#it was going to end today

[angeart]

hhau rescue rambles - part II

>> part I here // hhau masterpost here <<

The hermits are here to take Scar home but Grian is gone and Scar can’t leave without him, even if the others would promise to look for him. (They won’t find him, they won’t, they won’t. Scar knows how vast these forests are. He knows how many hiding spots there are tucked away if one knows where to look.) (They don’t know where to look.)

They’re not listening to him. He’s half-feral and panicked and desperate, barely making any sense. He keeps saying he needs to find Grian, but he looks half-crazed, clothes stained by a huge amount of blood and—

If it looks, a little bit, like he’s just in frenzied denial of some grief? That maybe something happened and Grian isn’t here anymore? The world is permadeath, after all. The rescue party isn’t sure what to think.

Of course they promise to look for Grian. Of course they’ll try. But first, let’s get you somewhere safe, Scar.

Scar panics and backs away and says he isn’t going anywhere until they find Grian. He’s so so afraid they’ll take him away and he’ll never find him. (He keeps imagining that wretched scream he heard that very first day he found Grian, a year ago. How close of a call that was.) (He thinks of finding him after the mimic incident, barely surviving. Wounded and bloodied and ready to collapse.) (He thinks of Grian sobbing as he begs Scar to never leave him again.)

He can’t leave him behind. He can’t.

He won’t.

He’s done everything he can up to this point and if this is his last fight? Then damn it, he’s going to go out swinging. He is going to find Grian. Even if he has to fight his saviours. (They’re enemies if they’re trying to separate him and Grian—) 

He growls and lashes out and his vex magic comes through. The hermits are stunned and a little bit afraid and a whole lot confused. They’ve never seen him like this, hair white and claws ready to tear. (Cub, especially, is terrified of this development. Knowing that if Scar pushes himself too far in his vex form, he could die.) 

They try to placate him, calm him down, reassure him. They try to get the damn teleportation bracelet on him. They keep telling him they can take him home, it’s okay, Scar, it’s okay.

It’s not okay.

He isn’t leaving without Grian, and he isn’t trusting anyone else with this.

So he runs.

He runs from his friends—from people he loves with all his heart; people he thought he’ll never see again. Runs from the promise of home and safety and this hell being finally over. 

He runs, because he can’t take the salvation if he can’t share it with Grian.

Everything’s a bit of a blur as he rushes through the forest, looking for something to tell him where Grian is. He’s fully in his vex form, senses sharp and heart panicked, calling out, desperate for Grian to reply. 

There’s no answer.

Scar sees it, then: a handful of ripped-out feathers and blood.

His heart jumps into his throat, but he laser-focuses and starts following the trail. The world feels askew around him, his steps urgent, his breaths hovering near growls that want to threaten the whole forest if anything dares to hurt Grian more. (He hopes Grian’s still out there.) (He has to be. He has to be—) (Why is he not replying to Scar’s calls, then?)

Scar’s aware that if he can follow the trail of blood, so can others. He needs to be better than them. Faster. (He needs to be a better hunter than them.) He knows that if he’s following the trail now, maybe someone already followed it. (He tries not to let that thought in. That he might be too late.) 

He’s trailed by the hermit rescue party. They scramble in his wake, trying not to lose him. They lag behind, losing sight of him, but Cub staggers to follow his vex bond with Scar, like a tether, trying to hold down the swell of warning anxiety at the fact that Scar is in his vex form. Scar looks feral, he lashed out and ran from them, clothes stained by blood and hair white—

Them following just makes Scar feel hunted. His instincts go haywire and put him more on edge. 

He keeps going.

He keeps calling out, too. Uncaring that he’s attracting every hunter in the vicinity. He can take them. He will happily attract them to himself if that means they won’t go after Grian instead. (The fact that he’s searching for Grian gets a bit tangled up in him. The fact that if he succeeds, he’ll just be bringing the hunters to Grian fails to quite register. He’s not thinking very straight.)

Hermits hear those wails, echoing through the forest. He sounds like a wandering spirit. 

Inhuman. 

Lost.

 --

Grian is hurt. Hand pressed against the spot on his side that bleeds, he sits curled up, pressing himself into some bushes for a moment of reprieve—just a moment, just a little bit, please, please.

He hears Scar’s calls from far away. He hears them, and his heart tears itself to pieces.

He is terrified and hurting, and it feels dangerously close to a despair-filled memory.

 He tries to shield himself from it. There’s a reason he ran. There’s a reason why Scar should stay away from him. He can’t— He shouldn’t— He—

Scar draws closer. Grian can hear his sobbing and heaving. His pleading, so heartrendingly desperate. “Grian please. Grian answer me.”

Grian finds himself cautiously standing up, every muscle taut. His heart is rabbity fast, fear clogging his throat. 

He doesn’t mean to answer. He really, really doesn’t mean to. (He needs to keep Scar away.) Yet a distressed chirp slips through anyway, like a terrified call, begging for Scar.

The sound of it pitches something in Scar. His sobbing changes to panic and dwindling hopefulness. “Grian…?”

There’s a tinier chirp then. Scared. Still involuntary.

Grian is so so afraid and he should know better, but a part of him is desperate for Scar.

The moment he sees Scar, though, the futility rips through him. No. He isn’t meant to— Scar shouldn’t be near him. Because Grian’s been gone so shortly and yet the hunters have already found him. He’s already gotten hurt. He is a beacon.

He can’t stay near Scar. It’ll get Scar hurt. 

It’ll get Scar killed.

(Everything good that stays near Grian dies—)

He needs to get away from him.

He backs away. Tells Scar, in a wobbly voice, not to approach.

Scar doesn’t care. He needs to get to Grian. He needs to get to him, they can go home, this can all be over. 

Running on some faulty reasoning, Grian tries to get away. It’s useless, he is in no state to outrun Scar—he can’t bring himself to fly and he’s bleeding, dizzy on panic—but he feels like he needs to try, anyway. 

His feet feel heavy beneath him, the world unsteady. Scar is behind him and Grian’s heart begs him to stop, turn around, and burrow into his arms. (He can’t he can’t he can’t—)

It takes only a couple of steps for Grian to trip over some roots, the world as cruel to him as ever, sending him plummeting harshly down in a rough tumble of leaves and limbs and feathers. A pained, fearful yelp gets punched out of him on impact.

Scar’s next to him in an instant, kneeling down and gathering him in his arms. Crying as he buries Grian in a hug, terrified he might try to run again. Frantically telling him, “Grian, it’s over, it’s over, we can go home— Please—”

Grian’s sobbing against him, held in place, unable to understand what Scar is saying. He just wants Scar to get away from him and stay safe. (Grian can’t be safe. He’s been doomed from the start. He’s been doomed this whole time.) (He’ll end up like that bird. Dead, with wings ripped off—)

The words “it’s over” mean nothing to him. All he manages to choke out is, “There is no— There’s no home anymore.” They’ve had their safety ripped away from them over and over again. They’ve been showed that they can’t have a home anymore; this world will not allow it. Nowhere is safe. Nowhere is safe, as long as Grian’s wings are bright violet and attached to his spine. 

Scar insists, a series of reassurances, words tripping over each other as he tries to keep his hold on his voice. He says they’ll be okay. He says they don’t have to run anymore. Please, Grian, we can go home.

But it’s not a concept that exists anymore for Grian; it refuses to register in his mind, words sliding right off him, incoherent.

What he knows is this: he failed to protect Scar, and they don’t have a home to go back to, and Grian is sure the hunters are about to show up, any second. He’s so tired and terrified, and he needs Scar to be shielded from this fate. He needs him to be safe.

Scar isn’t letting go of him. His grip is firm as he continues to plead with Grian. He doesn’t want to be rough, he’s never been forceful with Grian, but he can’t let go now. Even as Grian paws at him and tries to push him away. 

Grian’s crying so hard; his efforts to get free are all frantic and urgent, yet half-hearted. (He wants to give in and bury himself in the protectiveness of Scar’s arms.) (He wants all of Scar’s promises to be true.)

And yet something tips askew.

Because Scar’s never been forceful with Grian.

He was always so gentle. He’d never grab him like this, with so much force. So much insistence.

Grian is hit with a dizzying, nauseating thought. Is this a trap? Is this a mimic?

Grian starts chirping. More of those distressed, scared noises as he can't get free of Scar's grip.

It’s the first time ever that Scar won’t heed Grian’s requests to be let go. Not even if Grian says it hurts. He won’t let go he won’t he won’t. He’ll drag him home if he has to.

Grian’s scared and confused, all his thoughts are jumbled, running on rampant trauma responses and unadulterated panic. He can’t deal with any of this. He keeps trying to wrangle free and push Scar away (is it even Scar???), begging him to let go, but it’s so horribly weak. It’s almost nothing. He just chokes on sobs and hyperventilates. (He feels caught.) (He feels like Scar will get killed because of him.) (He doesn’t know what’s happening.)

It’s awful. It’s wrong. It’s— It’s not what it’s meant to be. 

This should be easy. This should be the best day ever! They can go home! 

Instead, it’s like a panicked final showdown and Scar feels like it’s him against everyone. The hermits weren’t listening to him (Grian needs him, he needs him, he needs him), and now Grian isn’t listening to him either. (He can’t comprehend what Scar’s saying at all, and isn’t that so heartbreaking?) (Scar is desperate to get through to him. To calm him down enough so that this could be anything more than Scar forcefully holding him as Grian chokes on panic.) (The kind of panic he should never feel in Scar’s arms—)

Voice breaking, Scar pleads, over and over again. Please, Grian. Please. It’s okay. It’s okay, we can go home, we’ll be alright. It’s me. It’s me, I got you, we’re gonna be safe.

It’s the kiss he presses to Grian’s hair that tips the scales a little, just enough for Grian’s chirps to mute, his sobbing drifting off into softer cries. He goes limp under the affection, still terrified, still trembling and choking on air, but now he’s pressing himself against Scar instead of trying to get free. 

“G, do you understand what I’m saying?” Scar begs in a wavering voice, unbecoming of his feral appearance. He holds onto the magic prickling along his skin, alert for any sort of danger, anything that so much as tries to approach and hurt Grian. His hands are still clawed. His hair is still white. His veins are still stuffed with unending desperation. 

Nothing is over yet. 

It should be. It should be, but it isn’t.

Not yet, not yet.

 The hunters find them before the hermits do.

-- part III here

[bamsara]

I think that one thing people fail to understand is that unsolicited literary criticism coming from an online stranger who is reading with no knowledge of what the authors intended goal is, is not going to be received the same as say: the authors beta reader or friends who know what the authors intended goal and has the sufficient knowledge and input to help the author reach that desired outcome.

"But I'm only trying to be helpful" How do I know you have the knowledge and literary skill for you to be able to actaully do that when we don't know each other and you are essentially a stranger to me? Are you applying this criticism based out of personal biased experience and desire to see the story or characterization be driven in another direction or tweaked, or do you know the author's intentions for the character? If the story is incomplete, are you basing your criticism of a character on the incomplete narration with only partial information available of them or are you building up a report until the story's completion? Did the author provide you with the information needed to make a fully informed criticism?

Have you discussed with the author what their plans are or are you assuming them based off the narration, especially if the narration is proven or implied to be unreliable or missing key points of the plot? Are you unbiased enough to help them reach their desired outcome for the characters and story regardless of your personal feelings towards the characters/antagonists and setting? Can you handle being told your specific input isn't wanted because you're a reader and/or have no written anything relating to their genre or topic? Do you understand and respect that the author's personal experiences might influence their writing and make it different than how you would have done it personally? Do you understand if an author only wants input from a specific demographic relating to their story?

If it's for fanfiction or other hobby media, are you holding a free hobby to a professional standard? Are you trying to give criticism because you feel like the author has produced 'subpar job performance' of their fic? Are you viewing their work as a personal intimate outlet or something that must conform with mass media? Are you applying rules and guidelines when the fic is shared for simple sharing sake? Is your criticism worded appropriately and focused on the parts where the author has requested input on rather than a general dismissal and or disapproval?

Have you put yourself in a place where you assumed you have the input needed for the story to evolve better, or have you asked what the author needs and what they're having trouble with? Can you handle having your criticism rejected if the author decides their story doesn't need the change and not take it as a personal offense against your character? Are you crossing that boundary because you think you are doing the author a favor? Are you trying to be helpful, or do you just want to be?

I think sometimes when people hear authors go 'please don't give me unsolicited writing advice or criticism' they automatically chalk it up to 'this author doesn't want ANY constructive feedback on their stuff at all' and not "i already have trusted individuals who will help me with my writing goals and- hey i don't know you like that, please stop acting so overly familiar with me'

[yanderespamton78]

Edit since a lot of people seem confused - your "real" name is the name that you want to be referred to in real life. It doesn't have to be your legal name. So if you're trans and you have a different name to whats on your birth certificate, even if not many people call you by the name, it still counts as your real name.

Edit 2 : Holy shit guys please stop reblogging this post my poor inbox im getting like 20 notifs an hour asjfhkajshdkh /lh /srs

[morganbritton132]

AU where Tim, age nine, walked three miles to his neighbor’s house, held up his bleeding hand to Alfred, and asked if he could please have a bandaid. He got stitches instead, and a hug from Dick, who squeezed him tight and asked, “Can we keep him?”

And then Tim never went home again.

He learns gymnastics with Dick and reads in the library with Jason. He shows Alfred how to reset the wifi and rambles on to Bruce about his latest obsession (shipwrecks), and he never sees his parents again.

Behind the scenes, there was a kid left alone in a mansion while a whole international incident played out. It included a kidnapping, a ransom, a failed hostage negotiation, and two dead parents never coming home.

It pokes at a wound in Bruce when he is told about the Drakes and he has always been productive in tragedy. He knows how to shove the hurt away and build something strong on top of it.

The adoption was seamless. The sell of the Drake Estate was effortless. The trust for Tim. The memorial. The scholarships in Jack and Janet’s names. Bruce does it all methodical and singleminded.

And somewhere. Somehow. They forget to tell Tim.

Sometimes he misses his mom and dad. He misses his old room and being alone in a big house, but months turn to years and he likes it here. He really does. He has brothers here and Alfred, and they say they’re his family. He likes that.

They said they wanted to keep him, so they kept him. Kept him forever.

Then Damian is there.

Tim comes home and there’s a new boy, about the age he was when they got him. Tim asks in a whisper, “Did they take you too?”

[mimimar]

finally completed my comic based on the song ivy by taylor swift!✿ please zoom in to read the text and see the details~

✿.✿.✿

you can get the digital zine pdf here! it includes extras like character profiles, costume design, more art of willow and ivy, zine-exclusive sketches and an illustrated guide to the symbolism of all the flowers in this comic.

you can also get prints of individual pages here!

✿.✿.✿

[a-mellowtea]

— "Not every story has a neat and tidy ending…"

The things we grow to care about, that leave an indelible mark, come and go throughout our lives. When the final page of a chapter comes, take a deep breath, and carry what you gained onto the next.

Thank you, to everyone who worked on this series over the years.

[dizzybizz]

"this is regrettably the best kiss of your life, you understand?"

[starry-bi-sky]

this just in: danny fenton is just as much of a mask as Brucie Wayne? - another danyal al ghul au

Turns out, being placed in a civilian family who have no knowledge of your background is actually detrimental to the health and development of a child assassin due to lack of proper support! Surrounded by strangers in a foreign city, Danyal Al Ghul does as assassins do best. He hides. Espionage is one of many teachings one learns in the League, and it only takes half a day for Danyal to construct a new persona to hide behind: Daniel Fenton.

By the time dinner rolls around, Danyal al Ghul is safely and securely tucked behind the face of Danny Fenton; brand new adoptive child of the Fenton family who came from overseas. A shy, quiet little boy with a thick accent and curly hair, with brown skin and blue eyes, and an avid interest in the stars. The best fictions are always cobbled together in a little bit of truth, it's some of the only truth he ever lets through. He apologizes in a meek voice for his behavior early, he didn't mean to be rude, and he watches the three of them eat it up with coos.

Lies roll like silk against his lips, he struggles to meet their eyes and offers them his weakest, shyest smile. It's too easy. It's easy to go from there.

Danny Fenton, adoptive son, shy and awkward and unconfident but friendly. Who struggles in his classes and isn't the brightest, but tries his hardest. He makes bad jokes and has a quick tongue and a sarcastic mouth. He wants to be an astronaut. He's got the best aim in school, and is a terrifying dodgeball player. He's one of the least athletic kids in his grade.

It's like playing two truths and a lie, but there's only one truth, and the rest are lies. It's easy to pretend when he knows it's insincere.

Danyal Al Ghul, grandson to the Demon Head. Deadly, trained assassin. Has spilled blood, has had blood spilt from. Environmentalist, animal activist. He loves the stars. He owns a calligraphy set. A sharp tongue, an even sharper blade. He's clever, quick-witted, he would be top of his grade if he tried harder. He purposely doesn't.

He misses his family. He misses his mother, and he misses his brother. Mother visits a few times a year, so few times that he can count it on both hands. He cherishes every visit, as brief as they are. It helps remind him who he is.

Sam and Tucker are Danny's best friends. They've never met Danyal, but Danyal's met them.

It becomes routine to become Danny Fenton. As familiar and as easy as pulling on a shirt in the morning. Danyal wakes up and is always first to the bathroom in the mornings; stares at himself in the mirror until he can finally see Danny staring back at him. At night, he locks his door and sheds the mask.

Dying throws a wrench in his mask; splits a crack straight through the porcelain. He's able to smooth it over with sandpaper and liquid gold, but it's a little hard keeping his ghost form under wraps. It instinctively wants to shift to show his true self. Danyal can't have that, he's spent four years as Danny Fenton, he'll spend another four as him as well. Even if the feeling of the hazmat suit in his ghost form feels restrictive, like a too-small shirt suctioned to his skin that needs to be peeled off.

He'll live. Er-- well, you know what he means. It's frustrating however, trying to keep his Danny Fenton mask up even as Phantom - fighting in the air is something he needs to get used to, and the sudden propping of powers throws him off. But he is nothing if not adaptive, and he hates that he needs to slow his own skills down in order to keep pretenses up in front of Sam and Tucker.

The first time Danyal summons a sword when he's alone, is one of the few times Danyal gets to grin instead of Danny. He's fighting Skulker, and from an invisible hilt he draws a katana from thin air. It startles them both. Skulker takes a step back at the smile that spreads across his face.

They're both silent as Danyal examines his new sword.

"Do you know what people like me do to people like you, poacher?" Danyal finally asks him, the accent he began to hide a few months in slipping through. He drops all pretense, dragging the flat end of the blade slow and appreciatively against his palm. It's a good make, and when he cuts it through the air, it slices through like butter. He looks up at Skulker with a smile; "are you ready to find out?"

When Sam and Tucker ask about why Skulker seems so skittish around Danny now, Danny shrugs at them and says with a playful smile; "I don't know, I guess I kicked his butt too hard after our last fight." and he watches as Sam rolls her eyes exasperatedly, and Tucker snickers with his own joke.

By the time he reunites with Damian before their 15th birthday, Danyal is buried beneath so many layers of Danny Fenton that his brother will need a shovel to dig him out. He's not sure what he'll find.

[poorly-drawn-mdzs]

Good morning, Sleepyhead.

[First] Prev <–-> Next

[hinamie]

binding vow

[bathylychnops]

jenniferrrrr the strugglerrr

(like right before he faked his deathhh ouu superhero spiralling into insanity & darkness from years of stress and anguish..) its kindof funny like he was like damn ok my superhero friends think im dead now & im registered now as a brand new supervillain. Mission Accomplished. umm what now.. (SURPRISE! YOU'RE TRANSGENDER! BITCH!)

[doctorsiren]

love that my wardrobe had what I needed for Ford without me having to do anything

[slavhew]

i reread this scene and i could just. picture it. so vividly.

[expelliarmus]

[yuwuta]

half of these tiktok relationship/break up/whatever pranks would not work on most of the jjk boys, but nanami is esp funny because he just becomes immune to it. you tell him you two should break up and he just sighs and nods, continues making dinner even as you flutter around him and try to start a fake argument. “kento, hello? i’m saying we’re finished!” and he just hums, and chops the vegetables, “that’s nice, dear. did you want red or yellow peppers this time?” 

[waveridden]

balls