#i am an advocate for it and it can be scary at first but its so WORTH IT

[thumpersdae]

I Am once again asking for season 3 Dndads to be about adults <PLEASE>

specifically my adults here that i have already made!

WELCOME, Folks!!! to my Cyber Punk Nursing home Dndads Pitch!!!

DNDADS PRIDE

(pride is a brand of a motorized wheel chair)

[straps activate on you chair you are stuck here you must read!]

So the idea is that Grandkid's (Scary, Link, Normal, Taylor) Grandkids (shown above) are the playable characters, but there are all seniors who have been placed in a Long Term Care Facility (a better name for "nursing homes" btw). But the world has progressed enough that things are cyberpunk!

maybe all of the PCs loved one's all stop showing up on the same visit day. The PCs combine their efforts to try to find out why, and then they run into a big mystery or conspiracy through that.

themes that could be in season 3 just because we set it in a care facility and have senior Characters.

Normalizing a variety of disabilities and dreaming of how accessibility devices can advance

humanizing people over 50, [Please please please, we've done it to the middle aged, we sexualized the heck outta those dads. ive seen what people have done with Omega Daddies in certain circles (my circles) we have the Power to let retired people be more than a punchline. i want something to look forward to in my older years! let them be silly complex sexual full people PLEASE!!!]

community building!!! alot of care facilities in my area Have social and communal activities they do because their residents get together and demand/them. groups -just like the one ive drawn- get together, out of boredom and loneliness (often people who have better mobility and memory) and then make it their job to work with staff and people who have a harder time advocating for them selves. to make sure social needs and wants are being fulfilled. and now that we have (what i perceive to be) a younger audience. it would be great to show them how that sort of work is done and how it can make a big change to quality of life. [the 3rd character (who i designed for Will) seemed like the type to start one of these groups. just look at her with that big purse and cool jacket. thats a move maker folks!]

the way that older/disabled people are often overlooked, and therefore people often forget to keep secrets away from them. [the second character (i designed for Matt) i wanted him to look as unassuming as possible, for this exact reason]

Interesting Villains and Problems that aren't often shown because people font write about older folks.

an exploration on how technology can help people (and how corporations will make people have to pay for medically necessary things)

the way nurses and care staff can be very helpful and empathetic. and how others are assholes who are at best just here for a paycheck, and at worse actively hurting people for amusement.

Elderly abuse, not just actively hitting people. there are countless examples of people taking advantage of people who are disenfranchised (like an older people or people with disabilities). often we see and talk about financial abuse. [my idea of the first character (hopefully played by Freddie), was someone who seemed oblivious to a deadbeat family member using them for money maybe because of a memory issue. (potentially there could be a twist about the PC knowing the whole time, and deciding to go along because they think its funny that their kid has to sit threw a marathon of daytime television to get 50$ a week instead of just outright asking for a lump sum)]

[pearl484-blog]

My main issue with senti-monsters

Alright, so first of all, this is not an essay about the senti-Adrien, senti-Felix, senti-Kagami, senti-Chloe or any other senti-person theories. There are a lot of complex theories and debates and discussions about the ethics and moral implications around it. 

No. This is an essay about missed potential surrounding senti-monsters, which is probably one of the least relevant things you’ll need to hear about it. This isn’t about poor execution or predicting where the show will go. It’s not about someone who did something right (well, not completely), or anything like that. In fact, I am veering far away from most of the usual senti-monster topics. So, if you’re hear to discuss humans born of senti-monsters or anything like that, this is not for you. Sorry.  

Now, first of all, I have opinions about the name senti-monster. Now, it’s not what you think. I’m not one of those people about to advocate for using senti-being here. No. I’m here because I want to ask: “Where are all the monsters?”

My introduction to the Peacock was a black eyed woman ripping a monstrous butterfly made of grief painfully out of Hawk Moth against his will. This thing was huge, massive, and scary. It’s design was creative and clearly reflected that this thing belonged to Hawk Moth, and he didn’t have any say in its creation whatsoever. 

My next few introductions were promising. A lolipop monster made out of a need for processed sugar from a baby, and I read that very well, and a simple monster made from hunger which was nearly impossible to defeat, which yeah, giant frog that’s basically a moving mouth. I can get behind that. 

But unfortunately, we also had Senti-bug, and that kinda derailed things. Now, don’t get me wrong. I love Senti-bug, and the moral implications behind her and her destruction are beautiful, and it raised the sentiment of “Good God, the Peacock’s ability to create life and take it away in the snap of their fingers is horrifying”, but alas, it set us down the path of human monsters, which is most decidely not monster-like. 

See, what I thought was going to happen was that the senti-monsters would be representative of deeply buried emotions, the dark, forbidden secrets that you shamefully keep locked up and hidden away for no one to find, and that their creations would be a very unpleasant experience for their hosts. 

The design team has proven with it’s design ideas to be more than capable of being up to the task. The akumas especially are amazing design wise. Most of them have a unique silhouette, are recognizable at a glance, and you can tell important character traits with them. (Except Vanisher who does not have a distinct character design and doesn’t even have their own episode). There are some pretty obvious flops, yes, but even those often have a reason. Some of these akumas do not look good at all, but usually there’s a reason behind it. Ie, Aspik’s hood is concealing his hair, reflecting his need to hide himself and a visual reference to Hawk Moth, Reflekta’s design is almost painful, but memorable, and the Bubbler reflects his childnessness of both his worldview and his influence, blowing bubbles. 

However, it was clear that akumas were begining to stagnate. It was obviously getting harder and harder to come up with realistic reasons why a character might lose their cool, and the loads and loads of characters was starting to become worrisome if the series wanted to keep up the momentum and focus on the characters they already had. 

The obvious solution, I believed, was making the Peacock target deeply buried emotions, setting up a one-two punch. Either you could become an akuma, losing yourself to your flaws in a moment that you lose control, or you could bury your feelings until they became strong enough to become a senti-monster, a living embodiment of a feeling you never wanted revealed. This would start a catch-22, either you deal with your emotions in a healthy way and resolve them, hopefully in a way where neither of you lose your cool, or you avoid it and it turns on you. 

This would begin to force people to move things very quickly or suffer the consequences. Long simmering grudges you know are stupid and pointless get brought to the surface. Deep fears come alive. Secrets you keep hidden from everyone come alive. It could also affect the heroes too, without completely incapicatating them. For example, Adrien’s hidden resentments could come to life, or Marinette’s crush may decide to confess regardless of her say so. Even better, you could take inspiration from Fu’s montster and make the host have a strong emotional reaction to them. From panic to anger to fear to hopelessness. It’s rife with drama.

Now, originally, the Peacock was meant to be used for good, so how would it work if they were heroic? Well, the same way Shadows work in the Persona series. Yes, each character rejects their shadows, but when they accept their Shadows, they become allies. Yet, when rejected Shadows are a problem. It’d be a case of Bad Powers, Good People, where the Peacock’s abilities are dark and creepy, but could be used for good, not just for combat, but for self-growth, and it’d absolutely deserve the moniker senti-monster.  

This would let us see the heroes deal with talking people down in their own ways, each with their strengths and weaknesses. Queen Bee could cut straight to the heart of the matter and tell you what’s going on, no frills, but that might also hurt people and she might have to learn how to stop being callous but still use her skill at dissecting people and seeing their flaws. Ladybug may be kind and compassionate, with a lot of people looking up to her, but she might have a tendency to miss the point. Rena Rouge may be confident and have an internal strength that allows for no bullsh*t, but she can also be pushy. Carapace may be calm and non-judgemental, but might need to work on pushing people out of their comfort zone. Chat Noir would be great at this, being that he is very naturally empathetic, and tends to understand what people are dealing with quickly, but he’s also conflict avoidant, and would be screwed if it happened to him. 

Plus, I’d be able to see monstrous representations of problems and each character needing to accept terrible parts of themselves or be afraid of others learning about it. And I’d get to see fan material that leans into monsters and that creative side a bit more. Like debates over what Alix’s monster would be or represent, or fan art of Rose’s sick looking unicorn design. 

[idcanyhtjng]

This is how I imagine an Oswald Mosley speech in relation to immigration if he suddenly came back to life now. The point I am trying to make here is that these racist hooligans lack any of the organisation and character of an actual movement. It is not to put Mosley in any good light, merely to show the propagandised way he might go about trying to a build a movement. I do not condone his political ideas and know that his movement, which could be identified as a form of white nationalism and was certainly built on an idea of superiority and of racism. However this was a person of genuine intelligence and complexity and I think to doubt that would only give a modern Fascist movement more power, if it were to arise. Sometimes to try and get into someone’s head and play devils advocate is not a terrible way to go about accurately identifying how a real threat would go about portraying itself in order to attract support. Specifically from more liberal minded people rather than just racist hooligans as it has been in the most recent sting of riots. I think what I have detailed below is something more scary in that it will be taken much more seriously as a political movement than any of the shocking scenes that are currently occurring.

“My fellow britons, this country is one that has always respected morality in its purest form. As a citizen of this great and wonderful country I am shocked and disgusted to see a loss of life of any sort. In a position of moral authority and as a British citizen it is my first and foremost duty and obligation to be. That includes those making the perilous journey across the sea on boats who come here for the reason that our country is of a special and great character. Nonetheless it is not racist as the media will tell you that I am, for one to look after his own family first, before he can look after another. We must preserve our culture, our values, our traditions and our heritage. If you love this country and what it represents you must see that the danger is very real. We are in danger from a real, alien and vocal group that must be stopped if this country is to remain a great beacon of moral virtue and character for all the world to see. Those who come here legally, assimilate and contribute to our consistent goal of expanding greatness, are not those in which I wish to quarrel. However, it is clear for all those not blinded by the lies of our liberal media and institutions that this is not the majority. This majority threatens our way of life and it’s continued existence. Our children and then our grandchildren must be protected at all costs. Therefore I urge you as an Englishman, as a Scotsman as a Welshman or as an Irishman to support our cause with supreme diligence. Our mission is a moral one and one of the upmost importance. The recent violence must be condemned if we are to put on full display our outstanding virtue and character, but those shocked by this recent wave of anger mustn’t be so. The current government and its politicians who have no concern for their own people will not answer your demands, they will not even listen. It is dangerous to put an Englishman in a cage, for when he breaks out he will undoubtedly bring upon the memories of those who have died for and protected this country from invaders time after time. Whilst this is true, we must not forget our noble and superior character. Without that we would not be in the position in which we are today. We must remember our empire which served as the guiding hand for millions worldwide, as did ancient Rome. Friends, you must remember who you and we are. Politicians will not answer your cause, however I can promise you this, our movement represents all of the native, legal and hardworking citizens who care so deeply about this country, and it’s values. I suggest to you that from now on you must support our cause and it’s methods, because from now on I promise, that we will stand up for you and what is right.”

One one hand I got some enjoyment out of writing this for the sake of writing, on the other it was a little disturbing

[emulation-0]

i need to move on but im still so angry about yesterday. i told her exactly why i was mad. i told her if she used her voice to advocate a little, if she even tried to be publicly pro palestinian instead of saying she 'supports the cause' without the balls to even say what the cause IS, i wouldnt be mad. because she never talked about it, never did ANYTHING, and then promised she would protest and then made the excuse that school mattered more to her. EVEN THOUGH NOTHING WAS HAPPENING ON THAT DAY AND WE ALL KNEW IT. publicly advocating isnt the ask of the century. its so simple. im not asking her to go out and shoot up city hall or whatever the fuck ??? im asking her to do the simplest thing

and she kept making excuses like im scared to face other peoples judgement and i reassured her even when i didnt have to how this is the right thing to do and you shouldnt stay silent. i coukdve been rude about it but i wasnt. i couldve been the big scary radical brown muslim girl but i was nice when i didnt fucking have to be.

all this when she initiated the conversation by apologizing for lying to me that she would go to the protest, and that she would accept if i yelled at her or gave her the silent treatment. she wanted me to vent out my anger. she said she wanted me to hurt her feelings. so i fucking vented out my anger and i couldve been mean about it but i wasnt. and then she left me on read when i told her how what she did hurt me and how she can fix it.

and then the next day this bitch avoids me ALL DAY. ignores me. treats me like im the one in the wrong. so i sucked up my damn pride and told her im sorry for being rude, being mad, telling you what you should do and she has the AUDACITY, the ENTITLEMENT, to say she doesnt want a 'surface level promise' and an apology just for the purpose of befriending me, and she wants an apology where j realized my mistake. AS IF SHE DIDNT APOLOGIZE IN THE FIRST PLACE FOR MY FORGIVENESS AND NOT BECAUSE SHE WANTED TO CHANGE ANYTHING ABOUT HER BEHAVIOR.

but i decided to be the bigger person. i shouldnt have but i fucking did. and i sucked it up. and then she ignores me FOR A FUCKING HOUR and has the audacity to then tell me. even though i am super upset i decide to forgive you. AS IF SHES DOING ME A FUCKING FAVOR? WHAT HAPPENED TO 'if you yell at me or give me the silent treatment, i will accept it. i want you to vent out your anger so you can feel free internally. i want you to hurt my feelings.'

and i knew she wasnt the type of person i wanted to be friends with for a very long while. always hypocritical, stubborn, never wants to get out of her comfort zone, never speaks up about anything and shuts down whenever i try to educate her, backbites about others and then says she hates backbiters, complains about toxic desis while she emulates those behaviors? but she didnt give me a reason to cut her off so i figured ill just wait until i never have to see her face again

why have friends if you never want them to challenge your beliefs. why have friends if you never want to grow as a person. why have discussions if you want to sit in the same bubble you always have, clinging to your ignorant and comfortable life because you dont want anything else? GO FUCK YOURSELF. FUCK YOU AND YOUR STUPID 'I DECIDE TO FORGIVE YOU'. SHOVE ALL YOUR BULLSHIT UP YOUR ASS. SHOVE IT SO FAR THAT YOULL NEVER REMEMBER WHAT IT WAS LIKE TO WALK. HOW CAN YOU NOT CARE. HOW CAN YOU BE SO FUCKING ENTITLED AND PRIVILEGED. GENUINELY FROM THE BOTTOM OF MY HEART KILL YOURSELF

[saskiamcc]

Critical reflection - Mr Balloonhead Man

Proposal of intentions

As a producer, I want to be able to tell stories that often go overlooked through unique visuals and writing. On the surface, this story seems to have a comedic tone, with the protagonist being a man with a balloon head. However once we delve deeper, we see the vulnerability and honesty about anxiety and isolation from society. The combination of comedy and tragedy makes the moments of vulnerability even more impactful. I was drawn to this project because of how raw, yet touching, the character is. Everyone has at some point in their lives felt isolated or dierent and I love the idea of authentically representing this through a unique character. I am really excited to take on such an ambitious project which will really push my skills as a producer.

Casting is an interesting factor here as I am casting both a voice actor and a puppeteer to play one character. For voice acting, I am looking for an actor who can portray vulnerability and anxiety through tone and vocal techniques such as shaking, or generally being able to translate clear emotion through just their voice. For the puppeteer, I need to find someone who is experienced in puppeteering, for health and safety reasons, but also someone who can express emotion through mobility - their walk, or hand movements.

Location is an incredibly important aspect to this film in order to establish a ‘sense of place’ for our character. It’s essential that we are able to create a clear juxtaposition between the comfort of Mr Balloonhead Man’s home, and the scariness of the outside world. Even within his home, we want to show that this world has not been built for him, and that he has to balloon-proof his home. Therefore, my main focus for locations are his home, and the street. Additionally, I would like for our sound designer to be able to utilise the locations that we have and to be able to have a broad range of sounds to play with to create the sense of fear in the exterior scenes. Hence, another focus for me here is to book out sound equipment which will allow our sound recordists to experiment. For example, I would like to book out a MixPre10 - which will require extra training by our sound recordists. This will allow our recordists to have access to more than one boom mic alongside more than one radio mic.

Health and safety is a key factor to consider here, with the actor playing Mr Balloonhead Man being in a suit. I want to ensure that the actor we cast is experienced and feels comfortable. In order to keep the actor safe, we will have people spotting them as they walk, and we will shoot in ways which means that they can see when moving (e.g. close-ups, so their face is exposed, OTS, etc.). Additionally, during all test shoots and early costume tests, I will be trying the suit out myself and moving around in it so that I know the potential risks first hand.

Critique of process

Overall, this project had its challenges, however it was rewarding once complete. I am an advocate for taking on ambitious projects as a producer because I am always looking to push myself, and Mr Balloonhead Man was not an exception. Choosing a film whose protagonist was an inanimate object was going to be dicult, however I wanted to show that it is possible to cover quite vulnerable topics using something that may be seen initially as quite humorous. My main goal throughout, was to ensure that communication between the crew was as consistent as possible. In my experience, the projects that are the most successful are the ones where all heads of department are as engaged as possible and communicate eectively. Occasionally, I struggled to organise meetings with HODs, and I also struggled maintaining good communication, so this is definitely something that I am looking to improve on in future projects.

A big challenge for me was finding locations that fit the tone of what we were looking to convey. For exterior scenes, I aimed to find locations that fit the scene but also needed to be safe enough for our crew to film in. My director and DP asked if it was possible for us to film on a specific bench on Queen’s Drive (going up to Arthur’s Seat). Despite knowing that getting permission to film near or on Arthur’s Seat would be a challenge, I wanted to make this happen for my crew as they gave convincing arguments as to why this would be a great location for the final scene. Initially, I assumed that there would be a hefty fee to film on Queen’s Drive as it is on the base of a heritage site, however after extensive research I found that for students with limited crew, there is no fee to film. I contacted Historic Environment Scotland and provided them with the paperwork to be able to secure the location.

A location that I wish I had put more time into finding was the interior flat. We had used our production designer’s flat for the test and I was so happy with it due to the warm colours and the size of it. However this location fell through close to the time of filming and as a result we resorted to our director’s flat. Despite this being a good space for our crew, I feel I could have found a place that provided us with better natural lighting as this flat was on the ground floor, with the window being covered by a bush.

I do however believe that I was able to run a very smooth set, which made a huge difference to the final project. I ensured that throughout the filming period, everyone had everything they needed and were not overworked. We had a few issues with the sound equipment during filming - specifically the MixPre10 - however I managed to get that sorted before the next day of shooting.

Critique of Final Film

The final film was a great success! I am so proud that we were able to create a film which fulfilled most of our intentions of covering a vulnerable topic through the eyes of a usually humorous inanimate object. I think that the tone was well translated from the script and we managed to consistently present Mr Balloonhead Man’s anxiety through the use of camera movements, environment, sound and lighting.

The first montage and the final scene in my opinion are the strongest aspects of the film. The montage starts slow, showing Mr Balloonhead Man interacting with people and bikes on small side roads, speeding up significantly when he is exposed to main roads with cars, buses and dogs. The sound design and the camera movements really compliment each other during the montage scene, with the sounds on the street and the visuals of cars and pedestrians increasing in pace and volume as the montage progresses. This scene ends with Mr Balloonhead Man entering the hardware store with a bell sound, separating the chaos of the exterior from the expected calm of the interior. Despite Mr Balloonhead Man expecting to be met with the safety of more CO2, he finds there is none left and is confronted by a rude store owner. The sharp contrast between the exterior and the beginning of the interior scene leaves us with a false sense of security, which I feel was a very successful aspect of the film. Despite the fact that we made great use of the exterior locations, I wish we made more use of the location of the hardware store. To make this scene more impactful, I could have cast extras to be bothering Gary - the shop owner - making him more overwhelmed so that his outburst at Mr Balloonhead Man would be more justified. Despite this, Liam’s performance as Gary in this scene was particularly impressive and I think that his versatility between this scene and the last scene helps to convey the message that everyone has anxiety and gets overwhelmed and sometimes people are just having a bad day.

The final scene was what gave the film so much heart and depth. The final shot of Gary and Mr Balloonhead Man sitting on the bench getting to know each other wraps the film up really well and the final line, “I’m Gary by the way”, makes Gary seem more human and brings a sense of relief to both Mr Balloonhead Man and the audience after the stressful montage that preceded it. The location of the film I feel really added to this sense of place. After the confrontation with Gary and the stressful experience of walking around a bustling city where he does not feel welcome, Mr Balloonhead Man goes to a quiet bench to look out at the landscape. The final conversation with Gary is a welcome gesture for Mr Balloonhead Man to feel like he could become part of society.

The opening scene in the flat, however, I feel could have had a bit more focus. I like that the reveal of Mr Balloonhead Man’s face is delayed until he opens the fridge as it brings a bit of lightheartedness to the film, which helps to gradually build up tension when he leaves the flat. However, the blocking in the living room was a bit stagnant and I think it could have been a lot smoother to show that he has made his environment more comfortable for him to live in.

I think the costume design was really successful and fit seamlessly into the film, with the practicalities not being too distracting. The way that a sense of place was created within the flat was subtle yet eective, with little sponges covering the spikes on the plants or sharp corners of the fireplace. A few more obvious pieces of production design alongside these subtleties, such as pool noodles along the fireplace or door could have made the sense that this flat is not built for Mr Balloonhead Man a bit more clear and I think would have elevated the juxtaposition between the interior and exterior scenes.

Despite it being very ambitious and tough work to use a balloon as part of the main costume, I believe that we successfully made a film about a vulnerable topic that is accessible to everyone. There are times when I feel we could have translated the panic Mr Balloonhead Man feels better and in a way that is more animated. For example, when he realises he does not have any more CO2 left, I feel that with more exaggerated movements and more focus on the production design (the empty CO2 box), the motivation for him leaving his flat would be more clear and we would understand his anxiety more clearly.

The film is about anxiety and in a way, how we at times miss out on the joys of life due to these fears and worries. Additionally, the film highlights themes of societal isolation and not being accepted by the world and societal norms. By telling this story from the perspective of a man with a balloon for a head, it becomes accessible to a wide range of audiences and provides audiences with both a bit of laughter and also deeper reflection of ourselves and our own anxieties. The aim for this film is to show that it is ok to be anxious and vulnerable but also to remember not to miss the beautiful aspects of life from a bigger perspective. Through the use of eective costume design - specifically the monotonous facial expression that remains consistent throughout the film - and the use of sound design - for example the little balloon squeaky sounds - we were able to make the audience sympathise with an inanimate object, which I think makes the message a little more special. This also shows the eort and skill involved with all departments that worked on this film - from the wonderful writing and directing to camera and production design, to sound and editing - I don’t believe the film could have conveyed the message in the way that it did without the collaboration of all departments.

[seekinginnerwisdom]

The first time I tried to end my life I was around 12 years old. This was a very long time ago and mental health wasnt advocated as much as it is now but it was on the rise. I was very fortunate because at the time my mother was finally addressing her own inner issues and she immediately went and got me tested.

This has become my favorite story about myself which sadly shows I'm not exactly a go getter. At the conclusion of the test it showed I was suffering from major depression but it also showed I had strong coping skills. Now at the time I was more interested in the depression aspect. I feel I must have known about it back then. Its everywhere you turn now, to the point you might as well just tell people you have a cold. I want to say it's the worst thing anyone can have, or liken it to a death sentence that silently follows you around everyday. And perhaps it is this absolute monster that hides in the shadows stalking your every breathe. But for me, I cant recall a life without it.

I am never alone. Every thought I have, word I say, and action I do has been decided by the two of us. Depression has been my life coach since I before I became a woman. It weighs in on my impressions and opinions. It helps me decide if I really want to pursue that interest or is it just going to be yet another failure... I think we both know the answer that question, dont we? I dont want you to hurt. If you are hurting I am hurting. I mean, look at yourself. You are barely put together as it is. If you take on yet another responsibility you are just going to let everyone down. And do they deserve to be let down by you, AGAIN? And now your tired?! You havent even accomplished anything today and already you want to take a nap? Well, there's no help for it. Good thing we didnt try that silly thing you were interested in...

Like a toxic passive aggressive pet you dont even remember adopting. It's so scary when you first meet. Its presence is overwhelming and terrifying because when it hangs around with you, your thoughts sometimes dont feel like your own anymore and slip through your conscious control and begin forming these deeper, sadder and heavier thoughts. And at first it's just uncomfortable but also intriguing to experience the broadening of your inner horizons. The realization that there are so many nuances to so many things you never considered before. So many its overwhelming...

[arkus-rhapsode]

Hey there, I just read your post on Smash/Nintendo and I have to ask, why do you think so many Nintendo fans and youtubers like care so much about like how many games the company squirts out?

So in my mind there are two reasons. The first with Nintendo specifically is just Nintendo is kinda this Disney level recognizable characters so they honestly have a lot more franchises people recognize and want to see come back. Both people who genuinely are enthused for these series and if more games are made the likely hood of those being the utilization of those wealth of iconic characters goes up. But also there are the people who just want that output larger because it means more of a brand that they like even if they may no necessarily be fans of the specific franchise, but rather a fan of Nintendo as a whole. Which leads into my second reason and I think the easiest answer is its sports team logic. There's nothing wrong with being a fan of something and wanting it to do well, but there's a lot of people who really gauge success of something by how it compares to the other. So making the most games is kinda that "win." Not the most games that are actually fun and quality experiences, just more games. I want my brand to be the biggest one there is.

You see that a lot when like people talk company acquisitions, but don't really consider like what that means from like an economic and marketplace sense. Like Microsoft buying Activision Blizzard is them winning. They now own more than playstation. Hell, there were people who kept saying "Xbox should buy Sega next." As if the corporate consolidation wasn't a real scary thing. There are people who cheer on Sony potentially buying Square Enix and I always am flummoxed by that. Because I see that as, "oh hey this major corporation became even more powerful and took out a prominent third party developer and publisher. Better be thankful I invested in Playstation." While others who are fans see this as Playstation is now the home of Final Fantasy and Dragon Quest. Its ours now. You'll never have it. Like imagine people saying that if we were talking about, I don't know, Nintendo buying Ubisoft.

You also saw that with like the MCU vs the DCEU. Y'know it wasn't "Oh hey DC fans get a chance to see their favorite characters on the big screen." I was, "I as a marvel fan need to be the best mega multi billion dollar franchise. Know someone doing something similar to us are trash." And like that mentality can even be seen in the company. Remember the DC announced like a hundred DC movies and shows before like they really had like a good superman, good batman movie under their belt? Like in their second film they're jumping straight to crossovers like... trying to match and out do output leads to this kind of stuff.

And like, I understand Nintendo fans. There are some who really do love a lot of these franchises that languish and want them to return. But there is just these very loud people who want more games because its more. You need to have a new Star Fox or a new Eternal Darkness or a new F Zero because its more Nintendo brand. Y'know more games doesn't just automatically equal good. In fact, with how much bigger and longer it takes to make games, I'd actually say its a good thing people prioritize healthy release schedules.

And like its not just about like older franchises, you see that with newer ones to. You know me, I've even been an advocate for Nintendo to make new franchises beyond just the ones people recognize from Smash Bros. Like Astral Chain and Arms are nice to have as a piece of the Nintendo family. But there isn't a doubt in my mind that when Nintendo comes up with a new IP that's not something we've seen, there are people who are not gonna see that as "Oh cool Nintendo trying a new thing" they're gonna see it more like "Oh my god look at this thing only we have now". After seeing how much people go crazy over like Rise of the Ronin and Stellar Blade being new playstation games, you'd think they announced like the next Bladur's Gate 3 with the amount of victory laps taken.

This isn't to say, hey don't be a fan of something and don't demand better of a company, but like I think where we are at with Nintendo and Sony and Microsoft, its probably wise to not treat everything with the lens of fandom. I watched State of Play, and yeah Rise of Ronin looks really fun, just like how Hi-Fi Rush Looked really fun, just like how Princess Peach Showtime looks really fun. I want these companies to make good fun games from their first and second party games. Not make the most period. And I certainly don't want to cheer on crummy business practices just because it makes you feel better that you have something a perceived enemy doesn't.

[daily-nora]

Hi Nora!

This post is really for myself to get some things off my chest. It's hard to vent sometimes and I just feel like typing it out may give me a little clarity.

When we brought you home from the hospital I had an episode of SVT (basically, a really fast heartrate) it was so bad we had to call paramedics and thankfully my heart started to slow down again on its own. That was scary, especially when it happened two more times after. Your dad would come with me to the hospital and sit with me. We even cried together during that time. Nana stayed with you at home while we navigated these deep and heavy feelings of dread having to be away from you. This was only mere hours after we arrived back home, mind you, and stretched over a couple days afterward. It was a scary and stressful time I don't wish on any first time mom's. Thankfully my kidney doctor altered my medications and things started to level out again.

Then, about a couple weeks later, you started to develop what we thought was acid reflux. And truthfully, maybe it is acid reflux, but we have no idea...could be colic or gas, too. Anyways- you became really hard to settle at this time. You would cry and scream and jolt around as if you were in pain or discomfort. I am still getting to know you at this time so it would send me into an anxiety attack trying to find out why you were crying and try to fix it as quickly as possible. It isn't easy, I still haven't figured out exactly how to help you, but Ive come to learn maybe there isn't anything I can do. Your needs are met, we comfort you as best we can, but when babies at this stage go through things like this, you might have to just ride out the storm. And I think that's the situation dad and I are in now. One day I'll make a post saying that you made a tremendous improvement and we won't have to worry about this anymore- today is not that day. But soon, I hope. However despite this I will never wish this time away. One day you won't be this tiny little baby anymore and no matter how hard I will miss it, you'll never be that way again. Don't get me wrong I'm really excited to enjoy you at every age, but there will be a time I look back and will miss your tiny little fingers and toes. How you'd head butt my face with your mouth looking for milk, and opening your eyes and taking in the world for the first time. Once that's gone, it will be gone forever. So I'll never wish it to go away. Dad and I will continue to push through and advocate for you, whatever it is you may need. Even if sometimes it's just for me to hold you for a couple hours so you can finally fall asleep.

A few more things happened too. Last week, our car broke down, and that same night, our apartment flooded. We are SO lucky nothing was damaged, and our landlords acted quickly, so we weren't in a state of disarray for long. And Nana and Grandpa helped us out with the car so we can continue to take you to appointments and dad can get to work! Thank goodness for them. At the same time though, both our cats got sick, you developed a rash, my milk production slowed way down (resulting in us spending a fortune in formula), and you are still miserable with colic. I watch you like a hawk. Take your temperature daily, check your lungs and breathing, pick your nose and clear your sinuses lol. I'm very protective of you want you to be healthy and happy.

You are now in your 5 week mark. Passed one month! Hurray! You're more alert and aware than ever, and I can't wait to see you smile and giggle for the first time. You light up my whole life.

I may have to invest in some earplugs, though.

Love mum ❤️

[fromdusks]

people dont give enough credit to how fucking GOOD storylines are with your gtao character and the progression of heists/etc.

like there’s so much more to online than people think 

[kkusuka]

So, I have an idea 👁👄👁. Who knows if it’ll be a good one, but I had a dream last night, WHERE I WAS BEING SHARED BY KAGS AND TSUKKI. Let me know if you like this idea <3 Love ur poly headcanons and I think that’s where this dream came from <3333

funny because i think about this all day every day

The Velvet Room <3

Tsukishima Kei x Reader x Kageyama Tobio 

Mafia AU

words: 2.1k 

Cw: choking, double Penn. In the same hole, it’s tsukishima so degradation

The Velvet Room Nightclub was a place to avoid.

In fact, you avoid even speaking about the place, as do many. Other than it being almost completely unaffordable to the general public, but just mentioning the Karasuno Yakuza was enough to scare the remaining brave souls from the doors.

You didn't really know what made them so bad, no one delves deep into the issues publicly, and apparently privately, of fear they will somehow overhear the contents of the conversation.

Your friends had already beaten into your head to stay away from the luxurious club. And there were enough bars and smaller clubs lining the city; so it wasn’t a problem to the general public.

So how did your friend and you get in the check-in line at the very club you’ve been told to avoid like a plague?

Kiyoko’s bachelorette party. That’s how you landed a stop in the most expensive place in the city. She was one of the people who always played devil’s advocate for the club. (you had your suspicions about the man she’s marrying too, not you get you wrong they are lovely people, just an enigma to the club.)

She was adamant about having her party there, saying she wanted to show you that it wasn't scary, you guys were just falling into the drama.

“You know, it does look really nice in here!” another friend whispered as you walked through the door; the hostess looked up at your group, seemingly recognizing Kiyoko at first glance, as she didn't say a word before leading you through red curtains, past the dance floor and what looked like the main bar, up the stairs to a long hallway.

Walking down the hallway you noticed the individual rooms lining the walls, no doors, the entries were of the same red cloth. You were led to the very end of the hall, pushing the red back, revealing a room with booths along the wall, circling a white table.

To the side of the room, a bar loaded with different bottles and lime slices. You had almost completely eased up on the reputation of the club, the white and LED lights lining the room sent you into a calm, relaxed view of the infamous building.

“Alright let's stop lollygagging! Let’s party!” with that you began to drink and within minutes food had arrived to your room. No worries, there was no poison in either the food or the drinks; so now you had nothing even remotely bad to say about this place, it was great!

Before you knew it, it was almost two in the morning and according to some of the girls who ventured to the outside, the club was packed. Being that you had been there since 8, it was needless to say you were growing tired; your social battery was nothing compared to some of your friends.

“C’mon, Y/n! Let’s go to the dance floor! This room is getting boring!” one of your friends was trying to pull you from where you had nestled into the booth.

“Fine, fine, calm down! I'm coming, I'm coming!” you relented, allowing her to drag you pat the curtains and onto the dance floor where music was blasting from every angle.

As you dance, your eyes move across the bodies on the floor to the people leaning on the walls lining the outskirts of the mass of people. As you drag across the couple clearly getting a bit too heavy in public your eyes meet a sharp cerulean blue.

Expecting him to turn away, you kept your eyes locked with his, disregarding the people surrounding you. Seeing that he wouldn't break our staring contest, your eyes travel from his eyes to his draped hair, down his neck, taking note of his dark three-piece suit hiding his body.

Through your examination you lost your footing, falling back crashing into a hard chest.

For the second time that night, your eyes met gold surrounded by black rims. You watched his lips curl into a scowl as he set you back onto your heels, clearly running his eyes along the curves of your body.

He returned his eyes back on your before flipping his lips into a condescending smirk, raising his chin as if he was leagues above you, “Not very balanced are we, short?”  he remarked, shoving his hands into his pant-pockets.

“I was going to say thank you, but you ruined my thanks by opening your mouth.” you retorted, making a move to turn back to where you hoped your friend was still dancing, though before you could, another body was beside you.

“Stop bothering them, Tsukishima.” a deep voice rumbled from next to you, looking at it was the man from across the room; his sharp eyes now cast onto the blond asshole, who was still smirking, bigger now that this other man had stepped in,  down at the both of you.

“Or what, King? Are you going to command me around like the commoner I am? Short and I were just talking, so you can butt out your highness.” Tsukishima sneered at, the king? that couldn’t be his name, and from the way he stiffened at the mention of this name, he didn't like it very much.

He was about to respond when two voices called from either side of your newly formed circle.

“Y/n!”

“Kageyama! Tsukishima!”

You knew it was Kiyoko who was calling you back towards the stairs, so you sneak a glance two where the men turned, seeing a smaller man, boy? with bright orange hair waving the two over. Hearing Kiyoko call you again, you tear your sight from the two walking away and make your way back to the room.

The events of that night still play in the back of your mind even a month later as you get ready for another pouting with Kiyoko and the hostess from that night, who’s named you learned to be Yachi, who had quickly became friends with you along with a few of your other friends.

“Won't it be awkward clubbing at the place you work?” you didn't want to force Yachi to go back, she seems to spend enough time there as it is. And if you got her to say no, you wouldn’t have to go either. It wasn't that you didn't want to have a good time, you did. It was that you didn't know if you could handle seeing Tsukishima and Kageyama again. Your body wanted it, it desperately wanted to see at least one of them again, but your mind was against the idea.

Yachi had told you about them, they were clearly part of the high rank of the Karasuno Yakuza. She explained how rude and all-around awful Tsukishima treated people, from remarks to just making fun of them. She told you about Kageyama’s bad attitude and how he was exiled from another Yakuza and was picked up for his skills.

You had to stop yourself from thinking about them for about a week before your memory began to torment you once more. You couldn’t lie; that was hot. Not that they were mafia goonies; but how confident they were walking around their club knowing what they could do at any time.

Now sitting at the main bar while Kiyoko and Yachi dance with each other on some far corner of the dance floor, you wish more people came. You vowed to stay away from the dance floor, in fear of deja vu taking its course and becoming reality.

To consumed in mixing your lime into your margarita, you ignore that body that slides into the stool next you yours.

“I was wondering when you would come back, Shortie, his Majesty interrupted us last time.”  warm breath hit the shell of your ear as a too-familiar snarky voice sounded from beside you. Tsukishima pulled back, resting his head on his palm, as the bartender shoots a whiskey in his direction.

“I have nothing to say to you.” you raise your chin, imitating how he had when you first met. From the corner of your eyes, you could see his amusement clear on his face. Trying to ignore him you make a move to leave your seat.

“None of that, I’m just trying to have a conversation!”

You continue your ignorance, scanning the crowd for your friends.

“I’ll buy you food?”

“Only until we finish the food, then you leave me alone.”

Seeming content with your answer, he takes you up the same stairs, to another room on the right of the corridor.

In your former opinion, Tsukishima was actually a very good conversationalist, you hadn’t even realized that the food had been done for an hour and you had gone through more than enough drinks.

“Hinata really jumped into a fruit cart? Like in the movies? How does that even happen?” you laugh, curling yourself against his side as he mocks his friends.

Noticing he wasn’t laughing anymore, you look back up towards his face. Realizing just how close he was to you, eyes fixated on your lips, yours the same before you realize what was happening.

“I’m sorry i-”

Before you could even finish your mumbling you were pulled back into him, lips pressing on yours. Keeping your lips connected he moved you onto his lap, your straddling his waist as his hands moved to rub along your thighs.

Pulling away to breathe, you start to unbutton his white shirt, he,  pushing the ends of your dress to rest on your hips, giving him a view of your red lace.

“Tsukishima what the hell-”

Kageyama’s familiar voice called from the entrance of the room, dying down when he registered what he was seeing. Frozen in place, he could see Tsukishima’s hand still making its way to the zipper of your dress. From the crook of your neck, he could see Tsukishima smirk sucking on the skin below your ear.

You tried to push Tsukishima off, not wanting to embarrass yourself further, but he held you in an iron grip acting as if nothing had happened.

“Are you just going to sit there and watch King? If so then you can just leave now.” He mocked, not straying from slipping your dress from your burning body. When you tried to respond, Tsukishima moved his finger to meet with your clothed bud.

Seeming to have made his decision, you feel Kageyama tilt your head to meet your lips. Wrapping his hands around your neck keeps you where he wanted.

“Wow you're more of a whore than I thought, totally ok with being shared by two guys, you’re fucking dripping!”

Tsukishima pulled your underwear to the side, shoving two fingers into your weeping hole, Kageyama moving his mouth to the column of your neck, opposite from where Tsukishima’s was just minutes ago.

“You’re going to take both of us, like a good cum-dump” Tsukishima sneered, pulling his cock out of it's refines, “c’mon tell me how much you love being our cum-dump.”

You couldn’t even mutter a word through Kageyama's fingers in your mouth. Before you could think, he was pushing you down onto his cock. You gave a choked moan as he lifted your hips then dropped them back onto his.

Your monetary focus on Tsukishima left you unaware of Kageyama’s escapades until you felt a hand on your back pressing you to the blond’s chest. You thought he was just going to press into your ass until you felt his tip at your already stuffed entrance.

“Wait, you can’t-”

“Shut up and take it, whore.”

Fitting them both was almost impossible, you felt more stretched than you ever had in your entire life. Tears were flowing down your cheeks, not that either of them seemed to care as they steadied in a pace, moving in sync with the other.

Eventually, you lost yourself on their cocks, you didn't know when but a hand attached itself to your clit. Your orgasm washed over you as your cum sprayed onto your thighs and Tsukishima’s pants.

Neither of them paid you any mind as they continued for another minute before stuffing you with cum.

“You might just have to be our permanent cum-dump, huh Shortie?”

“For once, I think I agree.”

[scorpionyx9621]

Do you think Jason Todd fandom is kinda toxic? Because it seems like NO MATTER what DC do, there'll always be complains. Forget the bad adaptation like Titans. Even Judd Winick cannot escape the criticism with how he potrayed Robin!Jason. They just never satisfied.

SORRY, IT TOOK ME SO LONG TO RESPOND TO THIS. I just moved from Washington D.C. to Seattle, which, for my non-American friends, that's 4442km away. And I DROVE THERE ALL BY MYSELF. And now I'm trying to find new work in a new city and trying to stay mentally healthy and positive. Life is exciting but hard and scary.

*sighs*

As someone who was a fandom elder with V*ltr*n. I've seen some of the worst when it comes to fandom behavior. I'm talking people baking food with shaving razors and trying to give them to the showrunners. I'm talking leaking major plot details and refusing to take it down unless they make their ship canon (I am looking at you, Kl*nce stans) For the most part, DC Comics has had a decades-long reputation of treating their fans like trash and not caring what they think so from what I've seen, we all just grumble and complain in our corners of the internet about how we don't like how X comic portrays Jason Todd.

The challenge with Jason Todd is that he's your clinical anti-hero, the batfamily's Draco in Leather Pants, he's a jerkass woobie, and on top of all of that, he's a Tumblr sexyman. It's a perfect storm for a very fun but frustrating character to be a fan of. It doesn't help that every writer decides to re-invent the wheel every time Jason comes up so his canon lore is confusing at best and inconsistent as a standard.

I guess starting with a general brief on who Jason is and what is uniform about him with every instance he's appeared in comics/media.

Grew up in a poor family in Gotham with a dad who was a petty-mid-level criminal, and a mother who dies of a drug overdose.

Survives on the street on his own by committing petty crimes and potentially even engaging in sexual acts to keep himself alive.

Is cornered by Batman and taken in after Dick Grayson quits/is fired

Becomes the second Robin, but is known for being the harsher, more brutal Robin.

Is killed by Joker after being tortured, but somehow comes back to life and regains senses through the Lazarus Pit

Resolves himself to be better than Batman by basically being Batman but kills people.

Where there has been a lot of conflict in the fandom is the fact that Jason Todd is not a character that is written consistently. DC Comics loves to go with the narrative that Jason was "bad from the start" and was the "bad robin" when, yes, he has trouble controlling his anger, but he also still is just as invested in seeing the best of Gotham City and trying to be a positive change for the world as any other DC Comics hero.

Where I get frustrated with the fandom is its ability to knit-pick every detail of a comic they don't like while completely disregarding everything that makes the comics great and worth it to read. My example being Urban Legends. To which most people had pretty mixed reactions to. I was critical of the comic at first but as it went along I ended up really liking it. I have a feeling DC Comics went to Chip Zdarsky and told him he had 6 issues to bring Jason back into the Bat Family, and honestly he didn't do a bad job. Did it feel rushed? Absolutely. I wish there was more development of Jason and Bruce's characters and their dynamic as a whole. However, where I see a lot of people being angry and upset with Urban Legends is that they feel Zdarsky needlessly wrote Jason as an incompetent fool who needs Bruce to save him.

Whether or not that was the intention of Zdarsky is up to debate. However, and this may be controversial, but I don't think he wrote Jason Todd out of character at all. For as fearsome, intimidating, and awesome as Red Hood is. Jason is a character who is absolutely driven by his emotions. Why do you think he donned the role of Red Hood? As a response to his anger towards The Joker for killing him, and towards Bruce for not taking action against The Joker and for seemingly replacing him so quickly after he died. Jason didn't care about being the murderous Robin Hood or for being the bloody hammer of justice against N*zi's and P*d*ph*les. He only cared originally about making The Joker and Bruce pay. It wasn't until he trained under the best assassins in the world and realized most of them were horrific criminals who trafficked children and were p*dos that Talia began to realize that the teachers that she sent Jason to train under started dying horrific and painful deaths.

The entire story of the Cheer story in Batman Urban Legends was started because it finally forced some consequences upon Jason. Tyler, aka Blue Hood's father was a drug dealer who gave his supply to his wife and kids. And when Tyler's father admitted he gave the drugs to Tyler, it immediately made him fall within the self-imposed philosophical kill-list of Jason Todd. And Jason, well, he proceeds to kill Tyler's father. When this happens, Jason is in shock. Tyler's dad fit the bill to easily and justifiably be killed by Jason. We've never seen Jason having to deal with the consequences of being a murderous vigilante on a micro-level. When Jason realizes what he's done in that he's murdered Tyler's dad, he's shocked. He tells Babs the truth. He does a rational thing because he's in shock. He doesn't know what to do, he never has had to face the consequences of his actions as Red Hood and now the gravity of befriending a child as a vigilante hero who kills people just set in when he killed the father of the same child he was just introduced to.

(Oh here's a little aside because it had to be said, Jason would not have been a good father or a good mentor to Tyler and absolutely should not have been his new Robin. Jason is a man who is in his early 20's (not saying men in their early 20's can't be good fathers at all) who is a brutal serial killer using the guise of a vigilante anti-hero to let him escape most of the law. the complications of having the man who murdered your father adopt you and make you his sidekick are way too numerous for me to explain in a long-winded already heavy Tumblr essay post. There's a reason why we don't advocate for a story where Joe Chill adopted Bruce Wayne or one where Tony Zucco took in Dick Grayson.)

The next biggest argument is that they feel that Jason is giving up his guns as a means to just be invited back into the Bat-Family. To which I will tell anyone who has that argument to go actually read Urban Legends. Already have and still have that argument? Please re-read it. Don't want to? That's okay, I will paste the images from the comic where Jason specifically says that he doesn't want to give up his weapons for Bruce and his real reasoning down below since the comic isn't exactly readily accessible.

Jason gave up the guns because he felt the gravity of what he had done and knows how it'll effect Tyler. Thankfully his mom is alive and in recovery. But Tyler doesn't have a father anymore. And Jason killed Tyler's father. It may have been in accordance to Jason's philosophy, but it was a case where it blurred the lines. Jason Todd isn't a black and white character, just very dark gray. He doesn't kill aimlessly like the Joker. If you are on Jason's list you probably have done something pretty horrific, and also just in general, being in his way or being a threat to him. Mind you, in early days of Red Hood and the Outlaws (Image below) Jason almost killed 10 innocent civilians in a town in Colorado all because they saw him kill a monster. That being said, Jason isn't aimless in his kills.

(Also can we just take a moment to appreciate Kenneth Rocafort's art? DC Comics said we need to rehabilitate Jason Todd's image and Kenneth Rocafort said hold my beer: It's so SO GOOD)

That being said, the key emphasis in the story of Cheer asides from trying to introduce Jason Todd back into the Bat Family and give an actual purpose for him being there, other than him just kind of being there ala Bowser every time he shows up for Go Kart racing, Tennis, Golf, Soccer, and the Olympic games when Mario invites him, is that Jason and Bruce ultimately both want the same thing. Jason wants to be welcomed back into the family and to be loved and appreciated. Bruce want's Jason back as his son and wants to love and protect Jason. Both of these visions are shown in the last chapter of Cheer while under the effect of the Cheer Gas. It's ultimately this love and appreciation they both have for each other that helps them overcome their challenge and win.

Jason Todd is a character who, just like Bruce, has been through so much pain and so much hate in his life. The two are meant to parallel each other. While Bruce chose to see the best in everyone, giving every rogue in his gallery the option to be helped and give them a second chance, hence why he never kills, Jason has a similar view on wanting to protect the public, but he understands that some crimes are so heinous they cannot be forgiven, or that some habitual criminals are due to stay habitual criminals, and need to be put down. But at the end of the day, the two of them both try to protect people in their own ways.

I am aware that through the writings of various DC Comics authors such as Scott Lobdell and Judd Winick, the two have had a very tumultuous relationship. And rightfully so, I am by no means saying that Scott Lobdell writing an arc where Bruce literally beats Jason to within an inch of his life in Red Hood and the Outlaws, nor Judd Winick's interpretation of Under the Red Hood where Bruce throws the Batarang at Jason's neck, slicing his throat and leaving him ambiguously for dead at the end of the comic is appropriate considering DC Comics seems to be trying everything they can to integrate Jason back into the family. That being said, a lot of these writings have shaped the narrative of Jason and Bruce's relationship and have an integral effect on the way the fandom views the two. It doesn't help that Zdarsky acknowledged Lobdell's life-beating of Jason by Bruce at the very end of Cheer by having Bruce give Jason his old outfit back as a means of mending the fence between the two of them. That does complicate a lot of things in terms of how they are viewed by the fandom and helps to cause an even greater divide between the two.

Regardless, I want to emphasize the fact that Jason Todd is a part of the family of his own accord. Yes, he's quite snarky and deadpan in almost every encounter. However, Jason is absolutely a part of the family and has been for a while of his own will. There's a great moment in Detective Comics that emphasizes this. Jason cares about his family because it is his found family. Yes, they may be warry about him and use him as a punching back and/or heckle him. At the end of the day, we're debating the family dynamics of a fictional playboy billionaire vigilante whose kleptomania took the form of adopting troubled children and turning them into vigilante heroes. Jason Todd wants a family that will love and support him. This is a key definition of his character at its most basic. This was proven during the events of Cheer and is being reenforced by DC Comics every time they get the opportunity to do so.

Now, none of this is to say that I hate Judd Winick. I do not, I don't like the fact that in all of his writings of Jason, he just writes him as a dangerous psychopath, and Winick himself admits to seeing Jason as nothing much more than a psychopath. Yet Winick is the one who the majority of the fandom clings to as the one true good writer of Jason Todd because 'Jason was competent, dangerous, smart' Listen, friends, Jason is all of that and I will never deny it. However, what I love about Jason isn't that he's dangerously smart of that writers either write him as angsty angry Tumblr sexyman bait or that they write him as an infantile man child with a gun. There's a large contention of this fandom that has an obsession with Jason Todd being this vigilante gunman who is hot and sexy and while I definitely get the appeal. It is very creepy and downright disturbing that all of you hyperfixate on his use of guns and ability to be a murderer. It is creepy and I'm not necessarily here for it.

What I love about Jason Todd is that despite all of the pain, all of the heartache, all of the betrayal, and bullying, and death, and anguish. Jason Todd is one of the most loving and supportive characters in all of DC Comics. Jason has been through so much in his life, but he still chooses to love. He still chooses to see the bright side in people. Yes, he takes a utilitarian approach and chooses to kill certain villains, but at the end of the day he wants to see a better world, and he wants to be loved. It takes so much courage and so much heart to learn to love again after one has been abused or traumatized. I would not blame Jason at all if he said fuck it and just went full solo and vigilante evil. He has every right to, but he still chooses to be with the Bat Family of his own accord. That's something that I see a lot of in myself. I have been through a lot of trauma and yet I try to be a better person myself in any way that I can. It is extremely admirable of Jason to allow love back into his heart when he really doesn't need to. He kills and he protects because he has this love of society. It may have been shaped by anger and hatred, but Jason has found his place amongst people who love him and value him. I think Ducra, from Red Hood and the Outlaws put it best in the image given below.

To end this tangent, I love Jason Todd and all of his sexy dangerousness, but it's far more than that. As much as Jason may be dangerous and snarky, he loves his family without a shadow of a doubt. I look up to Jason Todd because despite all of his pain and all of his trauma, he still choses to love. Jason Todd is a character who is someone I love because despite all of his flaws and having a very toxic fandom, he still serves as a character filled with so much heart and so much passion. I wish more writers would understand that. But for now I will live with what I have. Even though the fandom may be vocal about it's hatred for his characterization, I choose to love Jason regardless because he is a character who chooses love and acceptance regardless of his pain. Jason Todd is by no means a good person in any sense of the word. He has easily killed upwards of 100 people by now. He is a character who is flawed and complex but ultimately is one who powers forwards and finds love and heart in a place from so much pain and anguish. That is what I love about Jason Todd. After all, to quote a famous undead robot superhero, "What is grief, if not love persevering?" Jason Todd chooses to love despite all of the trauma and pain and grief. Yes, he is hardened in his exterior, but inside there is a man with a lot of love to give and someone who deserves the world in my eyes.

[gentil-minou]

I read the adrien situation post and a quick question, how a person that lives in a house that doesn't really care THAT much about them go to a therapist? I'm asking this because I really want to go to one but I live in a small village and also my family thinks I'm joking when I say I really want to go to one. What do I do? I just have myself to trust here. My family isn't abusive they just put me in the dark mostly of the time but I been feeling pretty unwell for 3 or 4 years in a roll. Now I'm better! But I think I still need to go to a therapist. Can you give me a tip?

okay first of all, i'm so sorry that you've been in that situation for so long and i hope that will change soon, but here's my advice

1. find support in other way. by that i mean communities with people you identify with, whether its fandom or forums for people going through similar things. sometimes it's easy to feel isolated but i promise, there are other's like you out there and they will want to help you.

2. find an adult who you can trust, someone who you can look to for support. this could be someone at your school or an elder or a neighbor, family friend, etc. someone you trust who is looking out for you and who you feel like might understand. and dont be discouraged if it takes a while to find one, it's scary to be vulnerable but as one of those adults who advocate for kids i can honestly say we do exist.

3. im not sure what country you live in, but look into what the laws are for consent for medical services. for instance, in america and the state where i live the legal age for a minor to seek mental health services is 13. this means that if i have a client 13 and older they are able to seek services without their parents permission and i never have to contact their parents (though insurance may find out and contact them, that's why i say look into the rules and restriction in your area)

4. finally, look for other services. outreach groups, school counseling, youth groups, charities, etc. services that are there to support you. if there are none in your area, look online and see if you state/province has anything. it might be hard to find but they are there.

5. and finally, most importantly, remember that while this may be the situation you are in now, it won't be forever. it can feel that way sometimes, it can make you feel really really scared and isolated and afraid, but one day you will get out of there and you will get the support you need. even if it might take a while, you've made it for so long that i know you can keep going

and remember i'm always rooting for you <3 while i cannot offer my services as that is not ethically sound, i am here to tell you that you are loved and valuable and your feelings are valid, and i have every belief and faith that you are going to get the love and support you need one day <3

[canongf-archive]

hi liv! if its ok could i have some advice?

so basically i think (but don't want to believe </3) im falling out of love with one of my first and favorite f/os 😔

maybe its just a fading hyperfixation, ive been trying to think more about him but he hasnt been filling my mind like he used to :( ive scoured almost his entire tag on here (he's not a very popular character sadly)

i love him to death and i desperately want to keep him in my heart but i feel like i mightve outgrown him or the media he's from. is there anything i can do to get him/the feelings back? or do i just have to let him go?

💗 it is always ok!!!!! 💗

"do i just have to let him go?" this question makes my heart hurt because! no!!! you don't have to let him go!!!

feelings are weird. and i am a big advocate of letting your feelings take you wherever they wanna go! when feelings change, let them change. and i know that can be really hard! it can be scary and it can be sad because sometimes when feelings change, it feels like you're losing something or someone! but it's not always like how we make it out to be!

he's still in your heart!!! i think the fact that you wrote this message at all is evidence of that. because if you didn't love him anymore, if you had already fallen out of love with him, this wouldn't hurt so bad to think about. if there wasn't love there still, the thought of having to let him go wouldn't make you feel like this. when we're ready to let things go, a lot of the time it happens seamlessly. sometimes we don't even notice we've moved on until we look back. but there's a reason that you're holding on!

you might not think of him as much anymore, but that's okay! sometimes that happens. sometimes our feelings ebb and flow. it happens to all of us! it's happened to me!!!

there have been times where i've thought i've lost feelings for bucky! where he didn't cross my mind as much for a little while. where i was focused on someone else. and there have been times where i've thought "is this really the end?" and the answer has always been "no, it's not." i've let my feelings take me where they wanted to go, and sometimes they detour, but they always lead back to him. and that could be how it is for you too! maybe you're not feeling it right now, but that doesn't mean that you won't feel it again in a day, a week, a month, even a year from now!

and if you don't feel it again, that's okay too. but you don't have to let him go just yet if you're not ready to. there's no reason. keep him around. keep him in the back of your mind. keep him wherever feels right, and if the time ever comes where it doesn't feel right to keep him with you anymore, then you'll know.

it's all gonna turn out okay, anon!!! i promise!!! 💗

[the-blue-fairie]

On what #bringelsahome COULD BE vs. what it has become...

Sometimes, I become sad because one of the first things I wrote after viewing Frozen 2 was a short ficlet repudiating Elsa’s line in Show Yourself as she was approaching Ahtohallan that “I’m arriving / and it feels like I am home.” You can read that ficlet here if you want to.

In that ficlet, I was expressing frustration with the fact that Show Yourself was connecting the concept of “home” with Ahtohallan and connections found through memory and the past instead of the living, breathing connections that can be found in life. In that ficlet, I was also disputing the film’s concept of change because, as I wrote, “Home is not a lineage, a source, a gift. Gifts are given. Home, you make for yourself. Each step, a step forward. Not into the cold ancestral wonder of Ahtohallan, but into the warmth of the future. Holding tight to those she loved was not the absence of change. It was change itself, each day carving out a new shape, a new bejeweled crystal more fabulous than any on the glacier.” And I ended that ficlet repudiating Ahtohallan and having Elsa turn back to the home she has made in Arendelle with Anna, Kristoff, Olaf, and Sven. It was a ficlet born deeply out of my love of this image:

Now, the scary thing for me now is that there are parallels between my sentiments then and the... what do I call it? aggressive stance?... to #bringelsahome, which is rather unpleasant for me because that aggressive stance has become an excuse for racism and toxicity which I absolutely do not want to be associated with.

 But I’ve been thinking about something that @themountainsays mused about, and that @hb-pickle​ added to, asking what the ultimate goal of #bringelsahome actually is - because if the most hostile people actually wanted to change people’s minds or reach the creators, all they’ve managed to do is burn bridges and undermine their own cause.

I mean, look at me, when it comes to them burning bridges. I have conflicting feelings about F2′s ending and I’ve offered critiques of it - but the loudest members of #bringelsahome won’t look at those critiques because I openly reject the racism and toxicity that they push forward. 

But at the same time, there’s also a part of me that... understands where the basic sentiment to “bringelsahome” comes from and that’s gotten me to thinking about what #bringelsahome could be vs. what it has become.

I have friends who remain devastated by the ending of Frozen 2, and most of these friends have largely left the Frozen fandom either because they simply want to move on to other pastures or, even though they dislike Frozen 2, they’d rather not have any association with BEH - which... can you blame them?

But the pain of these friends, a pain they do not express in a toxic way, speaks to what #bringelsahome could be if it wasn’t rotted to the core by this point by racist rhetoric and aggression.

That pain actually emerges from a deep connection to Elsa and a valuing of Elsa’s connections to other people. These friends I’ve spoken with often reference a deep anguish that Elsa’s journey in Frozen 2 is structured so that she sheds traveling companions across the whole adventure - leaving Kristoff behind, leaving Anna and Olaf behind, going it alone when there is strength in working together and shorts like Frozen Fever and OFA highlight how when this found family works together, it has a positive impact on Elsa.

They wanted to see Elsa trusting Anna’s judgment, not pushing Anna and Olaf away in the ice boat, not falling into the same mistakes she did in the past... and their pain was heightened by the fact that, when Elsa seemed to fall back into those same mistakes, the film never really circled back to that or addressed it again... even when the film went out of its way to point out that Anna and even Olaf was angry. 

And... yes, it’s valid to say that Olaf - the most innocent and childlike character - becoming angry feels like a turning point of some kind... which then goes nowhere and that the film does nothing with. That’s a valid criticism of something that feels disjointed and off about F2.

And... I’d even argue that it’s valid to say that Elsa feels off at times over the course of Frozen 2 - and I’d put that down to, well, Elsa being “too much” for Disney. She means too many things for too many people. Her basic metaphor resonated with countless people - more than Disney ever imagined - and now they have to preserve that popularity, but the writers are trapped within the incredibly restrictive Disney system. They can’t make Elsa openly gay because the Mouse loves making money and making money means appealing to the broadest crowd, including the homophobes. And they want to keep Elsa broadly relatable so they try to lean into he concept of “magic” as an aspect of Elsa’s difference and also “explaining” that magic because certain people wanted an “explanation” for Elsa. 

But the problem with that vague (and therefore, in the film’s hope, broadly relatable) magic metaphor is that it’s vague and, unlike the previous movie, not really tethered to Elsa’s connections with people. The first movie, while it still used the metaphor of “magic as difference” grounded that metaphor in Elsa’s interactions with her sister, with the people of Arendelle, with how other human beings interact with her and the deeply human aspect of Elsa’s love for those other human beings. Frozen 2, in contrast, could have that... but it doesn’t.

I’ve argued several times over that Elsa’s arc in F2 would be stronger if the filmmakers had deeply enriched Elsa’s connection with the Northuldra, gave us more scenes of her bonding with her mother’s people, more scenes that expanded the Northuldra characters’ development. Maybe even start the film out with the deleted prologue focused on Iduna so we get the Northuldra’s perspective right fom the start and we can connect Iduna’s pain with Elsa’s own feeling of otherness.

Frozen 2... only gives a few brief scenes of Elsa with the Northuldra and has her shed members of her found family across the film... so F2 loses a human element that he first film never lost sight of. The “magic-as-difference” metaphor has to work more as metaphor, without the same human emotional grounding as the first film.

And because we don’t get those scenes with Elsa and the Northuldra and the film chooses to have Elsa leave behind members of her found family, I can understand why people would feel Elsa feels off in F2.

Because the film seems to care more about Elsa’s connection to magic than her humanity. That’s why there are several incidences of Elsa bonding with the spirits - and far less of her bonding with Northuldra characters.

This actually speaks to a legitimate, valid critique of the film - and people could use it to point out flaws in the film. Moreover, a critique like this could even be antiracist because it would be advocating for the expansion of the role of the Northuldra and more scenes of Elsa bonding with and learning about her mother’s people.

Critique actually has an important place within fandom - and critique can actually benefit the filmmakers if it is valid and valuable critique. Asking, “Why does F2 seem to care more about Elsa’s magic than her humanity and how does that undermine her arc?” is actually a valuable question. If the filmmakers reflected on it, then in a potential Frozen 3, they could make sure to reject the negative implications of distancing Elsa’s humanity. They could pause to think, “Oh, we didn’t INTEND to suggest this, maybe, but our second film did kind of give those implications, so let’s avoid those implications next time.” By EXPANDING the Northuldra characters. By reinforcing Elsa legitimately working together with her found family instead of feeling she has to go on alone.

That’s what bringelsahome could be - a movement to point out flaws in the film and a better way forward for the betterment of future projects.

Unfortunately, that’s not what it is - since the racism of certain people at its forefront has corroded it from the inside.

But I still find that tragic, because... it could have actually been something valuable. And there are aspects to it that still could be something valuable. And I still know many people out there with legitimate critiques who can’t voice their feelings about F2 because they disagree with Isa’s racism, so it doesn’t matter to Isa if they dislike F2; in her eyes, you’re either with her or against her...

[coffeeandcalligraphy]

Any tips got people starting their creative writing degree in September? Xxx

oh this is a great question!! sometimes I forget I will literally be an upper year next year :) how did this happen :) still feel like I’m in grade 9 :) lol! but I do have tips!

1. Trust in the process

Okay, this sounds a little gimmicky, but what I mean is, let things happen the way they’re going to happen. I was extremely prepared when I entered first year, and even more prepared for second year, and I’m not saying this is a bad thing--in fact, I recommend having something small (even an idea) at the ready, just in case of emergency writer’s block, time constraints, etc, but I’d love to go back in time and tell myself to chill! I wanted so badly to experience the idea of the Ideal Writing Degree Experience, and so kind of missed out on the actual (great) experience I had in front of me! so let it happen! Take creative risks! stray from your plan if your gut is telling you to!

2. Get involved

In first year, I found it SO helpful to get involved in writer events, or clubs on my campus. I joined my department’s lit journal (which I shall be managing in the fall!) as an intern, and made sure to attend most, if not all the writing events they had on campus, including general fine arts mixers. Though I am a super introverted person, it was actually super fun to make connections, and even so, just make memories of faces that I could later recognize on campus. This is also super helpful for getting to know people in your program! On orientation day, I really tried to huddle with some other Writing undergrads, and that was super fun because we just chatted about our writing backgrounds, etc! If you’re anxious like me, coming up with literal talking points could be helpful the night before, kind of like an “About Me” refresh?? Like, oh my name is Rachel and I write literary fiction, also I am from Toronto, would be what I would say in case someone asked (usually people were very excited to hear I was from out of province lol so this worked as a great talking point!). ALSO!! off campus events! go to readings! Readings are 100% more accessible to attend where I go to school versus where I live at home, and so I def took advantage of this by making sure to go out to multiple literary events! It’s nice to make connections, chat with the readers, or even other audience members! Usually people asked me if I was a student and what program I was in, etc, and because being a Writing major is kind of a Fun Thing To Be at a reading, this was always a great talking point!

3. Remember your writing degree is still work

I know a lot of creative degree pals give this advice to remind undergrads that their creative work for school is still work so they should sit down and do it rather than leaving it to the last minute, but I kind of like to flip this idea on its head by saying: it’s okay to prioritize your “non-academic” work versus your “traditionally academic” work! For example, I took many, many English classes this year, and put about 20x more of my time into those classes than my literal writing classes. I am a writing major?? lol! I could’ve gotten an English degree closer to home?? I did not come here for this?? I think it was easy for me to write off putting time into my writing classes because I was “good at that” and “needed to focus on my academic work” (whatever academic even means), but if you’re there for writing, don’t be afraid to actually... do your writing?? Fighting internalized stigma about my own degree is something I still work on! It’s still work! Which means it’s hard, and you should take breaks (and extensions if necessary/if you can) just like with any other work.

4. If you want to, prep a little

Like I mentioned above, this could be a helpful thing to do, though I do caution over preparation because that was me!! and I feel like one may learn more if they have more room to fail (which sometimes preparation reduces?) but this is also dependent on the type of person and student you are, so disregard if necessary! When I entered first year, I didn’t prep actual work, but made sure I knew what was expected of me so I could mentally prepare myself, haha. I knew there were 5 assignments for 5 different genres (because of COVID they actually axed 1 genre which I am GRATEFUL for rip playwriting), so I kept this in mind throughout the term. If I got an idea for a poem but knew we wouldn’t be doing poetry for the next term, I’d write the poem in advance, or write down the idea. A little bit of prep can help alleviate stress especially if you’re transitioning out of high school, but I do tend to overdo it!

5. SUBMIT your work!!!

This is also totally okay NOT to do if you don’t want to publish your work, but if you are interested in curating a portfolio, it doesn’t hurt to start submitting your work early to literary magazines! I know some people are too nervous to send out their work in first year, but if you’re comfortable with it and want to, go for it! I submitted my work for the first time in first year, and got 2 stories published. If you want to be published, you don’t have to wait for upper years to put your work out there! If you have a piece you like, send it out! This also includes on-campus writing contests if your school runs these. I entered one not thinking anything of it and won first place (HOW), and these experiences were fantastic in shaping my experience in the program and also showing me submitting your work is not so scary!

6. Talk to your profs and TAs

Y’ALL I did not realize how much I talk to my profs and TAs and how much the pandemic took that away from me! It’s so critical to form relationships with the people who are teaching you, not only because they’ll help you to shape your work, but also because they’re a great start to networking! In first year, I sat down with my TAs or prof for literally every single piece I wrote, and the amount I learned is astronomical. I guess this depends on your program, but generally, writing programs are generative based rather than super lecture heavy, and you learn by doing hands-on work (workshops, etc). I learned so much (sometimes, even more) by talking to my teachers. They want to help you and it’s a great way to get to know them. I only attended office hours once in COVID (and it was Zoom office hours), and I certainly feel a difference in my experience. Reach out! When I took an intro journalism course, my prof line-edited every one of my pieces by hand, and while it was nerve-wracking because she is a fantastic writer and a tough critic (and literally right in front of me), it was so rewarding when she’d point out where I’d improved. She was also great at taking her time to explain how I could better my piece. You can’t do that if you’re sitting in a 200 person lecture, but you can if you take some time for a one on one! Highly recommend if you can (coming from someone with social anxiety)!

7. Make friends

I will admit it! I still have not done a great job at this lol. But if you can, try to reach out to your peers. You’re all there to learn, and it’s actually so fantastic to meet likeminded people! My peers are incredibly talented, smart individuals, and when we’re in person, I’d love to chat with them more! In first year, it can be scary to reach out, which is why I did this minimally, though I still made an attempt to jump out of my comfort zone whenever possible. It’s nice to recognize faces on campus and wave at people/have a short conversation before you head into class. Like I said, I interned for my on campus lit journal in first year, so I had to reach out a few times to my classmates to participate in events etc, so this was actually kind of easier for me since I had a lil ~motive that allowed me to muster the courage to chat with people! It could be as easy as joining in on a convo of a subject of interest (for example, a lot of people at my school especially in my program, love D&D. I have no idea what that is/how that works, but if I did, this might be something to talk about if you love it also)! Also - follow people on social media if you can find them, or start a group chat!

8. Don’t be afraid to speak up for your needs

This will be my last tip, and it might be the scariest tip of all, but if you are not happy with how something is going in your degree/classes, speak up about it! If something is not accessible to you, don’t be afraid to speak out about that. Idk if it’s just me, but I’ve been advocating for the betterment of my education since elementary school (why am I like this loooool), but especially in university, you’d be surprised by how receptive some people can be! Shoot your prof or TA an email if you have concerns, and see what they say. Rarely, they can be assholes, but most of the time, they’ll try to work with you to make your class experience better. This is why I also recommend filling out your course evals. Most great profs really want their students to enjoy their classes and succeed, so don’t be nervous to speak out about your needs if xyz isn’t being met.

hope that helps!

[winterscaptain]

transfer request. part three.

read part one here and part two here

a/n: this one contains smut because im insufferable so if you’re not 18+, i love you but you gotta stick to part one :) i’m so happy i got the muse for another part to this. i have a request or two in my inbox that i’m working on, but feel free to drop some more!

AO3 | Masterlist | Requests Open!

+++

Y/N’s nerves settle as Aaron steps out of the assistant director’s office, closes the door behind him, and flashes her a soothing smile. He offers YN a hand. She takes it and rise, ready for her portion of the evaluation. 

“I’m going to get Jack from school, and we’ll be waiting for you when you get home.” 

She hums, and squeezes his hand. Her heart’s been racing all morning, and she’s barely been able to focus on the consults piling up on her desk. Didn’t people have better things to do than hurt women in their free time?

Sensing her anxiety, Aaron leans close to her ear and she suppresses a shiver. “I warmed them up for you. You’ll be great.”  He presses a quick, casual kiss to her temple. “It’s just a formality – they know everything they need to.” 

He releases her as their interim section chief opens the door. So much had happened in the four months between the transfer request and the hearing to address it. The most extreme of which were the death of Erin Strauss and their recent move to the newly-purchased house on the river between Quantico and D.C. It had been hectic, but they were happy to finally know whether Y/N would stay with their work family or not. 

When she steps in and sits down, the assistant director looks friendly, albeit tired. 

“Good afternoon, Agent.” The director flips a page on his legal pad, and she catches Aaron’s name among his notes. 

“Good afternoon, sir. Good afternoon, Chief Leon.” She acknowledges both men with a smile. The interim chief is new to Quantico, but comes well-recommended. 

“Thank you so much for coming in with your consult list so long. It is appreciated.” 

Not that I had a choice. “No problem, sir. I’m excited to get things settled after...everything.” 

“That makes two of us,” Chief Leon says. “Your fortitude and professionalism does not go unnoticed, and I’ve appreciated your welcome as I’ve settled into the interim role.” 

She’s not sure, but it sounds like he put a little too much emphasis on interim. Letting it go, she reminds herself that she’s not here to profile but rather to discuss a rapidly-approaching marriage to one Agent Aaron Hotchner. “I’m so glad, sir. I think I can speak for the team when I say the BAU is proud to be under your leadership, no matter how temporary or permanent.” 

The assistant director finally finds his footing in his notes and looks up. “Alright, to the situation at hand. How long have you been in a relationship with Agent Hotchner?” 

Over breakfast that morning, she and Aaron had bounced their answers off each other, just to make sure everything was lined up for the bureaucratic nightmare that was a formal hearing. “Just over two years, now.” 

“Did you disclose your relationship at the time of its inception?” 

“No, sir.” It hurt to admit the flagrant policy violation, but it seemed reasonable at the time. 

“You are aware that this is not bureau policy, especially seeing as Agent Hotchner is your unit chief.” 

“Yes, sir.” 

There’s a pause, and the two men look at each other. Interim Chief Leon takes over. “Because we have evidence that your conduct in the field remained unaffected, we have decided to overlook that policy violation. Your team has also advocated for you – Agent Morgan specifically remarking on your,” he checks his notes, “admirable dedication to the team and the support you offer to your unit and unit chief in high-intensity field operations. Agent Jareau spoke of your compassion and patience with the families of victims, and Dr. Reid emphasized the importance of your skillset with children and adolescent psychology. Agent Prentiss also complimented your cohesive work style and support of your unit chief, even in disagreements. Your team is very loyal, and you should be very proud.”

“Thank you, sir.” The tone and company in the room require short and simple answers, but she so wants to defend her decision to maintain the privacy of their relationship. She laces her hands in her lap to keep from fidgeting. 

“I am continually impressed with the results of the BAU’s fieldwork, and desire to disrupt the team as little as possible so you may continue your high-performance in the field.” The assistant director’s smile didn’t quite reach his eyes. 

“Thank you, sir.” 

“You are to remain on assignment with the BAU until the re-evaluation of your contract in...” He checks the copy of your contract underneath his legal pad. “three years and four months.” 

Remain on assignment? “Thank you, sir.”

Everyone stands, then, and she shakes hands with both men before leaving the assistant director’s office. 

If I’m staying, and Aaron didn’t say anything about leaving, then who’s flying the plane? 

+++

When she steps into the house, she can hear Aaron and Jack playing video games in the playroom. The sun had yet to set, and she revels in the rare opportunity to share daylight with her family. 

Y/N leans against the doorframe as Jack continues to slaughter Aaron in Mario Kart. They’re both sitting cross-legged on the floor, holding the same posture right down to the slight tilt of their heads to the left. 

They still don’t notice her after about ten minutes, so she flops down and stretches her torso across Aaron’s lap so her head falls into Jack’s. Jack’s little hands immediately fall into her hair, fingers tangling in whatever he can find.

Aaron lets the controller drop to the floor and stretches his hands to cover a broad swath of her abdomen. His fingers reach from her hip to just under the underwire of her bra.  

“What kind of trouble are you getting up to in here?” 

Jack giggles and she smiles up at him. He’s upside down from this angle, but he’s still the cutest boy in the world. 

“Daddy sucks at Mario Kart.”

Aaron’s hair flops into his eyes as he releases her and reaches over you to tickle Jack. “Hey!” 

Y/N laughs and rolls over onto the floor, snatching Jack away from his father by the waist. “C’mon Jack! Run!” 

Jack grabs her hands and they run down the hallway, Aaron hot on their heels. Both she and Jack are crying with laughter at this point, and she stumbles as they turn into the living room, slipping on the hardwood in her socks. 

Aaron takes advantage of her momentary weakness and pounces, caging her in his arms as he tackles her to the couch. Jack jumps on the both of them, and they rest there for a moment, Aaron half on-top of her with her head pillowed on his arm and Jack clinging to Aaron’s back. 

The huge couch was a good investment. 

“Hey, Y/N, wanna know something cool?” Jack’s little head tips up and she brushes some caramel hair out of his eyes. It seems to get darker by the day. He needs a haircut. “Always! You know how much I love cool stuff.” 

“Dad said he got a new job and that he doesn’t have to go away so much and he’ll pick me up from Aunt Jessica’s every night before dinner.” 

She raises her eyebrows and brings a hand to Aaron’s hair. His head is burrowed in her shoulder, absolutely hiding from her prying gaze. “Oh?” 

“He also said he and Uncle Dave would help coach my soccer team and I said you can do that now because you have a ring like the other moms.” 

That draws a smile from her, and she pulls both of her Hotchner boys close, squeezing them and kissing their heads. “Let’s get dinner on, my loves.” 

+++

When Aaron tucks Jack into bed that night, she hangs back at the door. There is nothing quite like watching Aaron with Jack. They’re like different-sized versions of the same person, though there is a good deal of Haley in him. His smile, especially – wide and friendly – reminds Y/N of her often. The framed photos around the house are the strongest recollections of her. Y/N's favorite sits on the mantle with a dried rose from the funeral. It was the first thing she and Aaron unpacked, and Aaron spent many minutes standing before it, barefoot, with her tucked under his arm. 

“Do you think she would be happy?” Y/N had asked. 

He nodded, wordlessly. “She told me she was when I coded in surgery last year.”

She looked up at him, swallowing thickly when she remembered how close they were to losing him. 

Aaron snorted, changing the tone. “She also told me I’d be a fool and an idiot to let you go. She wasn’t surprised when I told her I already knew that.” He adopts her countenance for a moment, imitating her. “Well of course you know, Aaron. Knowing and doing are two very different things.” 

Y/N greets that picture every time she walks into the house. Haley, Jack, and Aaron from a decade ago smile back at her. It was their first picture taken as a family: Jack was barely three months old. The newest family photo sits beside it, Y/N’s eight-week (and most recent) ultrasound photo stuck haphazardly into the frame. 

As Aaron leans up, she crosses to Jack’s bedside and kneels. The boy reaches for her, and she gathers him into a hug. “How much do I love you, my Jack?” 

“More than the whole world,” he says, rote. She had shared that exchange with him long before she and Aaron started seeing each other, and they found it silly to stop now. 

She breathes him in, kissing his temple and tucking him back in. 

When she and Aaron finally rise and turn the light off, Jack is nearly asleep. 

Safe within the confines of the bedroom they share, she raises her eyebrows at Aaron as she removes her shirt to change into pajamas. His eyes catch on her lace-clad chest and she takes the opportunity to change the subject. “New job?” 

He huffs and flops on the bed, his shirt only half-unbuttoned, belt in-hand and slacks unzipped. “I didn’t expect him to spring that on you.” 

She sits on the opposite edge of the bed and slips her pants off, leaving her only in your matching “I’m going into a scary meeting” set of underwear. Today may have been the last day she could wear them for a while. She leans back, landing next to him and carding her fingers through his hair.

“You didn’t answer my question.” 

“They offered me the section chief position,” he mumbles into the comforter. 

“Aaron! That’s huge!” She shoves at his shoulder and he groans, rolling on his side. She’s almost distracted by the adoring, soft look in his eyes. “Are you going to take it?” 

“I asked for the week to decide, but it was just a formality. It’s time, I think, to be home with Jack more.” He reaches up, taking her chin between his thumb and forefinger. “And I wanted to keep you on the team.” 

She rolls her eyes good-naturedly. 

“The pay increase certainly doesn’t hurt, either,” he adds with a laugh. 

She makes herself busy with the remaining buttons on his shirt, and ruck up the tails from his slacks. “Do you get to keep your office? Who’s the new unit chief?” 

He laughs again. So many questions. “No, Emily gets my office as the new unit chief under my recommendation. But I get to keep the furniture.” 

“Emily?!” Her rapid blush overrides the excitement for her friend. A smirk crosses her face. Aaron’s mirrors yours, and they’re both thinking of one particular late night on the desk a few weeks ago. “That’s good at least. I’d like to be able to sit at her desk and look her in the eye at the same time.” He kisses her soundly. “That would be useful.” 

She reaches for him and wiggles into the middle of the bed. “I’ll miss you.” She grins against his mouth. “I’ll miss you in that vest, too.” 

He rises fully then, removing the rest of his clothes. She lifts her arms above her head, reaching for him across the bed, looking at him upside-down. He roughly grabs her wrists and firmly tugs her closer to him. 

She finds herself quickly surrounded by him, not an inch of her skin left untouched by kisses and caresses. 

+++

When he’s finally inside her, and they breathe and kiss and laugh together, they can finally relax. She’s home, he’s home. The life they share together will be one marked with joy, with patience, with understanding. 

“I love you,” she says with a gasp as he pushes deep into her, her back arching under him. 

“There aren’t words, my love. None.” 

He pushes her to your climax with a thumb on her clit, buried deep within her. She sinks her teeth into his shoulder. He follows quickly with a few sloppy thrusts. He doesn’t move even after a few minutes, still completely blissed-out, and she laughs.  

She kisses his sweaty forehead, her fingers still tangled in his hair. “So do I get to call you Chief Hotchner when I’m mad at you now?” 

He laughs, but it’s cut short by his groan and her hitch in breath when he finally pulls out of her. He takes a moment to recover, pressing his forehead to her chest. “I think,” he says after a moment, “you can stick to Supervisory Special Agent Aaron Benjamin Hotchner, Juris Doctorate for occasions like those.”

At her giggle, he continues. 

“While a mouthful, it’s quite effective at getting my attention.” 

“I’m so glad to hear that. I would hate to know I’m losing my touch.”

They tuck themselves neatly under the covers, not bothering to clean up. It’s laundry day tomorrow, after all. When she curls against his chest, he covers her hand where it rests over his heart. 

tagging: @arganfics @quillvine @stxrry-ixn @ange-must-die