he smoothly exhaled the smoke through his nose.

He chuckled, then shrugged. “Dunno. I’m not sure our acting is all that convincing anymore. Waka’s definitely getting suspicious.”

“Or really concerned for our intelligence.”

Shinichiro snorts.

© 2023-2024 anisespice ッ all rights reserved. likes, comments & reblogs much appreciated!

[witchofsparkles]

Vampire Ghost and hunter Soap fic I wrote a while ago. I'm posting the full fic down below, it's also on AO3. You can check the tags first on AO3 if you like.

Soap aimed his crossbow for the deer bowed its head. It was oblivious to the human and the bow in his hand, didn't realize the fate that was on the way to claim its reward.

Every living thing was a fuel to the another. The energy never disappears but it changes. The deer's life was going to be the human's. There was a circle to complete. The circle of life.

But when Soap released the trigger and waited for the deer to shake with the arrow's force, it went into something taller and slender. Something more human. Soap watched the deer to run away into the depths of the forest and slowly walked to the prey. It was a human. At least his body was, Soap couldn't see the face of him because of the skull mask covering most of it. He squated next to him to check his pulse. Yes, Soap was a hunter and a killer if it came to it, but he wasn't out to kill innocent people. If he didn't see it necessary to his survival, every breath was God's to take.

Soap reached for the man's neck, to see if he is alive and thought he faced the death itself. The man reacted with the speed of light and Soap found his neck between the man's hand. The pulse he wanted to feel was the man's, not his own.

"Hey, calm down. It was an accident, are you okay?" Soap eyed the arrow's entry point and saw it was just under his shoulder. It shouldn't be life threatening. The man was still breathing harshly like a caged animal, so Soap put his hands on the man's. He hoped to calm him down, but the hand squeezed his neck more. "You're going to kill me." Soap managed to whisper through his clenched jaw but he started to see the stars. "I can't breath."

That brought the man's senses back and he relaxed his hand around Soap. Then leaned back to the tree behind him, kept watching Soap who was struggling to breath between coughing fits. "I was going after the deer. What were you doing there?"

Soap stared at the injured man and waited for an answer that seemed like would never come. But he spoke, with a powerless but deep voice. It was almost like he was using his all strength for a couple words. Soap didn't know who was in a worse condition: Soap who just got choked or the man who got shot with an arrow. "Going after the deer."

Soap sat down with a grunt, face to face with the man. After a careful and long watch, Soap pointed to the arrow on the man's shoulder. "Do you want me to take it out?"

The man didn't answer.

"You were going after the deer too? I don't see any weapon. You would catch it with what? Hopes and dreams?" That granted Soap a stare. He could imagine the man was raising an eyebrow. But he didn't answer, again.

"Do you have anyone at home that can cook and nurse?" The man's eyes met with Soap's and they stayed like that under the setting sun for some time. Soap couldn't see the man's eyes, they were in the shadow under the skull mask but he could see his mouth which had scars around. Soap found it sad, for some reason. It looked like the man never smiled in his life. That made him come to a decision and Soap raised to his feet. Then under the masked man's questioning eyes, he extended his hand. "Come. Let's get that wound cleaned up."

The man followed him after a brief moment, Soap guessed he was weighing his choices and walked especially slower. But when he heard the silent footsteps, Soap picked the conversation from where he left. "So. What's your name?" That stretched the silence, rather than putting a stop to it. Soap turned his head back to see the man. "I'm Soap. It's John, actually but people call me Soap. I'm taking Tarzan home, I think I deserve a name."

The man was holding the arrow stable with his hand while following Soap down the hill and he didn't raise his eyes when answering. "Ghost." Soap nodded to himself as if it was the most satisfying name he heard and Ghost frowned behing him. If he knew why Ghost was given that name, he wouldn't be looking so carefree.

They came to Soap's house, which was more like a hut than a house. There were only two rooms inside and they were small. Soap's head was just under the door but Ghost had to bend slightly to protect his head. Soap left Ghost in the room with a couch, a small table and two chairs. On his right were two kitchen cabinets with a sink and a stove. Enough things for a man who lives alone, Ghost thought. When Soap returned to the room with gauzes and medicines, Ghost went to the couch without giving Soap time to say anything. If he wanted to get the arrow out, who was he to stop him? But Ghost didn't know how to explain that he stopped bleeding long ago and the only thing preventing the wound from closing was the arrowhead still buried into his flesh.

And yet, Soap didn't face any opposition when he held the shirt to cut it away. The white shirt was wet with blood and Soap expected to see an injury under it, but the under the dried blood was just an arrow. Soap grabbed the arrow with his right hand and put his left on Ghost's chest to stabilize himself. The injury that stopped bleeding was in the vicinity of things he could maybe explain to himself, but not feeling any heartbeat under his palm was not. While pulling the arrow out with force, Soap did everything he could to not start shaking like leaf under Ghost's gaze and the heart that wasn't beating. And the worst, he invited him in.

Soap looked at the arrow in his hand. Ghost didn't make any sound when Soap was forcing the arrow out. His hand was aching from gripping it too tight but Ghost didn't make any sound.

Why would he, if he wasn't a human?

Soap took a deep breath. He needed to calm down. If Ghost wanted to kill him, he wouldn't be alive now. And there they were, Soap's knee on the couch between Ghost's thighs and his hand on his chest. He didn't look like he was going for Soap's head.

"Okay. The arrow is out and apparently you don't need gauzes, " Soap said nervously. His eyes were still on the hole, which supposed to stay open for at least a week. The flesh was already mending. Ghost's lips curled with a cold smile. "What?"

Soap took himself back quickly, almost stepping on his own foot. His heart was beating like caged bird in his chest. "You don't have a heart." Ghost's smile stayed but Soap knew it didn't reach his eyes. It didn't even reach his lips. It was only there for a show. "Ouch. I just told you my name."

Soap waved his hand after he huffed a short, unamused laugh. "It wasn't metaphorical. Your heart literally don't beat. Who the fuck are you?"

Ghost wasn't sitting anymore, he got to his feet and closed the gap between them. Soap hated how he had to lift his head a little to see Ghost's eyes and how it made him feel like a prey. He remembered three hours ago, how he thought this man was lying there like one. "I'm a demon you welcomed in." Soap's mind haywired and he actually laughed. It came from inside, from his belly and his whole body shook with the force of it. He noticed this whole thing was a sick joke but he was standing face to face with a probably immortal or already dead creature -given the fact that he had no beating heart. He had his own doubts of the origin of him, but to hell with it. He just pulled an arrow out of a myth, he had his reasons to lose it a little.

"Oh please. Who are you? Dracula? Go sit down when I'm prepping the meal. Even the demons get hungry."

Soap turned his back to Ghost and went to the kitchen, as if his heart was not about to leave his ribcage. He wasn't aware what he was saying until after he already said it and only thing he was sure about was that Ghost could most likely rip his head of when he was reaching for the pan. And yes, the demons would get hungry but what did they eat?

Ghost watched Soap from the couch he was sitting. He had a thoughtful look on his face. Was he really so fearless or so stupid? Soap didn't know what he was, he only got the vague idea of him being not human and said fuck it. Why was he treating Ghost like a human? Like someone who deserves any kindness of heart? He didn't have a heart.

Ghost didn't need kindness. He didn't need to rest. He didn't need his wounds to be cleaned. He didn't need to eat. Not normal, human meals, at least.

He needed to feed like every living creature. With or without a heart. But he only needed the souls. The flesh wasn't on the menu.

"What do you want to eat? I couldn't hunt, thanks to someone, so I don't have any meat." Ghost didn't look away from Soap's back and Soap shuddered under the realization of being watched. He had to ask what Ghost was eating. He had to know.

"Nothing. I don't eat. I... devour." Soap's hand froze on the ladle and he had to stop himself from reaching to the knife. He turned to face Ghost, who was still sitting where he left him. There wasn't any emotion on his mouth, the only part on his face that Soap could see. "Devour what? The souls of the innocent?" Soap's voice was mixed with mock but one could feel the tension behind it. Ghost sent him a little smirk as a prize of getting it right. "Enemies and the animals first. But if I have to, innocents are okay too."

"You're just pulling my leg now." Soap made a sound that indicates he didn't buy it. But the longer he looked at Ghost's unwavering eyes, the more he lost his confidence. "You're telling the truth. What the fuck?"

Ghost shrugged, and crossed his arms on his chest. "So. What's for the dinner?"

After an uncomfortable dinner which Ghost just watched while Soap was drinking a tasteless soup, he left Ghost in the room and went to bed to the next room. The idea of locking the door crossed his mind but he didn't. If Ghost wanted to take his soul away, a wooden door with a key on it wouldn't stop him. So he just left the door unlocked but closed, then went to bed. He thought he wouldn't be able to sleep with the fact that a soul sucker vampire was in the next room, but he drifted the moment his head touched the pillow. He dreamed of ghosts and souls.

The days turned into weeks like this. Soap didn't ask for Ghost to leave. It was out of fear at first but then he just liked to have a company. He didn't take his mask of, he didn't eat and sometimes he left for a couple of hours but he was always back before the night. Soap even found himself forgetting that Ghost wasn't a human. He was just there with his sometimes inappropriate jokes and sometimes silence. But these last days, he was mostly on the silent side and it made Soap feel... worried.

"Ghost, you good?" Ghost was on the couch, just lying there and dangling his feet from the armrest. He didn't voice an answer but nodded. Soap pressed the matter, cause Ghost's skin was looking paler than normal. "You look sick." Soap waited. Ghost would talk when he wanted to, not when he have to. While waiting to be taken into consideration of answering, Soap had a disturbing idea. "When was the last time you ate something?"

Ghost finally looked at Soap. He looked into his eyes. Soap bit his lip. "Was it before we met? Were you going for the deer because of it?" Ghost sighed. "Yes, Johnny."

Soap didnt dwell on the nickname. Not yet. "But you left almost everyday. You didn't find any animal?" Soap followed Ghost's stare and looked out the window. It was snowing. "I don't go for every animal. The sick ones are already dead, the healthy ones are gone."

"How big should it be?" Soap asked with urgency. If Ghost was half sick as his face, Soap was scared that he was gonna die in two days. Ghost didn't make a sound and for a second, Soap thought he just withered away in front of his eyes. The thought of Ghost dying made his breath caught in his throat. "Is a chicken okay? I don't know, a sheep?"

Ghost turned his head to the side and stared at Soap. He looked so helpless and panicked. Ghost smiled to him. It was a genuine one, and Ghost knew Soap noticed that too. He knew it from how Soap's posture changed. How he tensed first, then relaxed. How his shoulders sagged with relief for a moment. "Whatever you can find. A soul is a soul."

It did matter. Yes, a soul was a soul but the smarter the creature was the more fullfilling it would be. A cat's soul would do it for him, for two days. Maybe. A crow? About a week. That's why, the other ones were always hunting humans. They were the epitomes of wit. The emperors of the food chain. But he didn't have the luxury of a choice. He was already hungry and weak when he met Soap. After that, with every passing day with no soul, he got weaker. The weaker he became, the lesser he could go out to hunt. And because the village was small and they didn't know him, he couldn't go to the other houses to see if they have any animal. The last time he left the house, he had to sit under a tree not too far from home so he could go back. At first, staying with the human was a wise choice for him. If he couldn't hunt, he could always take Soap's soul. After some time, he couldn't bring himself to even think about it. The image of Soap between his arms, his soul leaving his body to feed Ghost, his blue eyes closing forever to keep Ghost's eyes open.

It sounded so sick and so wrong.

He found himself at the bring of death, so he could keep Soap alive.

When Soap came back, his hands were empty and there was a shocked look on his face. Ghost knew something was wrong. He sat up quickly and saw the stars for a moment. Soap was still standing in front of the door that closed after him. "They... They're all dead. Everyone. All of them." Ghost frowned. He took Soap's hand without thinking about it and got his attention. "What's happening? Tell me. Slowly." Soap nodded and dropped himself next to Ghost on the couch. There was a distant look in his eyes. "I- The village was too quiet. I followed the road down, I walked till the woods. Every door was closed. There was no one outside. Even the kids. Kids are always outside. I knocked on the doors, no answer. Then I saw blood on the path. Just droplets. Followed it through, it was going inside a house. The door wasn't locked so I went inside." Soap stopped talking and pressed into his eyes with his palms like he wanted to erase the scenes from his brain. Ghost put his hand on Soap's back and slowly circled. He hoped to bring some peace. "All dead. Went from door to door. All dead. Kids, animals, even the bugs. All dead. I found blood on only few of the bodies. The rest was... just sleeping. They didn't look dead. They looked like sleeping."

Ghost's body froze. He could feel Soap's skin under his palm and the heat radiating from it, but rest of his body was frozen. "Like sleeping. Are you sure?" Oblivious to Ghost's state of mind, Soap nodded. He was looking at his own hands. "Yes. No injury. They were all clean except the ones with blood. I think they tried to fight against whatever it was."

Ghost didn't talk for a long time and Soap's mind was occupied with the images of his friends bodies. Then he snapped his head to look at Ghost. Ghost was lost in thoughts but Soap figured it out. He figured it out long ago, deep down he got what was happening but only now he could voice it. "Ghost. Is it only you? The vampire?" Ghost nodded slowly and the nightmare turned into reality. Soap clenched his fists to slow his breath down. So he wouldn't start shouting. "How many? Ghost. How many? Did I do this to them? Did they follow you? Or were they looking for you? Are you a part of a pack? Did you do this?" Soap's voice raised through the talking and he was yelling at the end. He didn't realize he was standing in front of Ghost till he looked down and saw Ghost's head hanging low.

"I left them a long time ago. They turned me into this monster, and feed me the souls. The humans. It was mandatory for them, to feed on humans. They always went after the smartest ones, in wit and in emotion. After they made me eat the soul of a child, I left. And I brought the bastards with me. Their souls. It's a funny thing, how we think when the heart stops the soul leaves. It's normally like that.Any human would lose their souls when their heart stopped. But with us, it's different. Our hearts stopped long ago, but we still live. It's like we tricked God into thinking we're still alive, even after hundreds of years. Or we're all so wicked that even God doesn't want to claim our souls. When I ate the other ones' I tasted rotten blood. It was the most disgusting thing I've ever eaten. But when I was feeding on them, I also fed on the souls they took. I tasted fear, sadness, happiness, hope, love... I tasted it all. Then I tasted my own mother. My brother and his finance, my nephew. These bastards put their hands on my family."

Soap couldn't move. Couldn't breath. He felt the tears stinging his eyes. He let them fall, and stream down his face.

"Among them, I found who did it. And I sliced him. Carved him with a knife. You see, Johnny, I was a soldier before. They turned me because I was too good. The perfect soldier. But I would die one day. So they turned me into this beast. I know how to torture and how to make people scream with pain. But he was already dead and I already took his soul. So I carved a message on his body." Ghost took a knife out of his pocket and showed to Soap. "This is the only thing that was left from my old life. I want to end the new one with it too. Unless someone from them or God himself doesn't want to get my soul, I will keep walking this earth till the apocalypse come and take us all. Or maybe, one day, I will be strong enough to do it myself."

Soap was still looking down at Ghost. Ghost, who was sitting like a stone while telling Soap his life. The horrors he experienced. He squatted down. It was like the first day they met. Soap wrapped his arms around Ghost's body and pulled him close, his head was just under Soap's chin. Ghost trembled and took a deep breath, like the weight on his shoulders lifted with the touch of Soap. He leaned to Soap's chest without realizing and the hard edges of the mask sinked into Soap's flesh.

Soap didn't move, but Ghost knew it hurt. He took the mask out, then hugged Soap back with force. Like he was trying to run away from the world into the Soap's chest. Like he was trying to get into it, to nest in his ribcage and become the neighbour to his heart. Soap stroked his back, and let him pour it all out. If he wanted to stay, he was going to let him stay. Let it be in his house, or in his heart. Both were his home.

Ghost took himself back from the Soap's hug and for a moment, he didn't lift his head. It was an integral part of Ghost, Soap couldn't possibly imagine how hard it was to take it off in front of someone else. "I put this mask on after they force me to take that child's soul. I couldn't look at myself in the mirror. I was an entity with a damned soul and no heart. I was a ghost." Ghost looked up at Soap and it made Soap's heart jump. Soap saw his brown, more like auburn hair with blond strands here and there. And saw his brown eyes, which turned into pot of honey under the sun. His mouth was always on display, with scars around it that made him look like a mistreated porcelain doll. But the cheekbones were new. The cut starting from under his eye and ending right before where the mask sits was new. The freckles across his face were brilliant, like God took a look at it and decided it would be a nice location for another desert. For Soap to get lost and see a mirage under his eyes.

Soap took Ghost's hands into his and didn't look away from his eyes. Then kissed the corner of his lips. Lifted corners with a smile was the prize. Ghost held his face with both hands, then put his thumbs under Soap's eyes. He drank from the oceans, that clenched his thirst. Then he went for his lips, and not like a shy thank you. Ghost devoured Soap's lips. The human Ghost thought that he would eat his soul away was taking his' through the lips. And Ghost was giving it away willingly.

The moment ended with a bang on the door and they froze on the spot. Ghost went for his mask again, and Soap ran to the kitchen to get a knife. "Simon... I know you're here, dear." Ghost's hand stopped at midair with the mask. After hearing the name, he lowered his hand and dropped the mask. Soap wasn't listening the man shouting outside the door. His eyes were on Ghost. And when Ghost handed Soap the knife he was carrying with him, he snapped. "What are you thinking?"

Ghost didn't speak. But his eyes and face did. "Absolutely not. You're not fed. You're weak. And you give the knife to me? No." Ghost put the knife in Soap's palm and made him clench his fist, then put his hand on top of it. "I've been alive for 200 years, Johnny. And you're the best thing ever happened to me." Soap shook his head furiously. "No. Ghost -Simon. No. I won't allow it. Stay. We can figure it out."

Ghost listened the sounds. There were at least three of them. In his best, Ghost would take them down at the same time. But now, he was weaker than a kid and he knew they came after him, not Johnny. He wasn't going to put his life in danger. Ghost leaned in for another kiss before getting up to his feet. A kiss of goodbye. Soap wanted to tear down the walls with his fingers.

Ghost left like a summer breeze in the middle of the barren winter.

Soap's grip around the knife tightened to the degree that the handle left prints in his palm. He got up and went to the door. He wasn't going to let them get Ghost alone. Even as a mere human, he knew he could do something. He was a hunter, he could do some damage. When he grabbed the knob with determination, the door opened wide with a bang. A man with a red hair with blood on his face was standing in front of him with psychopatic smile. "Hi, Johnny. Let's take a walk."

Soap used the knife Ghost gave him on the red haired man. He stabbed his arm but it didn't make him leave Soap. Instead, he bent Soap's arm to his back and took him out of the house. Soap didn't realize how far they come till they stopped and only then he noticed the speed they had. The man almost flied him to the woods with his speed. When they stopped, Soap took a look at their surroundings and his eyes stopped at Ghost. He was bleeding from his arms and his face, Soap saw a hole on his chest which made his heart stop. Ghost's wounds would close by itself normally, but his body was too hungry to do so. He was going to die soon. "Ghost..."

Ghost's unseeing eyes focused on Soap and his eyes widen with fear. He struggled under the grip of the other man. "Soap! No! Why did you take him? This is between us!" Ghost's cries didn't reach to the red haired man. He just laughed. "All these fightings made me hungry. I bought a snack on my way back." The man turned his look from Soap to Ghost, then his smile turned into something more wicked. "Oh. I almost forgot. You didnt eat for so long, right? I will leave this for you. I know you don't like it, but a cut on the body will do the job. It did before."

He touched Soap's cheek and made a little cut with his fingernail, just enough to draw blood. "Soap, did you know he hates to take human soul? But the beast does like it. Blood is the link between the body and the soul. If you bring it out, we always want to taste it. Some of us want it more than the others. Especially if you're too hungry. Too weak. If you're at the door of the underworld, the beast will do anything to keep its soul inside the body. To keep it from dying."

Soap locked his eyes with Ghost, and saw the color leaving his face. He was living up to his name now, his face was as white as a ghost. Soap could see him struggling, trying to lock his jaw, close his mouth, dig his toes into the dirt to keep him from moving. But Soap also could see the beast was winning. Ghost was too helpless, he didn't have enough strength to hold himself back. The man standing at Ghost's side let him go.

Soap closed his eyes. He didn't mind dying. He didn't mind it because he knew his soul was going to live in Ghost. He was going to let Soap in, like Soap did with Ghost weeks ago. Soap was okay with it.

He embraced death with open arms.

But it didn't come. He felt the grip on his coat loosen and he planted on the ground face first. He tasted dirt in his mouth but his soul was where it should be. He stayed on his knees and hands first, then looked around. The man with the red hair was on the ground and his eyes were looking at the trees above, empty. He was dead. Rather, his soul was sucked out of him. Soap searched for Ghost and found him on the other side, the man who was holding Ghost was now between Ghost's arms, his limbs stopping moving by the time goes.

When Ghost finished his job, he tossed the body to the side like a trash. He left the mask home, so Soap saw his face as a whole. He looked phenomenal with the dried blood on his cheek and the franzy look on his eyes. But he felt scared too. This was the beast. The monster. Even though Ghost could take his last breath away from his lungs, Soap still reached a hand to him when Ghost got closer. "Simon..."

Ghost squatted and took Soap's hand, then lifted it to his face and pressed his cheek on it. Then kissed his palm. "Yes, Johnny. I'm here."

Soap let Ghost wrap him into a hug. They stayed like that for a moment, till the tension of fear leave both of their bodies. Soap nudged his head into Ghost's neck and spoke in a muffled voice. "Simon, is it over?" Ghost nodded over him. "It is. We can go home now."

Soap grabbed Ghost's shirt and held him down with himself. "Everybody is dead. There's no home." Ghost kissed the top of Soap's head. "Wherever you are, there is my home. We can leave, if you want. To somewhere better."

Soap chuckled under him. "To somewhere with unlimited access to little innocent animals."

"That too, yeah." Ghost parted away and saw Soap still holding the knife he gave, grabbing it to death. Ghost unclenched his fist, then took the knife away. It made a deep cut on Soap's hand, the blade was dripping blood. Ghost wrapped the wound with a piece of the red hair man's cloth, then clened the knife on his shirt. Soap shook his head when Ghost wanted to give the knife back. "No. It's yours. And no one's dying. So you can take it."

Ghost refused, and put the knife back on Soap's good hand. "My life is always in your hands. You can kill my kind with a stab to the heart. I never had the courage, never bring myself to try. But if one day-" Soap stopped Ghost from talking with a kiss. He kissed Ghost like this was a war and Soap was determined to win. Ghost breathed into Soap's mouth and Soap tasted Ghost's soul. He tasted love and murder. Both had traces of blood.

"If you ever, ever, talk about dying again. I will kill you. Just a warning." Ghost laughed and bit Soap's lower lip. "Mhm. I'm warned."

Five hundred years later, a man with a wide hat stepped next to a disturbed tomb. He had a shovel in his hand, and the grave was getting swept by men and women with shovels and all kinds of tools. "Price!" The man turned to the sound of his name. "Gaz. What's it?" Gaz pointed to a grave that was six foot away. "Take a look at this."

They were called to a graveyard because a sick bastard was burying his victims' bodies with the already dead people. Price greeted the people working on the other graves on his way and went to the one Gaz pointed. "Would you look at that?"

Price lowered himself and tried to take everything in. There was two bodies in the space of one, so he thought it was the psycho's doing but when he gave his attention he realized it wasn't the case.

What was left from them were only the skeleton but a trained eye could see it. One of the bodies was almost in a manner of hugging the other. The hugged one had nothing and probably died of natural causes because Price couldn't see any trauma on the bones. He was probably too old, if you take the sternum's width. But the other, the one that looked like it was hugging, had a knife between his ribs, stuck there till eternity.

Price took his eyes from the grave and plunged the shovel into the ground, taking a load of it and filling the grave. "Let them rest, son."

[thr0wnawayy]

Hello! Been really enjoying your MHA takes especially the aftermath, it had me thinking but what if Hawks and the HC were responsible were for wiping out Izuku's record in the Final War. We know there was people recording Izuku's battle with Tomura but yet people not knowing about Izuku and acting like he is some mysterious legend just didn't sit right with me. But if they knew, OFA was going to disappear and there would be no Symbol of Peace in the short term until Mirio arrived (bleh). Then it would make sense why Hawks and company would delete this stuff for any number of reasons. It would be this weird sort of propaganda where the collective is glorified. While still retaining the status quo until they can find a stronger Symbol because I refuse to take seriously Mirio being number 1 cause his quirk is overrated.

This would help explain why Izuku's role in the war is essentially erased and no one seems to have remembered him despite being the deciding factor, but his depression/guilt means he doesn't care to talk about. It would be overwhelming for Izuku because the propaganda would only assert that his role was meaningless despite it being the contrary. Of course, it doesn't help that nobody does anything to help lift Izuku from his mental problems.

What your saying is absolutely plausible, however there are a few things that conflict with your theory.

No one really knew about OFA in the first place. This is a massive fuck up on Hori's part, as "canonically" only 3 people really know about OFA (5, if you count sheild and Melissa)

The fact is, the general public isn't really aware of what OFA was. To their knowledge Izuku might have been one of AFO's science projects or something of the sort, which could have created problems in trying to reestablish "order".

Thus the Commission thought it best for OFA to just fade into the background and that meant nipping every bud related to it. Including Midoriya.

You see, All Might is covered. He's made a name for himself and even though there was panic after his retirement, he's still one of the only people capable of standing firm. That alone grants him a level of protection and support networks that Midoriya clearly lacks.

The second issue is that the idea of a symbol is so ingrained with All Might (or rather the idea of AM) that OFA is connected to that by proxy.

The Commission needs a hero that doesn't exist anymore, because in a post Liberation War Japan? They can't exist.

Not when people have been exposed to how rotten the current system is underneath and no 'new coat of paint' will ever be enough to change that, no matter how fanciful the lie.

Midoriya by his very nature (and failings) as a hero, cannot become 'the greatest' in this world, because what once passed for the greatest turned out to be a human trafficking piece of shit, who was killed by his victim's own hand.

Izuku's record wasn't so much wiped, as much as he just gave up. He went so went so far off course that he wound up in a worse position than when he started and dragged everyone with him in the process.

The reality is a culture built on "out of sight, out of mind" when it comes to crime. MHA's Japan does this, but far, far worse and that isn't sustainable. Not when you have massive critics like Japan does.

Japan is in a free fall, Toshinori is one of those people, hopefully I'll get around to writing that mini chapter fully.

Hawks doesn't have the brains to lead. As seen in the U.N Meeting, he's a horrible politician (being a child soldier will do that). He's used to taking orders and polishing the boots of whomever is giving them, not sitting down and discussing how they (the nations) can use their power to make the world a better place.

As for the Hero Boards, due to the lack of participation, they fluctuate violently every term due to the smaller voting pool. Mirio's rank is only semi-consistant, with him constantly switching to number one and number three every odd poll showcase.

The portion of the public that still look up to heroes see him as a model person, but not a model hero. As they look for a hero that will never come.

The truth is there cannot be another All Might in the same way there can never be another AFO (Pre Kamio ofc). They were titans of their time, only able to exist because of the circumstances unique to their times.

There's a saying that is often misquoted

"The survival of the fittest"

This is an incomplete version of the phrase, the correct version is: "The survival of the fittest to adapt"

That is what evolution is, an arms race.

There will never truly be another All Might, there may never be another League Of Villains. But it doesn't matter, because some way, somehow.

The pieces will slot into place and then the real fun can begin. So long as their are those who slip through the cracks. So long as the current society stands.

There will always be that child that everyone can see, but choose to ignore.

They can lie to themselves, have them put on a happy face, shunt them to fitting into the current "mold" and then go home and wash their hands of responsibility because "I did my part".

It won't make them any less guilty.

It won't make those children any less adaptable.

[lornaka]

My five cents on Tech’s fate in TBB

It’s been over three weeks since the show ended and I’ve been writing this in my head ever since, mostly to have it summed up in one post for posterity lol. I considered letting it go at this point but I know it’ll drive me crazy if I don’t get it out of my system so might as well.

So here we go, some of my rambly post-finale thoughts on Tech’s death (and a few other issues) under the cut!

Disclaimer: while this post is in critical spirit (because that’s how my brain works), I want to make clear that I have nothing but respect and gratitude towards everyone who’s worked on the show. My criticisms are of the final story as a whole as I interpret it (art is art, everything is subjective, you know the drill), but one never knows what goes into the process of making it behind the scenes, so I’m not holding anything against the creative team. I love this show dearly and am in awe of how good it is at its best, despite certain things I wish they did differently.

To begin, if I had to sum up the biggest problem that TBB writing suffers from, it would be lack of closure, and too many red herrings. Not just for Tech, but many things. Major plot threads as well as little character moments are cultivated or thrown in just to never culminate in anything or to be immediately discarded after serving the plot, some of them incredibly misleading. Some of the top examples:

- Crosshair’s chip. We never get an exploration of how the trauma of his chip activating and being left behind not only affected his motivation and choice to stay with the Empire, but his relationship with his brothers. While it was made fairly obvious, if subtly, that Crosshair became free of the chip’s influence after getting hit by the ion engine on Bracca, the narrative treated this change as if it didn’t matter at that point, while it obviously mattered a lot within the context of Crosshair’s character. Add to that all these little details with him clutching his head in s1 finale, Omega expressing her disappointment in him, and Tech’s comment on how “it is just his nature” (as if it matters!!! See what I mean about the narrative treating Cross’s chip as if it didn’t play the key part in his trajectory? They throw in this line, like we are supposed to take away that it’s simply Crosshair being Crosshair and not like, the results of brainwashing and abandonment), Wrecker blaming Crosshair for not going back to them, all while we as the audience have been shown and told repeatedly how these chips work (and so were the Batch), we ended up with an incredibly confusing situation with lots of mixed signals from the writers. And once Crosshair makes his choice to stay with the Empire in s1 finale, his chip and the confusion it brought to his relationship with his brothers is never brought up again, because the plot simply moves on.

- Cid’s betrayal. After her being a major character for two seasons with a continuous relationship build-up with Omega in particular, she is discarded as soon as her betrayal serves the plot, with all that character development getting thrown out of the window. You can be mad at Cid all you want, but to me it’s incredibly weird and wasteful to end two seasons worth of build up on that note without it having any closure for the characters, especially Omega whose whole theme is trusting people and bringing out the best in them. It’s fine if they decided to make Cid exactly what she appeared on the surface (untrustworthy and self-serving) after playing around with her potentially growing through her fondness of Omega, but then at the very least the betrayal should’ve had an impact on the characters, Omega most of all. Even just one casual line from Omega in s3 about how Cid’s betrayal impacted her emotionally, however minimally, would have solved that problem. And no, CX-2 mentioning how he extracted info on Phee from her off screen absolutely doesn’t count as closure, because I’m talking about emotional closure for the main pov characters as well as the audience. Cid had a presence for two seasons, then as soon as she executed her role as a traitor to further the plot, she was discarded like she was a random extra.

- Emerie’s relationship with Hemlock. We are led to believe that he basically raised her, instilling in her the idea that she had no chance without him and owed her purpose and “safety” to him. You can’t tell me that this didn’t deeply affect her struggle and eventual decision to break away from all that and choose to help the kids, basically betraying Hemlock. I get that the show only had so much screen time and Emerie is a supporting character in season 3 at best, but common, she has more tension with Dr. Scalder than Hemlock while the potential for this rich deep conflict between them is right there.

I can probably list more smaller examples but this is getting long and I don’t want to go on any more tangents, so, finally, the biggest example of lack of closure and tendency of TBB writing to display foreshadowing that leads nowhere:

Tech’s death.

First of all, I’ll die on the hill that it wasn’t denial or delusion that led to such a big portion of the audience to believe that Tech didn’t really die in s2. If we look at the facts:

- there was no body

- it’s the finale of season 2 out of 3, pretty early for one of the main titular characters to get killed off

- the only/last character to allegedly see Tech after his fall is a villainous scientist who is known to experiment on clones specifically

- not a fact but: the whole scene with Hemlock presenting Tech’s goggles to Hunter was incredibly suspicious. In hindsight, I think the whole purpose of it was so that the Batch got Tech’s goggles back in their possession as a memento (and to show how evil Hemlock is to rub it into Hunter’s face like that) but it was executed in a way that read as something much more. It read as if Hemlock was going out of his way to convince us/Hunter of Tech’s death, but with us knowing who Hemlock is, his background in experimenting on clones, everything screams at us to not trust a word he says. Is it really so surprising that so many of the viewers immediately jumped at the conclusion that something more was going on there?

- Hunter’s (lack of) reaction/immediate narrative fall-out. More on that later as I address lack of emotional impact of Tech’s death in s3.

- it’s Star Wars. And there was no body.

So yeah, to me, it is completely justified that so many people read that whole thing as open to speculation at the very least, foreshadowing Tech’s survival at most.

Personally, I was 70% sure Tech was truly dead prior to s3, but not because the text told me so, but because at that point I was used to the show’s writing regularly sending out mixed signals, and a part of me was resigned to Tech’s death becoming another example of the writer’s intent clashing with their accidental empty foreshadowing.

As season 3 aired and the whole CX-2 plot was unfolding alongside continued lack of closure for Tech’s fate, my hope for Tech Lives reveal grew and grew, but in the end my initial doubt was proven right, unfortunately.

Oh, CX-2.. what a mess. You can’t tell me the creators went over all of these scenes, all of these lines, looked at the whole picture and *didn’t* see how it was incredibly easy to interpret CX-2 as potentially being Tech with all these little potential parallels. “Domicile” alone.

If they didn’t want us to entertain the idea that it could be Tech, they could’ve done it differently, but for some reason, they chose to leave that space for speculation. My question is, why?

If they truly wanted us to believe Plan 99 was it, Tech’s Noble End that we were supposed to take as this dramatic super emotional ultimate sacrifice and all that, then why would they not make it clear that CX-2 couldn’t be Tech? Why breed confusion? And breed confusion they did. It’s hard for me to believe they didn’t foresee the “ohh is it Tech?” speculation.

When so many members of the audience immediately and individually jump at a theory or have the same take away from the story they are being told, yet the authors say it wasn’t meant to be taken that way, something went seriously wrong with the writing.

I don’t like to speculate on such things because we will probably never know for certain, but I wouldn’t be surprised if they had at some point considered CX-2 being Tech or at least something more for the whole CX plot thread, but changed and reshuffled things at the last minute for whatever reasons.

Which is fine and understandable. But it brings me to the heart of my biggest issue with how Tech’s fate was handled:

lack of impact and closure.

Let’s disregard all the Tech Lives theories for a moment and focus on what we did get: Tech, one of the main characters, getting killed off at the end of s2 out of 3, for stakes and consequences and NOTHING else. When I say nothing, I mean nothing.

Imagine, for a moment, he survived and stayed with the Batch. Nothing would have changed, in the grand scheme of things. Nothing. We wouldn’t have had a few obligatory “Tech mention, everyone feel sad now” throwaway lines/goggle shots and whatnot, sure, but that’s it.

Tech dying didn’t change the trajectory of the plot in any way, nor did it affect any of the other characters in a way that changed their trajectory. And anything less is simply not enough to justify killing one of your main characters. Stakes and consequences ain’t it.

Consider Mayday, for example: a supporting character, but his death in s2 affected Crosshair in such a way it completely redirected his journey, AND in s3 we got an episode that cemented the impact Mayday had on Crosshair and provided emotional closure for them. That’s a narratively meaningful death.

Tech’s death was not meaningful to the narrative beyond removing him from it. That’s why so many Tech fans insist he deserved better treatment: not only was he not present in one third of the show physically, but he lacked any sort of presence even in death. His absence was never processed or grieved by any of the main characters and so by extension by the audience.

And before anyone starts with the whole ‘they are soldiers/they had no time to grieve/etc’ arguments, it is the responsibility of the writers to provide the space for all of that emotional impact. It they don’t, there is no impact.

A few reactions here and there, moments of missing Tech as a person and a brother, not an asset, anything would have made this whole thing easier to accept.

The lines that we did get, from Omega mentioning the stuff Tech taught her to Echo commenting on how decryption would be easier if Tech was with them to “Clone Force 99 died with Tech” from Crosshair - each and every single one of those lines linked to Tech’s functions as part of the squad, his usefulness, but we didn’t get a single line in remembrance of him as a person of his own, no one missed or remembered him for himself or his personal impact on them.

Just one line from Omega about how he taught her about change being a constant part of life or whatever, or Wrecker making a comment on how Tech used to info dump about stuff, anything would have instantly provided that much needed sense of “he was here, he was a person and is still a part of us”. Instead, Tech was killed off to show that messing with the Empire is dangerous and risks are real, I guess, and immediately lost any and all presence within the story.

We never even got to see Crosshair’s or Phee’s reactions to losing him.

Speaking of Crosshair, that’s a whole other example of complete lack of closure: they never closed the loop on the family being reunited again after initially leaving Crosshair behind, and with Tech dead, it’ll forever stay broken.

They could’ve given this a bittersweet yet meaningful spin if they developed the angle of Tech dying on a mission to bring Crosshair home, making a sacrifice so Crosshair had a chance.

Instead, the moment Tech dies, we get Hunter (and through him, the narrative) immediately abandon the idea/plot thread of going to rescue Cross all while saying “let’s not waste Tech’s sacrifice”. Sacrifice for what? Clearly Hunter doesn’t see it as a sacrifice for Crosshair’s sake, so, what, to make sure the rest of them makes it from the mission? The mission to save Crosshair. That mission. Right.

I see people talking about Tech’s noble sacrifice that ensured his family got to live and eventually have their happy ending, but all I can think about is how the creators chose to have him die on a mission that was immediately abandoned and the only take away from that whole sub plot was Tech’s own demise.

And after Crosshair is back with the Batch, his reaction to Tech’s death is never explored at all.

So yes, to me Tech deserved so much better. If you are going to kill off a major character, it must be necessary to be compelling. The way I see it, Tech’s death was not necessary at all because it didn’t change anything. And if it was meant to, the creators failed to communicate that by choosing not to explore the emotional impact of it and not structuring certain story beats in a more precise manner.

To wrap this up, if the way Tech’s death was handled was satisfying for you, that’s valid and I’m glad for you. For me, unfortunately, it’s completely the opposite and will forever remain the biggest and most unfortunate low point in the story.

And while I welcome anyone to share their own perspective if they wish, please don’t take this post as an invitation for debate, since there is no one right or wrong way to interpret or be affected by art.

[kirby-the-gorb]

[giantkillerjack]

Uh-oh! You are like, SOOO awkward!!

You're so awkward that it is occasionally mildly uncomfortable for people!

You're so awkward that sometimes people are confused by you and then there are awkward silences!

You're so awkward ...... that ultimately no one is harmed!!

Oh damn!!! What a vile crime you have committed! What an unforgivable thing it is to make a fellow human briefly confused!

Why, if *I* were ever briefly confused and kind of uncomfortable as a result, I'd be devastated.... by the absolute net zero change in my happiness and health! - From which I might never recover!! Yes indeed! No punishment can ever be enough for you!!

So you better absolutely hate yourself for it.

Better be SO MEAN to yourself about every single missed social cue so you don't forget your horrible crime! Meaner than you'd ever dream of being to someone else for the same thing! This is YOUR responsibility!

You need to show the world that you KNOW you are bad by punishing yourself constantly! After all, think of all the people who BENEFIT from you punishing yourself! - No, really! Think about it! Think about who benefits from your pain.

Think of alllllll the definitely-good people that your definitely-necessary self-torment definitely helps! I mean, you can't just cut off their definitely-life-sustaining supply of your suffering, right?? Sure, everyone else has a breaking point, but you're probably the only person in human history who doesn't, right? Best not to question it probably. Sure, it's a symptom that billions of people with trauma have had, but who knows? You could be a one-in-seven-billion exception. Anything's possible!

Instead, better just accept that idea that bullies carry like guns in holsters - the idea that people who have trouble with social cues deserve to suffer. Better carry on the burden they placed on you until you drop. Aid the cause of the callous by enforcing shame and suffering upon yourself extra hard; try your best to do their work for them. They're very busy.

Better not recognize that you need patience and kindness to heal from your trauma. Better not find out that it was trauma rather than personal weakness filling your head with self-hating thoughts. Better not find out it wasn't your fault.

Better not find out that awkwardness is not inherently harmful or unkind, and, in fact, the people who act like it is *are the ones enacting harm and being cruel.*

Better not get righteously angry when you realize just how much unnecessary damage this has done to you. After all, if you get mad, you might realize you deserve better. You might even feel brave enough to DEMAND better! You might build boundaries that keep you safe! You might make other people think they deserve to feel safe too! And we obviously can't be having that, so...

Better not show yourself even a little kindness a little bit at a time.

Better not make a habit out of it after all that practice.

Better not get confident.

Especially if you can't first wipe out every trace of awkward. (And you probably never will. Because people who experience absolute social certainty at all times tend to be insufferable assholes that enforce the status quo. And you just don't have the stock portfolio for that.)

Better not be confident and awkward because then you might confuse and delight people

- you might accidentally end up making other people feel less shame for their social difficulties

- you might make isolated, traumatized, and shy people feel like they deserve to be included in social situations

- you might even make them feel they can be themselves around you

- you might start loving the effect you have on a room

- you might enjoy conversations more

- you might forgive yourself and bounce back from shame more easily and frequently

- you might come to enjoy some of those moments of harmless confusion you cause because NOBODY expects the Confident Awkward, and that can genuinely be an advantage in social situations

- you might stop apologizing so much.

- you might find that socializing is like a video game: it requires practice but also a safe space for it to be fun and positive.

Or if you can't become assertive and confident, better not remain awkward and shy and quiet, and then love and forgive yourself anyway!

Why, it would be carnage!!

In either scenario, you run the risk of finding out that it's not your fault that safe spaces full of kind people can be really hard to find, create, and nurture. You could end up building a skillset that helps you do those things if you're not careful!

If you start giving yourself even the tiniest amount of grace at a time, you will find that you've accessed a gateway drug with extreme long-term side effects:

- You might realize that it was never your fault that it took so long to like yourself.

- You might realize that you were always worth talking to, even when you didn't like yourself and communication felt impossibly difficult.

- You might realize that you'll still be worth talking to even if communication becomes harder as you age and/or experience disability.

- You might come to know that you deserve to be heard even on bad days when words come slow and blurry.

You might discover that you were always deserving of kindness, first and foremost from yourself.

So. As you can see, it's FAR too much of a risk to start granting your awkward self free pardons for your many heinous and harmless crimes. Better to just leave it there.

[vampiricsheep]

my only explanation is that i was getting silly with it when trying to plan a new transmute set

[miiilowo]

hey man. i heard from someone that you dont like she/her v2 headcanons because they feel misogynistic to you, and i just want to say in the most respectful way possible (i genuinely mean no ill will or hate i promise. also i should clarify this ask is coming from A Woman) that your behaviour about that feels a little like, idk, making a mountain out of a molehill. except the molehill is just a she/her headcanon.

i do understand the genuine concern behind people heacanoning a "less violent, more peaceful" character with the she/her pronouns; but as far as ive seen no one headcanons v2 as a girl for those reasons, or even characterizes v2 like that at all. and v2 is canonically portrayed just as violently as v1 ? just because v2 is a security bot doesnt mean its more peaceful, its like calling the turrets from portal 2 harmless.

im not saying you have to accept a she/her v2 headcanon, im just saying i think you may need to reevaluate *why* you find a she/her headcanon to be so offensive. because i dont think misogyny is the reason.

I understand the concern and where you're coming from with this, but in the original post where I talk about being irritated by it, it's specifically referring to people who use she/her for v2 while using he/him for v1 at the same time. I tried to get that across but I guess I failed lmao. this is because i personally HAVE seen people woobify and soften v2 for the reason that it's a security bot, and the version of them that they make up in their heads, and while it's definitely not how the fandom views v2 at large, it Does happen, and just because you havent seen it doesnt mean that people aren't doing it, you know? im not trying to be a dick here but like. i dunno man. its a contextual discomfort, not a general hatred, and overall, im fine with she/her pronouns for v2 . i generally dont care if people think v2 is a girl or use she/her for it, but in some contexts it feels weird and i dont like it. thats literally all my problem with it is lmao

I did acknowledge in my head that maybe it irked me for a different reason [you know. potential internalized misogyny considering im a trans guy. acknowledge that you can be an asshole sometimes so you can improve etc etc whatever you know the drill], and came to the same conclusion: that I don't like it because it feels off to me, and not because I dislike the idea of v2 being a girl or using she/her pronouns. you asked me to reevaluate why it makes me uncomfortable, but i already did that before i even talked about it publicly

as for the making a mountain out of a molehill thing, i can also definitely see that, but it . wasnt supposed to be a mountain. i generally use my blog as like. a thinking out loud thing more than a um. Fighting The Good Fight Against Those Disgusting Morally Corrupt Tumblr Users and it wasn't supposed to be a big deal. which is why i turned off reblogs. on thepost where i talk about it !

i may not be a girl anymore, but i used to be one and most people still perceive me as one in real life. i have experienced, and continue to experience misogyny, so my occasional discomfort with those headcanons is actually coming from somewhere and isn't just me trying to find something to get pissed off about

believe me or dont, its up to you, but i can promise the reason isnt because i hate women

[schnaf]

how to flex your muscles when your bandmate asks you for help without making it obvious

[21st-century-minutiae]

I love this blog so much— it perfectly encapsulates my fascination with history and culture, and gives me a new perspective on the world I live in, as if through the eyes of someone from the future… it makes me think more wisely about what I might take for granted in this world!

Thank you, I appreciate it.

Part of this blog was considering the hypothetical of explaining society to an alien or a time traveller. You could really easily give them a bunch of books about the big things, but day to day life wouldn't necessarily be covered. So, having something cover that would be interesting in its own way.

The other part of it was realizing... you know how it is super cool (for some people) to look into the minutia of the past or for a fantasy world? Trying to recover the depths of influence that shapes lives in the smallest way? Why not consider the present to be just as fascinating?

I earnestly believe that, a hundred or so years from now, somebody is going to want to write a period novel set in our present, or to read about the same. Why shouldn't we approach our present with the same joy and fascination?

[kamil-a]

did a bunch of these over the past few weeks!!

[synthshenanigans]

Continuing from my last post bout Mind, we also need to talk more about how paranoid & untrusting/second-guessing your mind can be cause i think its very interesting

[istherewifiinhell]

banging my head against the wall. does anyone wanna go insane and read TMNT Mirage #37 with me? An emotionally fraught jouney of faith and family and battling for or against your roots of eons past? You should. But if your not in for reading a 40 page comic I have a condensed visual/textual moments and summation for you! You might enjoy it!

[Mirage 37, Rick McCollum and Bill Anderson]

ID: Turtles walking through a forest with full camping bags. Mikey has his mask around his neck and wears a bucket hat: Well..." Raph wears a wide brimmed fedora type hat, he balances one sai by its point on his finger: "You do got a point, buddy." Leo is shadowed in the back with a straw hat. END

[In this comic the turtles are depicted with understated beaks and look lankier than Classic Mirage style. Their skin is usually in the darker of the 2 toners, and their masks are left without toner.]

ID: From behind the group, Don and Mikey in silhouette up front. Behind them, Raph is throwing his sai in the air. Leo is saying "I believe you Don, but... Spiritual meaning? Maybe you're reading too much into it." Close on Don's face, frowning "No, I'm not." END.

[See Donatello: The Ring, in Turtle Soup #2] Here's what you missed: Don went on a spiritual journey by himself. Now he wants them all to experience it.

ID: Three turtles and Splinter in the farm house living room. Raph and Mikey on the couch with books, Leo on the floor polishing his sword. Splinter standing to the side. Raph: Yeah, but Casey's car's on the blink. Mike: I hope its doesn't fall apart while he's out with April. Leo: Don will fix it when he returns. Raph has one leg up, is tossing some shuriken in one hand, his books says "Fun with sai". Mike slouches and has a drink can, his book is "Life of Bruce Lee" END

ID: Three Panels of Don explaining his experience in front of a large fire, fiddling with his bo staff, the flames curl around him as he speaks. A brow raised: But it wasn't the trees- It was one of us! The Father of All Reptiles Looking contemplative: He was a turtle. Or a ghost. Some kind of spirit... With a sheepish smile: And I'm glad I met him. He said I was special... END

Splinter reprimands the other turtles for not taking Don seriously. His lecture:

"Your lack of respect is unbecoming. Have I so failed you that you have no feel for your heritage, your roots? Reptiles ruled this world for uncounted eons, your people strode the land, slipped through the warm seas, and skittered about the sky. Though gone, their blood is your blood. And their spirit should be yours! They are your elders, with their bones left in the rock, lasting forever in the skin of the world. Respect them, and honor their spirits as you do me!" "Recall the time you spent, eons past, with your friend Renet. How you spoke of it once you'd returned! Did you not feel a sense of unity with that time? Did you not resonate to the heart-beat of the archosaurs? Your enthusiasm lingered for weeks."

[See Tales of TMNT 7] They went back in time and met dinosaurs, amongst other things.

ID: Panels with a close up on each character. April in profile, with a solemn look: You babbled on about it for days. Mike smiling wide: Yeah! It was warm! Leo, clutching his sword, looking away: I felt so free! Raph, his mask pushed up to his forehead, an eyes closed smile: Three months of fishing! Don, holding his staff, looking down: Yes, I was... Happy. END

Splinter continues to speak.

"Happiness…Ah, Donatello, it is so ephemeral. As was the time of those reptiles. Everything is a ring, and the ring turns. The world grew cold, small, furry creatures came out of the shadows. The dinosaurs died. The age of mammals began."

Raph, upset, gets disparaging about what the predominance of mammals has done to the earth.

ID: Three panels. Raph, shocked, hand over his mouth: I can't believe I said that. Splinter looming over Raph, who jerks back. Splinter: ~Think~ before~ you~ speak~ Raphael! Raph: I'm sorry! I'm sorry! I'm sorry! Splinter: Need I remind you that your best friend Casey Jones is a mammal? Close on Raph and April. Splinter off panel: Not to mention myself? Raph: Eep! April grimacing: I'm feeling warm-blooded and hairy also! END

ID: Four panels. Caption box: And look they do— Raph looking at two trees growing diagonally, thinking: I don't even know what I'm looking for. Leo, partially hidden behind foliage, thinking: Something's up. I feel... something. Mike, looking at a tree that's grown a loop in its trunk, thinking: Is this a "spiritual experience?" Don, walking through the trees in silhouette thinking: Why can't I find the place?" END

After a day of searching, they camp, but Mike goes missing during his watch in the night.

ID: Two panels, each showing Raph and Don and they face off and argue, their speech bubbles placed between them. Raph is backed up against a tree, angry, clenching his sais tightly. Don has his bo like a walking stick, and seems calmer.

Raph: Why? Mike needs us! Don, with an irregular speech bubble: Either he is alive or he is dead. The quest is more important. R: What are you talking about? What's wrong with you? D, normal bubble: Nothing. I had a dream last night. If we give up the quest, we've lost. R: Mike is more important! D: That's what the adversary hopes you think. R: What adversary? D, irregular bubble: Have Faith. R: Donatello! D, regular bubble: Remember when you devovled? We kept faith. R, yelling: AAARGH! END

[See Mirage 24-26] Raph was de-mutated into a regular turtle, his brothers had to go on a journey to save him.

ID: Leo, mask off, scowling "This is what we'll do. Break camp. Consolidate our gear. Bury what's left. We're on a combat mission now. We'll keep faith, Don, but--. A narrow panel of Don, drawn small, gripping his staff: What? Leo getting in Don's face, displeased: I hate leaving Mike. -- Just make sure you're right. END

Raph goes missing on their second nights watch, Don becomes stranger and more convicted about this quest.

ID: Leo, furiously, points in the direction of the viewer, accusing Don. "What's with you? Why are you so out of it?! -- What's wrong with your voice? [Larger text] Don't you care about Mike or Raph?! END

ID: Don sits facing away from Leo, gripping his staff, angry, speaking towards his hands. Leo looks on from a ways back, dramatically lit. Don: [Large text] Of course I do! [Normal text] But... I don't know what's wrong with my voice. I don't know who the Adversary is. And yet..." END

ID from alt: Two panels, Leo glaring, getting in Don's face, pointing at his beak, grabbing Don's staff. "Who told you this?" Don has brows raised. Don, with a wincing smile: "The Father of us all." END

ID: Multiple panels. Close on Leo, "Remember what I said about being sure?" Don holding his staff in front of himself, seemingly scared, "Leo, please." Mid on Leo, more neutral frown, "Don..." Full body, Leo turns away, the wind picks up. Leo facing away, pulled back shot. "Let's keep going." END

Narration as they travel further into stranger and stranger territory.

Leonardo: What was to be a relaxing romp has become a grueling death march. Sweating and hacking through the threatening undergrowth, he understands that he is hopelessly lost. As lost as Donatello seems to be, following an Unknown pull, mumbling to somebody only he can hear Donatello: while Leonardo must fight the wild landscape, he slips easily through the thorns. And he listens, and talks. Hair is better than scales? The birds are traitors, having stolen the secret of hot blood? Giants, brought low by small, furry ones? As he pursues the silent beckoning, he learns...

They have a run in with a foe in pitch black forest. They take many hits but score one back, severing one limb, hairy and clawed, then retreat. Don garbs himself in some make shift religious fair, using his blanket, mud and ash. The two sleep, they dream.

And they dream the same dream. They see their blood rise and rule. The ring is turning. The reptiles differentiate, and claim the seas and air. They see their family as it might have become- If the ring hadn't broken. They feel contempt for their children, the birds, as they invade the skies. But it is nothing compared to the fear which the small hairy ones bring. The furry horde had been around since the reptiles beginnings- swarming… unstoppable.

ID: Three panels. Caption Box: The morning brings questions. Leo and Don sit with their backs to a tree. Don's taken his mask off, made a dark markings on his face and body, and wears a hood. Leo: Did you dream-? Don: Yes. Leo looks upset, gestures with a hand in front of himself. "I... felt grief. Anguish. They must be let loose. -- But why? And how?" Don's face is completely shadowed by his hood, his eyes and teeth stick out in far too much detail. It is an unsettling smile. "You're starting to learn." END

Another fight, Don's leg is broken by the mammalian Adversary. Leo, with all the weight of the loss of his brothers, takes position to make a last stand protecting him. But Don urges him to continue on, to find and aid the Father of all Reptiles.

ID: Many panels, Don injured, propped against a tree. Eyes closed in pain he says "Can't you hear?" Leo looks behind them. A strange voice says "Come." Close on Don, crying, yelling at Leo "Go! Please! I have faith in you!" Leo's eyes, frowning. Leo's hand, offering his sword. Leo's eyes, he's crying through his mask. "Take this." Don's hand taking the sword from Leo. Narrow panel, Leo walks away, remaining sword drawn. "Fight well." END

ID: A cut off panel with dialogue, and a close on Leo, framed between two rocks, crying heavily. The says: You have become one with sorrow. You are sad. I am glad. Now we may speak. END

Leo climbs and the conversation continues.

Narration: There are sounds behind him, as he climbs. Voice: Your brother Donatello gave me joy when we met. I thought it would release me from my grief. Narration: Following him as he scampers every higher. Voice: I tried to go. But joy is ephemeral-- Narration: Leonardo reaches the top with haste. Voice: While melancholy lasts forever.

Leo sits at the mountain peak, thinks of his brothers, contemplates the sounds of the Adversary below and the Father of all Reptiles speaks to him more, as he falls into sleep.

This is my nexus, my holy spot. This is my prison, where I am trapped by my sadness. Dream of extinction. Dream of death. Once we were, now we are not. You and yours are what we could have been-- Had not the hairy ones come. All the scaly brethren are my children… But they hairy ones killed them-

Leo wakes slowly to a growl, then all at once with a yelp.

ID: Full page, the Father of all reptiles finishes in a yell. "THEY ATE MY EGGS!" The mammalian Adversary's loud growl just under the speech bubble. It looms in the panel, over Leo at the bottom, his sword drawn. The Adversary, large and rodent like, fur dark, eyes gleaming, foam dripping from its mouth. One arm severed and still bleeding, implanted in it are the weapons from Leo's brothers. Raph's sai in its leg, Mike's nunchaku in the stub of its arm, Don's staff and Leo's other sword in its chest. Other small rodents cling to its form. Surrounding the image, marginalia in the corners. Cracked eggs up top, rodents in the bottom. And a border of text, listing eras, genera and species of or relating to early mammals. END

Leo's brothers, injured, wounds wrapped and broken limbs braced, are following his trail. They see signs in the sky, Mikey thinks it looked like a massive turtle. Don is assured with his faith that this means the Father of All Reptiles is aiding Leo, and that they should rest. Mike and Raph leave him to sit at the mountain base (offering him another weapon for protection), and make their way up.

Narration: At the pinnacle, a warm, fresh breeze wafts downward. The trees below grow normal. Throughout the world, fossil Mesozoic eggs break apart, as fetal reptile souls are let loose. Paleontologists will find no more intact eggs. EVER.

ID: Full page panel, Leo sits at the base of the giant cracked egg of the Father of All Reptiles. Sword dangling, he's exhausted, blood splatters him, his sword, and the mottled surface of the egg shell. The Adversary's head and remaining hand are laying to one side, the dark mass of fur on his other. His brothers cresting the peak see him, and he says "We freed him. The wheel is moving again. The ring is whole." Caption box: And whole, the ring moves on. A Marginalia drawing in the corner shows a small rodent, the front of its body inside the cracked shell of an egg. END