#it’s a concept very important to me

[catihere]

To readers of both Percy Jackson and The Song of Achilles:

Do you remember how, in The Last Olympian, Achilles was standing by the River Styx, warning Percy about his choice, bitter and unrested? With his hair cut short, with pain in his eyes? After reading TSOA, this came off as very unsettling to me. Where was Patroclus? What had happened?

And then I had a thought.

What if Patroclus’s soul still hadn’t reached the Underworld? At that point, he might had been sitting with Thetis by Troy’s shore for over 3000 years, telling his story. With his soul still unburied and unrested. That’s why Achilles was like that: half of his soul was missing. He couldn’t sleep without Patroclus next to him, he was still waiting, with nothing but an empty promise of glory on his mind. He couldn’t find peace even in death. That before The Battle of Manhattan, when Thetis saw all the pain of the Trojan war being repeated all over again and she couldn’t bear it anymore. That’s when she had mercy on Patroclus and wrote his name on the tombstone. That’s when Achilles’s soul could finally rest, now whole, weightless and unbroken.

[raepliica]

Heartbeat

[image description: A grayscale Trigun comic featuring Vash and Wolfwood.

Against a black background, child Vash floats in Ship 5, curled up and with his thumb pressed to his mouth. Heartbeat noises sound around him, and he looks at peace. The background shifts to white and shows adult Vash, sitting shirtless with his knees pulled up to his chest. The heartbeat sound continues only to be interrupted by knocking. Wolfwood, from outside the bathroom, asks, "Hey blondie! You fell asleep in there?"

The scene expands to reveal Vash sitting curled up in the bathtub, shower spraying on the back of his head. His clothes are left aimlessly on the bathroom counter and floor. From outside the bathroom, Wolfwood, shrugging of his jacket, continues, "… The sand steamer leaves at dawn tomorrow so don't take all night. I'm not waking you up gently if you're late." Vash's eyes continue to look downward, glazed and unfocused. Step sound effects and a yawn sound from outside the bathroom before Wolfwood says, "'m going to bed…". In the tub, Vash sits curled up against a dark background, before eventually lifting his head and unfurling himself as the background grows lighter.

He twists around to turn off the shower and then looks at the floor, going, "Ah." He sits, thinking, before calling out "Wolfwood?". A sleepy Wolfwood replies, "…yeah?" from offscreen. "I forgot my towel!" Vash exclaims. "Ugh, look under your change of clothes… Knew you'd forget so I left it there…" a grouchy Wolfwood replies. "Gee, thanks!" Vash replies, a cartoony doodle of him saying "so reliable!".

Vash, shirtless but with sleep pants on, opens the door, towel draped over his head, to see Wolfwood, reclining on the bed. Wolfwood's smoking and holding his rosary, lit by the light from the bathroom. Vash climbs into bed next to him, towel still around his shoulders, and rests his head on Wolfwood's chest. His eyes close and then open to see Wolfwood watching him. Vash exclaims, "Oh! It's speeding up!, and Wolfwood bonks him on the head before saying, "Get on here since ya wanna be so up close 'n personal!". The two tussle briefly and Vash laughs before Wolfwood tucks the blanket around them. Wolfwood continues to smoke as Vash curls up against his chest and listens to his heartbeat, the background turning black once again as he smiles, content. /end id]

[shripscapi]

oh, Lucia…

close-ups under the cut :)

[obscenicon]

earth c section

IMPORTANT NOTE: ROXY IS A TRANS WOMAN. THIS IS TRANSFEM PREGNANCY

[delladyke]

The girls!!!!

[mctwinkdom]

them 🫶

[bacchuschucklefuck]

and! barbarian!fig! its her

[demi-pixellated]

🌻Blade Breaker II & The Rose Noble🌹 - Power Couple of New Fodlan -

I am SO EXCITED to show my full piece for Sunflower, A Leonie zine. What a beautiful book, with all it’s fantastic merch, and I’m so glad I got to be apart of it and show my fav cavalry girl all the love she deserves!! Thank you to everyone who supported the zine, but if you missed out the first time around, don’t sweat it! Sunflower is now having it’s leftover sale!! 🌻 Pick Up A Copy Here 🌻

[yandere-daydreams]

Girly pop, you’re living in my head rent free with your fics.

Especially your most recent satosugu one, literally have been thinking about it nonstop trying to imagine how certain scenarios would work out.

Like what if reader got pregnant during her princess stage? What if she had tried to leave in part one during Satoru’s “cool downs”? Does Suguru even see her as a person anymore after part two? What if reader played along the entire time, just to attempt escape when their guard was both down! Ugh so many questions.

You just write so good! It leaves such a haunting impression!

Hope you write a part three ❤️ also thank you to the person that commissioned this fic.

ahhh thank you!!! as of now i have no intention of writing a part three or expanding further on a fourteen-thousand word project in general, but i will say that in an alternative timeline where the reader hadn't stayed until things were the absolute worst they could possibly get, things would've largely been the same - just messier. any relationship with gojo and geto is going to involve some kind of unhealthy, obsessive, codependent dynamic that will inevitably lead to full-blow kidnapping, but staying for as long as the reader did gave them time to secure a house, set-up a playroom, fetishize the reader's general helplessness, etc. suguru would've lashed out the second you tried to leave at any point, but without prior intent, you likely would've been stuck in that crate right away and kept as a puppy while they finalized their plans, eventually letting you ""graduate"" to princess after you've been sufficiently worn down.

and for what it's worth, i genuinely don't think any amount of good behavior would be enough to earn geto's full trust. gojo would probably let his guard down eventually (not that he ever had it up very high around you), but geto can't let the leash loose enough to ever have to confront the thought of you getting away, let alone deliberately leaving them. your someone he's decided he deserves to have full and unadulterated control over, and you contradicting that is always either going to be evidence of just how unable to care for yourself you really are, or unimaginable to the point of total, physical rejection. honestly, it's less that he doesn't trust you, and more that he couldn't possibly imagine a world wherein you would ever do anything worthwhile with that trust.

[gardenofskeletonss]

Flower for you!

[jackdaw-and-hattrick]

Hot Take:

Of the Bats, Dick is the best at being liked, Jason is the best at being loved.

[pizzagame4000]

we all know human vigilante… but what about… slightly human vigilante

[aroaceleovaldez]

emo Nico x scene Will Solace...

[meirimerens]

buildings that are so so SO fucking scary they get you caught in flagrant instances of fraternization

[whatthebodygraspsnot]

I’m sorry but the urge to ask you about Ian and Mickey on an IKEA shopping trip will not relent!

They need a new couch, they maybe accidentally broke theirs. Tami suggests IKEA and Ian drags Mickey. Thoughts??

🛋️ Ian And Mickey's IKEA Adventure 🛋️

mickey gets lost four and a half minutes in. well- okay, not so much 'lost' as 'he saw the recliners and stopped walking and ian was so focused on the task at hand that he didn't notice until it was too late'

but certainly that will be the end to anyone getting lost BECAUSE (!) ian grabbed a map of the store and is diligently consulting it with his concentration eyebrows. like this 🤔. meanwhile mickey is trailing along behind him, picking up and putting down random table decorations that catch his eye.

"mick do you think we should get these throw pillows?" / "for what?" / "idk...the couch?" / "only if you're not gonna bitch about them endin up on the floor every night 😏 ow! the fuck??"

they don't get the throw pillows. actually they are banished from the throw pillows section because an employee has to come over and ask them to please stop hitting each other with them (horseplay)

ian misplaces his husband again and somehow finds himself on his knees with a tape measurer, helping an older woman measure out a coffee table's dimensions to see if it'll fit in her living room.

it won't fit :/ she'll haveta try the Listerby :/ yeah of course he can measure it for her :)

mickey returns with meatballs

they forget what they're here for and leave with nothing

they are bad at IKEA

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!