#pain feeding into pain

[lady-bee-holmes]

Post-Dark feelings: I am. Staring at a wall. Tears are streaming.

[wolfythewitch]

The Tim lives (and serves the desolation) au concept is so painful because 1. He'd be so sexy but also 2. there is no way he and Jon would have been able to rekindle a friendship. An uneasy cohabitation maybe. Or even an unhealthy companionship formed from traumabonding and surviving 2 major traumas together. But I can't see them being in a healthy relationship (at least the time spanning from the unknowing up until the watcher's crown)

[velnna]

Little star

[beescake]

Is Solkat the last two braincells in your brain or something/pos

yeas

stupid crush

[zillychu]

Consider this: ghosts are actually exactly what the Fentons think they are.

They're snapshots of a longing so strong, unfinished business so deep it reaches out beyond life. Lingers just a bit longer. And if it happens to meet a dense cloud of ectoplasm (invisible to the naked eye, but omnipresent even in the mortal realm), it coalesces. The ectoplasm fits into the shape of it. Which, when the desire is strong enough, it's got a rough idea of its self-image. This tends to mean a more humanoid figure, though it's more often warped in some way–a self-reflection, skewed by said desire. The warping varies on the dead soul’s perception of themselves, the intensity of their desire, how much time passed after death, and how much ectoplasm was present.

In short… no matter how “normal" a ghost looks or acts, it really, truly isn't human. It's animated ectoplasm with a single goal: an obsession. Nothing else. They're more akin to plants than animals, following a single drive with no emotion. They react to stimuli, recognize threats (including other ghosts), and can even imitate human speech and mannerisms to obtain fulfillment of their obsession.

Not “evil" by any stretch, but they're entirely driven by instinct. A tree doesn't pause to consider the rocks it breaks with its roots. A cordyceps doesn't torture its host for fun, or kill with malice. It just does. It follows code in its DNA to survive and multiply–And ghosts just follow the code in its ectoplasm to fulfill its obsession. The more powerful a ghost, the better it's able to overcome obstacles preventing this–whether through brute force, or manipulation. This power is always directly proportional to the amount of ectoplasm present at the time of formation, and how much time passed since death.

What then, does this mean for Danny? Danny, who's previously come to the conclusion that he's only half-ghost, which surely explains how he retained his mind? His independent thoughts and emotions?

What does this mean for Phantom, who experienced an entire world’s worth of ectoplasm condensed as a singularity, at the exact time of his death? Whose strength only grows and begins to exceed every limit they previously thought possible?

If a ghost was as strong as him… could it mimic a human perfectly? Down to a molecular level?

Could it, in its desire to fill an obsession… trick its own fake mind into thinking it was still human? Or half-ghost?

[starry-bi-sky]

my martha knight au in a nutshell:

Danny/Martha: see up here?

Danny/Martha: *taps skull*

Danny/Martha: intense psychological damage

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Danny/Martha: *upon finding out she's pregnant*

Danny/Martha: oh my god i cant be a mom, I'm fifteen and homeless--

Danny/Martha: im going to be a terrible mother--

Danny/Martha: i live in a cAR--

Danny/Martha: what if the baby inherits my powers? Oh no--

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Danny/Martha post giving birth: i've only had Bruce for a minute and a half but if anything were to happen to him i won't even need to fuse with Vlad, I'm razing this goddamn planet to the ground myself

Danny, to Baby Bruce: you are the last remaining thread of my sanity. I'm going to give you the world :)

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Danny/Martha prior to getting pregnant: Fuck it, if everything in my life has led to this moment, i'm allowed to make one stupid decision. I'm getting drunk and getting laid

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Danny/Martha while Bruce was a toddler: i swear to fucking god i am going to kill the next person who talks to me--

Bruce: hi mommy!! i brought you something!!!

Danny/Martha, immediately flipping on a dime: hi baby!! what do you have?

Bruce, a weird child like his mother: a spider :)

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Danny/Martha, talking to Falcone after he made an unsavory comment at her and Bruce: If you ever come near me or my son again, I will dig up your shithead father's corpse and make you eat his skin.

Danny/Martha: do you understand me

Falcone:... crystal, ma'am

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Danny/Martha new in Gotham: *getting mugged*

Danny/Martha: *grabs man's arm*

Danny/Martha: I AM GOING TO BREAK YOU IN HALF LIKE A TWIG, FUCK BOY, DO YOU HEAR THE WORDS COMING OUT OF MY MOUTH--

(she then proceeds to terrorize Gotham's night life for the next extended period of time, mostly unintentionally)

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Danny/Martha: Danny Fenton?? No. you must be mistaken, my name is Martha Knight.

Danny/Martha: this here is my littlest knight, Bruce.

Danny/Martha: I made him all by myself :]

[stellaltumi]

shoutout to all the fellow disabled people who spread awareness and advocacy even when they have no energy to do so, I see you, I love you, and you are so deeply appreciated. your story has the potential to be someone else's survival guide.

[sysig]

Chewtoy (Patreon)

[novelconcepts]

There’s a line from American Gods I keep coming back to in relation to Yellowjackets, an observation made early on by Shadow in prison: “The kind of behavior that works in a specialized environment, such as prison, can fail to work and in fact become harmful when used outside such an environment.” I keep rotating it in my head in thinking about the six survivors, the roles they occupy in the wilderness, and the way the show depicts them as adults in society.

Because in the wilderness, as in prison, they’re trapped—they’re suffering, they’re traumatized, they’re terrified—but they’re also able to construct very specific boxes to live in. And, in a way, that might make it easier. Cut away the fat, narrow the story down to its base arc. You are no longer the complex young woman who weighs a moral compass before acting. You no longer have the luxury of asking questions. You are a survivor. You have only to get to the next day.

Shauna: the scribe. Lottie: the prophet. Van: the acolyte. Taissa: the skeptic. Misty: the knight. Natalie: the queen. Neat, orderly, the bricks of a new kind of society. And it works in the woods; we know this because these six survive. (Add Travis: the hunter, while you’re at it, because he does make it to adulthood).

But then they’re rescued. And it’s not just lost purpose and PTSD they’re dealing with now, but a loss of that intrinsic identity each built in the woods. How do you go home again? How do you rejoin a so-called civilized world, where all the violence is restricted to a soccer field, to an argument, to your own nightmares?

How does the scribe, the one who wrote it all out in black and white to make sense of the horrors, cope with a world that would actively reject her story? She locks that story away. But she can’t stop turning it over in her head. She can’t forget the details. They’re waiting around every corner. In the husband beside her in bed. In the child she can’t connect with across the table. In the best friend whose parents draw her in, make her the object of their grief, the friend who lives on in every corner of their hometown. She can’t forget, so she tries so hard to write a different kind of story instead, to fool everyone into seeing the soft maternal mask and not the butcher beneath, and she winds up with blood on her hands just the same.

How does the prophet come back from the religion a desperate group made of her, a group that took her tortured visions, her slipping mental health, and built a hungry need around the very things whittling her down? She builds over the bones. She creates a place out of all that well-intended damage, and she tells herself she’s helping, she’s saving them, she has to save them, because the world is greedy and needs a leader, needs a martyr, needs someone to stand up tall and reassure everyone at the end of the day that they know what’s best. The world, any world, needs someone who will take those blows so the innocent don’t have to. She’s haunted by everyone she didn’t save, by the godhood assigned to her out of misplaced damage, and when the darkness comes knocking again, there is nothing else to do but repeat old rhymes until there is blood on her hands just the same.

How does the acolyte return to a world that cares nothing for the faith of the desperate, the faith that did nothing to save most of her friends, that indeed pushed her to destroy? She runs from it. She dives into things that are safe to believe in, things that rescue lonely girls from rough home lives, things that show a young queer kid there’s still sunshine out there somewhere. She delves into fiction, makes a home inside old stories to which she already knows the endings, coaxes herself away from the belief that damned her and into a cinemascope safety net where the real stuff never has to get in. She teaches herself surface-level interests, she avoids anything she might believe in too deeply, and still she’s dragged back to the place where blood winds up on her hands just the same.

How does the skeptic make peace with the things she knows happened, the things that she did even without meaning to, without realizing? She buries them. She leans hard into a refusal to believe those skeletons could ever crawl back out of the graves she stuffed them into, because belief is in some ways the opposite of control. She doesn’t talk to her wife. She doesn’t talk to anyone. It’s not about what’s underneath the surface, because that’s just a mess, so instead she actively discounts the girl she became in the woods. She makes something new, something rational and orderly, someone who can’t fail. She polishes the picture to a shine, and she stands up straight, the model achievement. She goes about her original plan like it was always going to be that way, and she winds up with blood on her hands just the same.

How does the knight exist in a world with no one to serve, no one to protect, no reason propelling the devastating choices she had grown comfortable making? She rechannels it. She convinces herself she’s the smartest person in the room, the most capable, the most observant. She convinces herself other people’s mysteries are hers to solve, that she is helping in every single action she takes. She makes a career out of assisting the most fragile, the most helpless souls she can find, and she makes a hobby out of patrolling for crimes to solve, and when a chance comes to strap her armor back on and ride into battle, she rejoices in the return to normalcy. She craves that station as someone needed, someone to rely upon in the darkest of hours, and she winds up with blood on her hands because, in a way, she never left the wilderness at all.

How does the queen keep going without a queendom, without a pack, without people to lead past the horrors of tomorrow? She doesn’t. She simply does not know how. She scrounges for something, anything, that will make her feel connected to the world the way that team did. She moves in and out of a world that rejects trauma, punishes the traumatized, heckles the grieving as a spectacle. She finds comfort in the cohesive ritual of rehabilitation, this place where she gets so close to finding herself again, only to stumble when she opens her eyes and sees she’s alone. All those months feeding and guiding and gripping fast to the fight of making it to another day, and she no longer knows how to rest. How to let go without falling. She no longer wears a crown, and she never wanted it in the first place, so how on earth does she survive a world that doesn’t understand the guilt and shame of being made the centerpiece of a specialized environment you can never explain to anyone else? How, how, how do you survive without winding up with blood on your hands just the same?

All six of these girls found, for better or worse, a place in the woods. All six of them found, for better or worse, a reason to get up the next day. For each other. And then they go home, and even if they all stayed close, stayed friends, it’d still be like stepping out of chains for the first time in years. Where do you go? How do you make small choices when every decision for months was life or death? How do you keep the part of yourself stitched so innately into your survival in a world that would scream to see it? How do you do away with the survivor and still keep going?

They brought it back with them. Of course they did. It was the only way.

[pizzazz-party]

Day four! You know I had to do it to him.

[ineedtherapydesperately]

need more chaggie wing fics where charlie is just absolutely obsessed w vaggie's wings like look at her face

she's obsessed and with good reason too

[0rchidm4ntis]

Papa bat and his baby bat 🦇

Inspired by the photo below:

[crowingoverthis]

[s0fter-sin]

vampire bats share mouthfuls of blood to other bats they’re close to if they weren’t able to feed and now i need old vampire!ghost sharing a bloody kiss with fledgling!soap, giving him mouthfuls of blood bc his fresh fangs are too sensitive to bite with

it’s been so long since he was turned that ghost’s forgotten the deep ache that comes with growing fangs and he almost worries when johnny goes to bite into the meal he’s brought him only to whimper and pull back; only the slightest pinpricks of a bite left in the man’s neck, barely enough to bring blood to the surface

it’s only when johnny whines and massages at his gums that ghost realises his oversight; crooning at his sweet mate in reassurance. he’s not upset that he couldn’t feed, at the unintentional rejection of his offering. he’ll make the pain stop

ghost pulls the man to his mouth and sinks in his fangs, sucking in a heavy mouthful and drops the now paralysed prey back to his feet; his throat steadily gushing with blood and spilling over his body

he cups johnny’s face, looking into his eyes, teary with pain and hunger, and purses his lips to carefully drip the blood into his mouth. the pain immediately vanishes from his eyes, replaced with pure bliss as he opens his mouth wide; curling his tongue to catch every drop. ghost presses his mouth to his in a hungry, blood-filled kiss; tongues twining together as they share the taste

johnny sucks the last of it from his lips and ghost guides him down to lap at the prey’s neck; licking up the blood he was too weak to draw himself. he’s ravenous with it, his whole face covered in red as he licks up the spill and suckles at ghost’s bite

ghost’s filled with an overwhelming pride at having provided for his mate in an even deeper way than just hunting for him. he spilled the blood johnny’s drinking; fed him in the most intimate way their kind knows and he’ll do it a hundred times over for his love

[finngualart]

this started out as a simple desire to turn this cute shot of kayvan and harvey into nandor and guillermo but then idk the madness overtook me

[fatedroses]

Reaper's Bounty.