#part of her arc is finding her place and purpose

[boggleoflight]

In which the siblings finally part, F'yllis for Sharlayan, and F'ystran for home.

[laterreurofficial]

LT Doodle Stream Recap/Questions!

(Part 1/Part 2)

Hello everyone! Wisteriasymphony here. Yesterday the LT hivemind had the wonderful experience of our first doodle stream together!

For the purposes of cataloging all of the questions we answered on our stream (because somebody doesn't know how streaming works yet *COUGH COUGH*), I'm going to be answering them all here!

La Terreur takes place in 2002, and the events of the timeline last about a year. Of course, it's a retrofuturistic cyberpunk-y 2002, which explains later developments like the alliance ring and so on.

They're the same au! Miracle Exposure has just been a tag Silu has used to categorize talking about the effects of the miraculous, but it all happens within LT.

Hawkmoth is already a pretty solid design as is. Shadowmoth and Monarch will probably get overhauls later on, but why fix what isn't broken? Hawkmoth is already just the right amount of gross and creepy and fancy and bald, so no need to revamp that.

The consensus to far is that Felix arrived before the quarantine was instated, but he could easily have bribed officials into letting him into Paris if he needed to. The quarantine is mostly to keep people in, and if some idiot with a death wish high-paying member of the british aristocracy is willing to give money to a dying city just for a ticket in, then why wouldn't they let him?

@gaussiansphere put it quite nicely in the stream when he said that the heroes aren't trapped in Paris physically, but mentally. There's nothing theoretically stopping Ladybug from blowing a hole in the defenses of Paris and going on the run, but she has a moral obligation to protect her city. Everyone else feels roughly the same way, though we did discuss the idea of having the concept of migration fit Max better by virtue of his big goals in life involving getting out of Paris.

Also, the miraculous will likely be passed out differently. We're not following exact episodes, only storylines.

On a similar note....

Ladybug will probably alternate who she gives all of the minor miraculous to multiple times over the course of the story. She would find it ridiculous to pass them out to people "for keeps", as @sillysiluriforme put it, and before a certain point in the story will favor adult holders over teen holders. (Not saying why this changes though heehee, spoilers.)

MUCHAS GRACIAS!!!!!!!!!! Los ships no son un foco de La Terreur, pero.. Adrigaminette 100% mejor del mundo JAJAJAJA XP. de lo contrario es lo mismo que el canon.

Opinions de los kwamis hacia sus portadores es q los ven como niños. Son indiferentes a la humanidad en realidad. Los kwamis también los vicios q usan sus portadores para obtener. (Adrien huele a tabaco Y queso apestoso :/ Marinette no se afectada porque Tikki quiere el sabores dulces en su vaporizador).

#wispanol arc hehe. also YES you saw that right English audience, the kwamis are smokers. Marinette has to ask Luka's bandmates for vapes because the closest bodega to her house is run by a sweet Chinese grandma who her mom likes talking to, so if she bought from there she'd be absolutely screwed. Adrien just buys all of the tobacco as Chat, though.

We're not planning on having Aspik show up in LT, at least as far as we have planned. If he did, however, his rat eating desire would definitely go through the roof. He'd probably try and time his rat-eating specifically for when he's Chat Noir, just to make things easier for himself. (Until he eats one as Adrien by accident and has to live with the mental baggage for the rest of his miserable little life...)

Well.. there are a lot of characters that really don't need redesigns! Or where redesigns would be extremely minimal. Marinette's dad only really needs to get proportional legs and then that's it, and the same philosophy extends to most of the other minor characters.

Here are some of @clemnoir's designs for the rest of the class, though!

In fact, her lovely annotations somewhat answer another question we received....

We haven't figured out everyone yet, but the scholarships group so far is: Kim, Max, Ivan, Rose, Nathaniel, and Mylene. Adrien, Chloe, Sabrina, Alix, and Marinette are all paid tuition.

There could be! The ancient miraculous are indeed destroyed, much like the infinite amount of others like them, Bearinette and Lambdrien are just explorations of what it would be like if they hadn't been. The bear and lamb miraculous are not canon to LT, nor would any future ancients be. If we get any good ideas, you'll see them.

[wis is biting all of her fingers to prevent herself from talking about the coyote....]

The big issue Marinette has with being Multimouse is that she's no longer respected as the leader, at least as much as she's used to. Because she sees Ladybug as more of a responsibility than fun superpowers, her side effects are more psychological by consequence, whereas Adrien's are more physical. She also feels some sense of jealousy towards Scarabella, as well as general insecurity over not being the leader when she's Multimouse... but despite this she continues to use the Mouse Miraculous more often than in canon just for the sake of "training" Alya.

Silu dice muchas gracias!!!!! ...No conocen sus identidades fsgdss. Exposición al milagros del raton causa disocociación, duplicación no literal para Marinette jajaj. (Pero, no puedo decir si dos Marinettes aparecen en LT..... tal vez, tal vez no? huummmm)

Tambien, ellos comiendo ratones en privado. Nadie los trae en su almuerzo. Todos ellos tratan con sus síntomas en secreto.

Violence and misery and horror and class dynamics. I'll get into it more in Part 2, but characters' relationships to power is a huge part of this AU, both of the magical and non-magical variety.

[babybells123]

I recently posted about Sansa Stark on TikTok particularly concerning themes of beauty, love and romanticism (Jonsa if you SQUINT)!! It’s gotten over 2000 likes so far, and the comments have all been positive, but I just received a comment saying “Aegon VI will save her” and had to resist the urge to scratch my eyes out …

Look, I for one want nothing more than for Sansa to be with a man who loves her undoubtedly (and chooses her over her claim, countering all the previous men who have been betrothed to/married to/attempted to abuse Sansa). But I find it incredibly ironic that this is likely an individual who is aware of the Ashford Tourney (hell, maybe they’re even aware of the really subtle Targaryen imagery in Sansa’a chapters - but only if they’re in conjunction with Aegon VI, certainly not the secret cousin who just so happens to also be a Targaryen)… but I’ll give them the benefit of the doubt and assume they are an alt shift x fan who has watched his brief Ashford Tourney video which barely scratches the surface of the theory (and I too, enjoy Alt’s videos so don’t get me wrong here) but here’s what bothers me - why is the fandom so incredibly intent on ‘proving’ that it is Aegon?

He could be the loveliest, kindest man alive and I still wouldn’t budge on my stance of this marriage doing absolutely nothing to progress Sansa’s narrative arc organically.

How does it challenge her belief of conventionality? Particularly concerning southern ideals of beauty? What is the whole point of Sansa retracting from her current journey, travelling South yet again to marry a man whom she’s never met before? We’ve already been made privy to how wary Sansa is of Harry the Heir, for he could be a “comely monster,” she knows that beauty is deceptive - so already she’d be experiencing those similar feelings of despair … What purpose would it serve to send Sansa back to King’s Landing? A place where she was abused and married against her will? The place where her father was murdered in front of her eyes? The place where she was hostage with no true friends and no family to trust or rely on? Walking on eggshells every day of her life? These are all negative associations. Anyone with eyes and a brain can see that Sansa’a arc is pointing North.

This is the same girl who spends hours building a scale model of her home, Winterfell - in the snow. This is the same girl who refers to herself as the blood of Winterfell, the daughter of Lord Eddard and Lady Catelyn - who derives strength from that in the face of her abuser. This is the same girl who at the age of 11, manages to dissociate when faced with the head of her father on a spike, looking North and North until she can see Winterfell in her mind’s eye, whose direwolf - part of her soul, is buried in the North ; who to quote Ned “belongs in the North.” This is the same girl who has been passed around like a vessel of politics since her very first betrothal. Who has been viewed as nothing more than a claim to a vast Kingdom, who is not allowed to exercise that claim in her own right. Who has been denied her inheritance on the basis of her marriage to Tyrion - not just by Stannis , but also by the brother she has loved and idolised (and isn’t that just heartbreaking for Sansa?) - need I remind you of the one single person in this entire series who has not overhauled Sansa’s claim ? Despite it being the one thing he’s ever truly wanted? His hearts most intrinsic desire??

“By right Winterfell should go to my sister Sansa." (Jon I ADWD)

“Jon said, "Winterfell belongs to my sister Sansa." (Jon IV ADWD).

I mean, those two phrases in conjunction with;

“It is not me she wants her son to marry, it is my claim. No one will ever marry me for love.” (Sansa VI ASOS) - which as we know, is followed by a Jon chapter just a page later.

Jon has already unknowingly refuted half of Sansa’s despairing words, as well as silently fulfilling those knightly ideals she believes no longer exist.

So yeah, it annoys me beyond belief when people “theorise” that Sansa will marry Aegon VI/Young Griff. Because it removes her agency yet again, it pushes her further away from her identity and her home that she has slowly but surely been reclaiming - she goes five steps backwards, and regardless of whether you like her character or not, from a writing perspective and how character arcs are meant to unfold - it really doesn’t make sense for her to go back to the place where she has been tormented for most of the series - but then, who am I kidding - these are the same people who don’t believe sansa is an important character and that her arc will either remain stagnant or she’ll just be pushed out of the way whilst other characters are allowed narratively conclusive endings.

But even with all this, even with Valarr Targaryen being a non-Targaryen looking prince with brown hair described as a black prince with a white guardian (gee, I wonder whose image THAT invokes), even with GRRM sitting down and writing a family tree where a Jonnel ‘One Eye’ Stark marries a half niece called Sansa Stark to solve a succession crisis. Quite literally spelling it out on paper for people this fandom just cannot come to any logical conclusions that would make sense narratively, thematically, politically and on a character level. It truly blows my mind.

*sigh.* I’m very tired.

Anyway, to quote GRRM; resolve to be Sansa Stark and take the North. ✌️

[artbyblastweave]

So, the thing about Ward's worldbuilding is, it's bad on purpose. This is something I didn't catch until a relisten of the earlier parts, but the disconnect between the actual literal apocalypse that occurred two years prior and the shockingly advanced levels of infrastructure and technology is very deliberate. The entire thing is slapdash and farcical. You have people out the door of a shitty concrete hovel lining up for bad coffee. You have cars built out of random scavenged parts, "dumpsters" that Victoria can't manhandle because they're made of clumsily-welded-together scrap metal. Victoria can't reliably navigate at night because power to the city below is intermittent (and her mother Carol happens to live in one of the parts that does have consistent power; that's unexamined, make of it what you will.) The mall cluster shitshow goes down in a "mall" that, IIRC, is called out later as having been basically a dead end economically, a doomed grasp at a sense of normalcy. The patrol block uses recycled PRT gear, Dot's interlude involves the machine army jumping a bunch of bog-standard apocalypse scavengers. What you're looking at isn't a new society built up shockingly quickly; you're looking at the previously-well-supplied-and-externally-supported outpost of the recently destroyed society, and after two years they're finally chewing through the last of the head start they got. The societal equivalent of Wile. E. Coyote hanging in the air above the cliff, or of the seemingly-untouched duelist seconds away from sliding in half. Unfortunately, due to choices made about the timeframe and focus of the story, the Coyote sprouts wings. The duelist whips out a staple gun. Or to come at this from another angle- in The Walking Dead, a comic I really like, I can sort of organize the arc of the apocalypse into three-ish big chunks. For the first eight or nine months in universe, about 48 issues, things are obviously bad, right, quite a few people have died, but there's a sense among Rick and company that they might be able to ride it out, that things are on the upswing. They've got crops going, they have new births, maybe help from the government proper isn't coming the way they thought it might towards the start, but things are looking up! Then, of course, the Great Fuckening of Volume Eight occurs, and you enter the middle phase of the comic, where they're down to like a third of their group, they're food-insecure, they're constantly on the move, they're under attack from rapists and cannibals who've descended into habitual atrocity because they're totally without hope. Children are having mental breaks and killing children, the first friendly guy Rick met in the whole comic is now an insane hermit feeding dead bodies to his undead son, on and on and on and on and on. Bad times, but a comparatively short middle in the grand scheme of things. Then they find Alexandria, and the back half of the comic is spent basically on an upward trajectory with some zig-zags, there are still periodic existential threats but they're clearly past the nadir.

Ward feels like it starts midway through that first part, the you-don't-know-how-much-worse-this-can-get part, with the emphasis on the social tensions, the encroaching winter, but then it just...doesn't get much worse. I mean they have a rough three months, but then they sort of speedrun right to the hopeful future ending as soon as the titans are dealt with. There were parts that I suspect were supposed to be the dark-night-of-the-soul I'm alluding to but they didn't land as such. I feel as though the superhero genre stuff kind of subordinated the apocalypse stuff, made it less visible by virtue of whose POV we were following, and sometimes I feel that as a remedy to this, Ward should have taken place over the course of years, and it should have Just Kept Getting Worse. For example Breakthrough should have had to kill and eat Rain to survive the winter

[bonefall]

instead of asking what parts of wind you’ll be getting rid of, i’ll instead ask what parts you’re keeping. the list is shorter then haha

FROSTPAW AND WHISTLEPAW.

Best part of Wind is the bond between these two, in fact, the entire plot about WindClan felt like it dropped out of the alternate universe where the books are good. The sudden dream of catastrophe, the way StarClan gave Frostpaw this sign on purpose to make them know she's legitimate, Whistlepaw injuring herself to try and save her little sister... Even the little details, like Nightcloud and Hootwhisker trying to drag the tree by the trunk, were neat to see.

I Dont Rewrite Arcs Until They Are Done BUT I do know that I'm going to elevate and expand what's going on with Frost and Whistle. They're fantastic.

Another small thing I'm actually planning on keeping is this exchange between Squilf and Jayfeather, which you'll probably find surprising since I'm so open about how much I dislike the way they've made Squilfstar less proactive;

In a better book, I think this could have been a GREAT moment.

What I dislike about this exchange is that Squilf is able to rebuke it, because the writers DO feel that Bramblestar was a good leader. They're trying to show that Squilfstar is going to act more "mature" (read: boring) with her role now, probably to make a point about how Bramblestar wasn't being "indecisive" for the 10 years we were stuck with him but "responsible." Basically, she gets the power and finds out it isn't so easy-- I'll even bet at some point in the next arc or two she'll become frustrated by someone acting the way she used to.

I've seen some people praising this, and like, it's not illegal to have bad taste. But I think this is an AWFUL thing to do with a character who could have finally caused interesting things to happen, on top of just feeling like contempt of criticism on behalf of the writers.

"Ohhhh they thought she would be more decisive than our beloved baby boy, WELL, WE'LL SHOW THEM. You will sit through 10 paragraphs of debate no matter WHO is in charge!!!"

But like I said....... in a better book, this could have been great. If this was a wake-up call for her.

Suddenly experiencing the full weight of responsibility upon herself, she stops making bold decisions. The complicated political situation in front of her, individual opinions of her Clan around her, and the wounded glares of the furious Brambleclaw below her are all acting like briar vines, pulling her down.

Even StarClan itself seems to have placed a weight on her, cats who she's followed faithfully and been punished by.

So Jayfeather, with all of the changes he has in BB, brawling with angels, speaking defiance to the stars, and pulling spirits down from the heavens, is the perfect cat to be honest with her.

I'm still trying to find a good way to describe the electricity between them in this moment. BB!Jayfeather once reached up his paw through the veil between life and death to grab her ankle and fetch her from her own trial, knowing that she wanted to keep living. He's part of whatever motion she took to remove Bramblestar from power. Her son, her cleric, her ally. How do I put these emotions into words?

"Did you come this far just to become someone else?"

Just... what a moment it could be. For this to be the second that Squilfstar realizes in spite of everything, Bramblestar's thorns still jab at her. That she has to move forward, DAMN the uncertainty, by being herself.

[hangingslothcentral]

looking for a new audio drama?

If you like weird philosophical sci-fi and cyborgs, and hate AI and capitalism, check out Clockwork Bird!! it's the first show I ever made so it's a bit rough around the edges but it's an exploration about the rights of the dead, the limits of science, and the nature of personhood. it's all told through scattered 'found footage' recordings as listened to by Shelly Croft as she looks for her missing journalist girlfriend, Alice, who disappeared whilst she was investigating the welfare of Robin Jaeger, the posterchild for advanced synthetic limbs who may be more, and less, than he seems.

Clockwork Bird as 30 episodes, each 10-25 minutes long.

If you like spooky stories with a lot of heart, long series with lots of moving parts and character arcs, check out Spirit Box Radio! This show has a ton of original music and an accordian cast which grows as the show goes on, topping out at about 27 VAs. Sam Enfield is the happy-go-lucky host of Spirit Box Radio's Enlightenment Segment in the absence of its previous host, but something fishy is going on, and Sam's actually at the centre of a plot with apocalyptic stakes. SBR is a show about grief, storytelling, and what happens when a people pleaser has potentially unlimited magical powers. Find it @spiritboxradio.

Spirit Box Radio has 93 episodes, each 15-30 minutes long, with season finales that are up to 50 minutes long.

Do you like vampires? Gay vampires? Gay vampires that suck (blood. and other, uh, things)? Not Quite Dead may be the show for you. Join Alfie, a former A&E nurse who's knee deep in horrors because of his boyfriend, Casper, who is a vampire. Cas is missing with no indication of when he will return, but without his blood, Alfie is going to die. As time runs out, Alfie records everything he can remember about the months leading up to this moment. This show is gory and horny. Season Two has a tiny blonde guy who sounds French but who is older than the concept of France. This love story bites, viciously, multiple times, for fun and profit. Find it at @notquitedeadpod.

Not Quite Dead has 40 episodes, each 20-40 minutes long. The final season will be out early 2025.

Are you into mysteries and characters who eat hot chip and lie? Do you enjoy listening to shows as they air? Are you a person who likes to have conspiracy-board-level theories about the media you engage with? My new show, Remnants, might be just up your alley. Remnants follows the Apprentice as he learns how to read the objects that come to the First and Last Place. He's watched over by Sir, but Sir isn't much help. Thier purpose is strange and confusing, and the more remnants the Apprentice reads, the more he wonders at what the meaning of it all is, and if there might be some connection he's been missing... Find it at @remnantspod.

Remnants will have 30 episodes of about 30 minutes each in Season One, which starts airing with a double episode drop of episodes 1 & 2 on 15 July 2024.

[demi-god77]

Saw byler doubt on my tl and I won't have it, so I'm here to try and ease your doubts @lucystark12

(English isn't my first language and I'm currently running on zero hours of sleep. This might be a bit incoherent)

BYLER AND CHARACTER ARCS

First of all, you have to think of this in context to El's character arc as well!

Her arc has always been centered around found family and her own sense of self (the things she lacked for most of her life while she was in the lab, especially since her entire identity was reduced to a number.)

Romantic love (ending the show in a relationship with Mike) would not be beneficial for her arc, as it is not something she lacked prior, she didn't even know what a boyfriend IS when she escaped from the lab. It also sets her back on her path of self discovery (+ she is shown to learn the most about herself when she and Mike are apart).

In an arc about found family, self discovery and independence, forcing her into a relationship that actively separates her from said found family and creates conflict (with Hopper and with the rest of their group), that also doesn't let her figure out who she is, what her interests are and overall stuns her self discovery and independence, would make zero sense. It would not be a progression for her character at all. Especially for someone that has been controlled by others (and men specifically) her entire life.

~~~

About Will now, if his arc was actually about moving on, there was absolutely no reason to make him in love with Mike. All of their conflicts COULD be purely platonic, if their purpose was to signify that he needs to move on/grow up. But they weren't. There would be no reason to make him in love with Mike, he arguably wouldn't even have to be gay for this arc. And yet, his sexuality is mentioned even prior to s1, in the pilot script -clearly important for his character. Him moving on from those feelings would not be beneficial for his arc either, especially since he has already tried to. He has tried to hide from the world, he has tried to repress his feelings and it didn't work out. They even straight up told us he's not able to move on ("[I] need you and [I] always will")

Furthermore, he already believes that his feelings will not be reciprocated, that he needs to let go and that he will never experience a romantic relationship, will never find love. To have him be right does not make for a good story. It sets his storyline back to square one. Him coming into his own and confronting his trauma is definitely a part of his arc, no doubt about that. Moving on from his feelings however, giving up on a love he never let himself believe he could have in the first place, is not.

~~~~

Lastly, Mike himself. I honestly don't really think he has that much of a communication issue. His communication skills are of course not great, they are pretty bad yes, and he obviously struggles with verbally explaining his feelings, but he shows his love through actions and not words. That's something that has been shown since s1 and that's always been how he communicates his emotions. Through actions.

But even so, he has been shown to productively communicate using his OWN words and his OWN feelings before, the shed scene in s2 being a prime example of that (arguably the bedroom scene in S4 as well). His parents' main issue with their relationship is not that they don't communicate imo, it's that they never really loved eachother (and that also ties in to Nancy and her relationship with Steve).

Another thing:

Mike needs to be needed, that's when he feels useful, that's when he feels loved. El is coming into her own, becoming independent, realizing she doesn't need to depend on others, on him. But Will in his monologue confessed that he always will need him, something that will never change.

Moreover, if his arc was truly about learning to communicate effectively, I don't think they would put such emphasis on his insecurities, thinking of himself as inferior and trying to conform. (Also, forcing a confession, especially one based on someone else's feelings would be a horrible writing choice in an arc about self expression.)

Mike actively tries to push aside his nerdy interests and the things he enjoys (who he is) while in the relationship, in order to appear cooler, mature, normal. Pretend he's not himself. THAT is something he gets from his parents. And THAT is not something attributed to bad communication skills, but forced conformity.

And after all, forced conformity is killing the kids.

[midnightsslut]

omigod yes. i have this whole rant about how yoyok is her thesis. it start with her wanting love, yearning. classic taylor. but then something different blooms. and her focus becomes her songs. writing but also her choice to take the money puts her on a path where she ends up alienating her hometown folks and startling herself with how bloodly the battle for her career turns out.

but again like she finds writing, she finds something in her career despite it all. and the whole bridge is saying that she would make that choice again. choose that adventure again. the way she sings ‘you are on your own, kid. you always have been’ goes from sad to wistful to powerful. the whole song is her saying that she would choose herself and her career everytime because this is *her*. this is what she wants. and she is saying this at the end of midnights when she knows how the whole cycle of fame, success plays out because she has seen it all

which is why the prophecy (and some parts of ttpd) are so startling. it takes her back to a place of negotiating her career at the expense of personal happiness. and while ttpd feels like an arc and it is. i feel like there is a lot left to be explored between the transition of prophecy to the ‘what if i told you i’m back’ of alchemy and the youthful happiness of shs (and the current happiness and comfort we see now). we know she got back. we suspect but we still don’t know how or if her life philosophy has changed

I’ve been putting off this ask for a day now because i want to take the time to answer it thoughtfully. as soon as i got an idea while reading, you beat me to it and mentioned it in the next paragraph lol.

i have thought about this extensively re: yoyok, especially when you consider that she wrote it when she was undergoing such a pivotal change in her career (red TV release). it’s her embracing that life again despite all the pain it might entail. i was also startled by her ‘not wanting money’ and feeling resentful of fame on ttpd, but i think a key part of that story is waolom. she wrote yoyok at a time when she hadn’t been in the public eye in ages, and she was longing for that sense of connection again while reflecting on everything she had achieved. she has spoken about how re-releasing red ‘healed her in a significant way,’ and it’s clear that the pain she was going through in her personal life is always there between the lines of her all too well speeches. ttpd was made when she was THE biggest story in the tabloids almost every week. the attention from the fans wasn’t exclusively loving anymore. she was already going through it, and while the tour pulled her out of bed, it also forced her to go onstage when she was being raked over the coals for a decision that was already painful to make. I’m sure everything felt forced for a while there. it was part public trial and part homecoming. the final note on fame is that it can take everything from you (clara bow), but it can also give you purpose (the manuscript).

[lunar-years]

The horrifying fandom takes and theories it's generated aside, one of things I really love about Ted Lasso is the way it handles motherhood/babies/the future for its two main female characters. Like, on the one hand is Rebecca who so obviously and vocally has always wanted to be a mother, but married someone who didn't feel the same way and put her own desires aside for his, then had that fact thrown back in her face years later after he's abused and divorced her and gotten another woman pregnant.

A big part of Rebecca's arc is the constant frustration of having to accept the hand life's dealt her even when it's the opposite of everything she'd always wanted for herself. She's someone who wanted to be a wife and wanted to be mother and then finds herself in middle age as neither of those things. Then she makes the decision to pursue it on her own (which was awesome, I love that they showed her going to the fertility clinic and inquiring about whether pregnancy was a possibility for her! there's not way to become a mother!) and then she has to face her inability to get pregnant. And it sucks! but as sad as that is, it's also very...real? And the show doesn't miraculously let her have a miracle pregnancy anyway (like stupider shows would do, tbh), but instead has Rebecca come to terms with herself and her life under its new circumstances. She finds purpose outside of the things she once thought she would be and the roles her younger self assumed she would play as an adult. By the final episode, she's calling Richmond her family! She's realized what she wants most is the stay at the Club. She's come into her own. And then, yeah, there's the little ambiguous opening of Matthijs and his daughter and her possible future there with them--but importantly it isn't the end all to her happiness, anymore. It's a sign that she still has opportunities, just maybe not in the way she first envisioned, that no doors have closed forever and that what she's been looking for might come from unexpected places. there's no timeline!

And then you have Keeley, who's in her 30s and focused on her career and still figuring out how she wants that to look and who she wants to be. And yeah she's dating, and she has a serious onscreen relationship, but the topic of children (or marriage for that matter) never even once comes up! It's not made some big arc about how she doesn't want those things, and it's not some big fight with Roy or a goofy "really, you've never thought about babies?' conversation with Rebecca, it's just never something that's made relevant to her character nor her growth! She's a whole person without those things and she's clearly not actively pursuing them. And these two women with very different goals and wants are completely supportive of one another--it's never even a question :)

I thought both of their storylines in that sense were very refreshing to see on TV and like, comforting? If anything, the discourse it's spawned has been very...eye-opening...about how conditioned people have become to expect traditional marriage and babies storylines from every single female character. But the show doesn't give in to that mentality and instead shows that there's not one way a family has to look and not one way to be a mother and there isn't a set timeline for any of this stuff even if later you change your mind. And then if things don't turn out how you think, it doesn't mean you aren't going to end up with a good life! that was such a good message.

[everydayyoulovemeless]

HC on a modern fallout. Like same characters just in now times.

Like Obvs Nick would still be a PI but what of the others? Would factions be a thing still or would they all have normal jobs?

What of the synths?

Modern Fo4 Headcanons

➼ Word Count » 3.3k ➼ Warnings » Spoilers for many character arcs ➼ Genre » Modern AU ➼ A/N » This took me WAY too long, but I had so many things I wanted to write down and expand on.

COMPANIONS [ these are how I imagine them before meeting Nate and Nora, a random couple who just happens to enter into everyone's lives ]

MacCready grew up as an orphan in Virginia where the older kids raised him. He never got adopted and, while he was thankful for the teens who raised him, there was always a sense of abandonment and negativity that he'd always attach with the state. So, when he turned 18, he hitchhiked to Boston, hoping to find a happier and more fulfilling life. It didn't happen as soon as he'd wanted, however, and he bounced from place to place looking for a stable job. His rugged exterior and immature attitude forced him out of a lot of areas, but there was a group that didn't mind any of that. MacCready was ecstatic when the Gunners first picked him up. They gave him jobs, sure, but they had also given him a group he could identify with in the same way he did with the kids back at the Orphanage. After a year of working with them, MacCready met Lucy. He'd originally planned on robbing her, but her name reminded her too much of the Lucy he'd grown up with, and offered to walk he home instead. When they had gotten to her door she asked him about why he was wearing army pants. He jokingly told her that he was in the military who was currently on leave, which she ended up believing. It surprised MacCready since his Gunners tattoo was visible on his arm, but he found her gullibility to be endearing. After that, the two spent a lot of time together, but right after Duncan was born, she pieced together his association with the gang, left him, and quickly moved into an apartment located in a safer area. Heartbroken and consumed with guilt, he quit the gang for good and worked to better himself and clean up his act so that he could be a part of his son's life, and maybe try his relationship with Lucy once more. He does a few odd jobs here and there but, so far, none of them have stuck.

Once Nick's testing was over, the students at CIT didn't know what to do with him other than to let him roam the campus, so he stuck with what he knew - police work. He'd wander the college as an officer, looking for any job or event that could require his help. At first, he was treated more as a Protectron than an actual member of the force, but that never really bothered him, as long as he was actively making people safer, then he was content. What did bother him, however, was the amount of jury trials he had to be present at for being the product of unethical testing. It always made him feel guilty that he was an unconsented clone of the real Nick Valentine's mind, and if he could, he would've chosen not to be created at all. Knowing the amount of pain his existence had caused an actual person made him feel awful, but he'd rather put that energy into his community over hating himself for something that was out of his control. He never really got over the confusion and sadness he had when he thought about who he was but, over time, many of the students began to treat him as if he were a real person. They'd greet him in the mornings, buy him ties on special occasions, and every once in a while someone would bring him coffee, forgetting that he couldn't drink it. His life slowly changed from him not understanding what his purpose was, to becoming a well-respected member in his field. Even the real Nick grew to appreciate him after he helped to hunt down Eddie when no one else wanted to. His memories of DiMA were still there (as it had only been a 2 or 3 decades compared to 2 centuries), but his brother didn't stay with the school, instead opting to discover himself elsewhere. As soon as he was allowed, he left for Maine and made a name for himself as the first robotic philosopher and occasionally sending letters to Nick.

Cait ran away from home at 15 in an attempt to escape the abuse she received from her parents. Scared, alone, and incredibly fragile, she was an easy target for many others on the streets and was taken advantage of both emotionally and sexually by almost anyone who saw her. As the years went by, the more hardened and angry she had become. Finally able to adapt to her surroundings, she stole, fought, and threatened anyone she could. This led her to be put in many juvenile detention centers and child reformat camps, both of which never helped change her view on the world. Still living on the streets at 18, she went and bought her first gun. She thought of going to visit her parents for a while, wondering if it would make some of the pain she felt go away. On the day she decided she was finally ready to go kill them, she ran into Tommy, a sleazy businessman who was desperate to strike it big in the corporate world. Seeing the potential and opportunity that a young, angry, mistreated girl could present to him, he offered her a deal. If she focused her rage into wrestling and let him be her manager, he'd help her get off the streets and really make a name for herself. She agreed and very quickly became one of the best and most well-known wrestlers in Boston, although, most of the press that covers her is about her attitude and allegation regarding her addictions. She still holds onto that shotgun she bought. It reminds her of what could've been and helps her feel a sense of security. She knows no one will take advantage of her again because she now has the means to ensure of it. She's still waiting for the day her parents beg her to take them back so she can tell them off, but they never did. It hurts her more to know that, even now that she's found success for herself, her parents still don't want her. So, until it kills her, she'll drink and inject herself with whatever she can get her hands on, desperate to numb as many of her thoughts as she can until she passes.

Danse was also made at CIT, although he's much more advanced than Nick is. Almost immediately after being created, he left to go to DC where he met Cutler. Cutler was on the verge of homelessness and pitched his idea of starting a small business to Danse who agreed quickly (he had no other plans). They sold odd things they either built or found for a few years before they were approached by a general in the US Army. He was only browsing, but Danse felt compelled by his stories from when he was in combat. There was something about serving his country and defending the common man that he found to be incredible, and so he and Cutler quit their gig and signed up for the army. There've been robots who've joined the military before, but none who made the decision on their own volition. All the others are Assaultrons and Mr. Gutsy, so having one who willingly wanted to be a part of the cause was astounding to many. Cutler eventually got mortally wounded and Danse, who was clearly devasted, was then assigned to work with Haylen and Rhys out of fear that he'd go haywire or malfunction due to the impact of his friends death, and that's where he's been ever since. The memories he'd been given were vague and slightly foggy, but the army gave him something to identify with and a cause to work for. He was prideful in the work he did and, although there were others, he served to be one of the first instances of a robot showing a willingness to fight for his country.

Ever since he was young, Preston had looked up to those who did right by people. At first, he joined a police academy to be an officer, but after a bystander got caught up in one of the scenes he'd been sent to, he quit, deciding that this wasn't something he was cut out to do. The guilt of not being able to successfully protect an innocent civilian eats away at him, so, in an attempt to make it up to himself, he went into hospice care. At least here he knows the deaths aren't his fault and that all the people he cares for have lived long, fulfilling lives. Currently, he's caring for the long-time addict, Mama Murphy (who still manages to sneak a few pills into the room every now and again). Preston adores her, but every once in a while she'll tell him about a dream she's had where the world had ended and he played a part in rebuilding it. He can't let her describe it for long, though, otherwise she'll start to panic and he'll have to grab her medication to help calm her down, and he hates having to give her drugs. Luckily he knows that she's just and elderly woman suffering from schizophrenia and none of what she says about a war torn world holds any truth. As much trouble as she causes him, Preston isn't sure what he's going to do when she's gone. He only hopes that it doesn't shatter him as much as the bystander incident did.

Codsworth still operates under Sole's roof in taking care of Shaun and the home. Nothing changes with him, however, when he went to drop Shaun off at college for the first time, he met Nick, and the two got along quite well! Whenever he goes to visit Shaun with the family he always makes sure to stop by to chat with the detective.

Piper runs a very controversial newsstand right in the heart of Boston. There are so many authorities and higher-ups whose reputations have been ruined due to her articles, and even with a mob of protestors against her, she still does whatever she wants. She grew up in a smaller town on the outskirts of Massachusetts before she managed to work up enough cash to get herself and Nat to the city, where she could finally begin to look for work to support them both. However, she quickly found that the 'big city' had many issues on its own and, since then, she was dead set on bringing people's attention to them. She doesn't care about the death threats or riots that sometimes occur outside her home. The police know her well enough by now to keep an eye out in her neighborhood. Especially Nick, who met her once while she set up a debate booth on campus and interviewed students for an article she planned on publishing. She's not rich by any means, but she loves her job. And, to her, there's no better feeling than that. She's just praying Nat isn't as prone to controversy as she is.

Curie was placed in a research facility where she helped to test and study different diseases with a group of other doctors before being places in a hospital. She mainly cares for sick children but is reveled to be one of the best doctors as she doesn't need to sleep or take any breaks. She adores her job and never stops working on cures and medicine for her patients. When she heard about the synths being created at CIT, she asked her supervisors if she could swap bodies so she could better fit in with the rest of her coworkers, as well as be able to hold vials and syringes better. They agreed and got her a custom made body for her to subvert her subconscious into. Eventually, when he's older, Shaun will come into her clinic in hopes of having his cancer fully treated, but that'll be years from now when he's in his 70s.

Even though Strong isn't affected by the FEV in this timeline, he still holds that same barbaric and thuggish aura. He's not affiliated with any gangs, but he's no stranger to violence and lives in the part of town where shootings happen the most often. Despite his intimidating stature and hostile disposition, he still frequents the local libraries. More often than he'd care to admit. He loves old literature and has a bit of a soft spot for anyone who likes it too. He claims she's overexaggerating, but Daisy will usually sit and listen to him ramble for hours about the beauty and symbolism littered throughout Shakespeare's plays or Lovecraft's short stories.

Hancock is a well-known politician who is loved as much as he is hated. Ever since Piper outed him for his drug addiction and put into question his validity and dedication to his cause, he's been somewhat of a controversial figure in the political world. Despite it all, he has no ill feelings toward Piper or Publick Occurrences and is constantly hyping it up as a reliable news source. Although he owns quite a bit of cash, he's constantly pouring it into the slums of Boston. Some think this is just a publicity stunt to make up for his occasional violent outbursts (the drugs do a number on him since he's not a ghoul), he does it because he genuinely believes it's right for him to do. Besides, the people are friendlier there. Now his biggest concern is building up his reputation again so he can beat his brother when they run for mayor against one another. Him and his secretary, Fahrenheit, have a lot planned for the city and they'd like to see those ideas become reality as quickly as they can manage.

No one's really sure who Deacon is, and some are cautious of him for it. One thing that is certain about him is that he's a massive history buff, and is almost always in a museum of some kind. His favorite past time is striking up conversation with strangers who probably just want to be left alone while they browse the artifacts displayed, but he doesn't really care. Eventually, he happens to start a conversation with Nate and Nora in the Museum of Freedom and he quickly integrates himself into the couple lives. Him and Barbara like to show up spontaneously on their doorstep with a pack of beers in their hands and grins on their faces, but surely they don't mind.. even if they still have no idea what he does for a living.

X6-88 is another one who doesn't change much. He works as security for CIT along with Nick, and few other courser's, although none of them are as approachable as the detective seems to be. He's very strict about his job and carries it out very well, however, when Shaun eventually begins to attend the college, they sorta hit it off? Not really because either of them are particularly kind to one another, but more so because they like it when people are straight forward, intelligent, and blunt and they both just so happen to be that.

Dogmeat’s a stray that everyone seems to know. Officially, he’s Mama Murphy’s, but most everyone claims him. He appears whenever someone's in distress or wherever his owner's vision take him. He's a mysterious dog with strange motives.

Old Longfellow lives as a fisherman up in Maine. Nothing particularly changes with him, he's still got the same closed off personality that he'd always had. His wife got sick and died and few years back, but his daughter went and became and engineer in a similar area to DiMA. Longfellow thinks DiMA's a kook but his daughter thinks he's a scientific masterpiece and will often ask him questions about his creation or how his mind was built.

Gage grew up around gang violence and quickly learned to steal, lie, and hurt to get the things he wanted. He never really lived in a stable home and mostly just squatted or camped wherever he could. Despite living in poverty, whenever he and his friends managed to scrap together enough money together, they'd hitch a ride to Nuka World and spend the day there. He grew to have a soft spot for the amusement park as he got older, and took up a maintenance job for them (they don't do background checks.. or any skill checks for that matter, but Gage is a quick learner.)

MAJOR FACTIONS + SYNTHS

The synths operate in society along with the other robots of the fallout universe. But, unlike the Protectrons, they can actually hold conversations. Because of that, they normally take on your regular lower-class to lower-middle-class jobs. They don't tend to be rich at all in their lifetimes due to the stigma around treating them exactly like humans. A lot of those opportunities have been stripped away from them for those exact reason. Some of them still manage to find ways around it, but it's a lot harder than how it'd be if they were a regular human. For instance, synths can't start businesses on their own. Many argue that it's because they're just not meant to do anything on their own and that they were created to help humans, but no one can give an argument on how them doing their own thing would harm them either.

The Railroad is the main group that's actively against the stereotypes and discrimination faced by the synths. Although, they've received a lot of backlash for naming themselves after a former anti-slavery group (many don't think it's fair to compare 1800s racism to whether or not bots can work higher-paying jobs), they've still become a huge relief to many synths who are desperate to be treated the same as any other person would.

The Institute is just a college in the modern age. Despite them receiving some backlash from the public about whether or not the practice of creating human-like bots, arguing that it's too 'Frankenstein-like', the students and professors still continue to build and work to make more and more realistic, artificial creatures and beings. Mr. House helps to fund their research as he finds it useful and because he also went their for school.

The Minutemen don't exist. There's no need when you have the police force, the fire department, and properly operating Protectrons active in the community. Most of hose who were a part of this faction have taken up community-centered jobs like farming or social work.

The Brotherhood of Steel continue to exist as the US Military. They're more focused on defending the country than they are preserving technology and the only places you’ll see one is in military bases or along the coast.

MINOR FACTIONS

The Atom Cats (along with Sturges) are a group of young adults who work at the local Harley Davidson. Tuesdays and Thursdays they host poetry night and generally just open the place up as a garage for anyone interested in mechanics or just hanging out with a bunch of strangers.

Raiders and Gunners are just the Bloods and Crips of the modern world. They stick with their own groups and despise anyone from the opposite side of the tracks. Shoot outs and common between them and it's best to not be associated at all if you can help it.

The Children of Atom are a strange and niche group of zealots that migrated from somewhere in Virginia to spread their gospel. No one’s sure who they are or what they want, but they’re attracted to the pollution cities bring and generally advocate for the betterment of the earth.

Ever since DiMA's arrival, Acadia's national park has turned into a debate ground for different thoughts and philosophies. People from all over the world come to visit to talk and discover other points of views. There's even a Atomite Pastor that frequents the area and promotes the newly found religion with those who are willing to listen. A strange place for stranger people.

[foxsfawn]

When will they understand that what Elain wants DOES NOT MATTER. She's a fictional character, she'll want anything that SARAH'll want her to.

"Oh, BuT yOu Can'T CoMpAre ThEm WiTh OtHeR eNdGaMe CoUpLeS, tHeY WeRe dRaWn tO eAcH oTheR, DeEp dOwN tHeY aLwAyS wAnTed ThEm".

Feyre was to be married to Tamlim. She despised Rhys. We only figured out how she truly felt for him because she said so later in acomaf.

Aelin felt repulse to even THINK to share a bed with another male because she was in love with Chaol, and spent an entire book being nothing more than friends with Rowan.

Nesta didn't want to be near Cassian at the beginning of acosf. It doesn't matter that it was because of her self-hatred or because she thought unworthy of Cassian. At that moment in the story, she DIDN'T WANT TO BE NEAR HIM.

What all these characters have in common is the fact that their wants and needs changed as they went through their development, and, most importantly, because Sarah wanted so.

But still, we have to notice that Elain is very different from them. She isn't reactive, expressing herself better through anger. She's more reserved and composed, so why is it so impossible to believe that she's just better at hiding her feelings? That she is, in fact, drawn to her mate, because we know the effects of the mating bond, but she is just much more stubborn than her sisters to give in.

Her arc won't be limited to her being acquainted with her powers and finding love (although I don't know how that would be explored, since 'she's already in love'). That's way too plain and simple for someone like Elain Archeron. She will follow the pattern of other SJM's FMC: find her path, her place in life, her purpose. Accomplish her destiny. And in the meantime she'll find love, of course, but that won't be the center of her story. Her journey won't be about her fighting for a relationship with someone who doesn't even plan a future with her, nor hiding in the shadows when we know her desire to be seen.

When we get an Elucien's book announcement, I'll pity sjm. She'll probably be treated as a criminal from part of the fandom, for the hideous crime of disrespecting what a fictional character wants.

[luthien-under-bough]

my meandering thoughts after ep7:

i think a lot of people are overlooking the importance of daemon's scenes in episode 7 in focusing so much on oscar tully. like ok sure it is objectively funny to see daemon be read for filth by a teenager, but this is not some meta punishment doled out by the writers because they hate his character - or even oscar "gagging" daemon. this is daemon directly responding to rhaenyra's accusation during their ep2 argument: "I think you used my words as an excuse to take your own revenge… to indulge the darkness you keep sheathed within you like a blade." Oscar's own words to willem blackwood call back to this: "it is true that he made clear his base desires, but you did not have to pursue such savagery. You did it… because you wanted to."

like yes, daemon is being humbled, but he is also specifically acting contrary to his own desires, and choosing to do what is necessary in service to rhaenyra's claim. it's obvious in the look he shares with ser simon, and in his shifting expression from anger to acceptance as he realizes he must do this to earn the crucial support of the riverlords. i do not think the daemon of episode 2/3 would have responded this way. he would have given into that impulse that's telling him to smack oscar around and burn the lot of them. he is putting aside what he would do, in favor of what rhaenyra needs him to do.

And the look on his face afterwards is full of horror - for the first time we really see him haunted by his own act of violence, when we've typically seem him remorseless or flippant (rhea royce, vaemond velaryon, the unnamed body they used for laenor's "death") if it advances his aims. this contrasts with rhaenyra in this same episode, where we see her really indulging in violence for the first time - she sacrifices the dragonseeds in pursuit of finding new dragonriders, which is also a repudiation of her and daemon's earlier argument, where he accused her of being too weak to spill blood to achieve greatness.

(literally everything they do ties back to one another, their influence on one another, and which parts of each other and viserys they choose to internalize and express - two halves of a whole, indeed - so it baffles me that most daemyras are unsatisfied with this storyline just because they aren't physically together, but that's a story for another post)

daemon's scene in the Harrenhal godswood leads directly into the vision with viserys, where he is confronted with the question of whether or not he still wants the crown (really, if he ever actually wanted it - or was it just a symbol of his brother's love, of recognition, of the ultimate tool to achieve power and respect in this world). he's just had to make a choice and take an action that conflicts with his own worldview, of what strength and loyalty means, of the acceptability to the ends justifying the means, of the ramifications of the collateral damage that such choices have - which is all tied into the true weight of bearing the crown. is he really cut out for this? i think it's clear the answer will be 'no' - and it will reaffirm his support for rhaenyra, at the same time her own journey has brought her to a place where she has found a way to wield her power and authority in a way that can be respected (and feared) and is independent of her reliance on daemon's martial prowess and masculinity.

if there's still any doubt that daemon's visions all have purpose and are moving him forward, i really don't know what to tell you. it's frustrating to see his arc reduced to "daemon is doing nothing all season" because most of it has been internal. both daemon and rhaenyra have grown from the accusations levied at one another in their argument, and i think are positioned well for a reunion that allows them to "finish their conversation" from a place where they are both more able to function within the parameters of their strange and unique relationship as sovereign/consort, husband/wife. uncle/niece, and even brother/sister (as their relationship to viserys is very much reminiscent of siblings competing for their father's love and attention). it's a very clear arc to me, and i am very excited to see how it all comes together in the finale (as well as how this sets the stage for future conflict between them).

(the " but in the book…" arguments about daemon at this point are also weak IMO, because daemon basically does nothing during this section in the book. and because the show has added different dimensions to his character that simply do not exist in the source material. his time in harrenhal is summed up in a couple of paragraphs. the riverlords all honor their oaths without conflict - and he fights in the battle of Stone Hedge, which you can mourn as an adaptational choice you do not agree with, but personally i think it's far less interesting than what we were given in the show.)

this is where i wish the fandom at large would give the writers a little more credit, and extend your faith a little further. sure there are some odd choices throughout, and yes they have taken adaptational liberties you may not agree with - but as we near the end of the season, the overall vision for daemon (and rhaenyra) is clearer, and i think it will be even more rewarding looking back on the season as a whole.

[piratekane]

7! Ava telling Bea that🫠🫠

seven: look at me. just breathe.

Ava looks small. She always has, despite feeling larger than life. But in a wide hospital bed with wires running from her body to the various beeping machines, she looks smaller than she did before she slipped through the Arc.

Before you sent her through it.

Beatrice stands at the edge of the doorway, wringing her hands as Jillian flutters around Ava with purposeful hands. Ava looks tired, but impossibly cheerful as Jillian puts another electrode pad on her exposed skin. She keeps stealing glances at the doorway, keeps ducking her head to meet Beatrice’s eyes, and always frowning a little when Beatrice gives nothing away. 

She’s afraid to step forward, afraid to meet Ava’s eyes. What if this is a dream? What if she’s fallen asleep and woken up in a dream world where everything has magically fallen into place? Ava escaping Reya’s realm the moment Beatrice crosses the threshold of Cat’s Cradle? It’s too… perfect. It slots together too neatly. 

She can’t cross the threshold because she might wake up in a hotel room somewhere - Cinque Terre, Faro, Lisbon - and this has all been a trick of the mind, a quiet torturous place her mind has found.

“Beatrice?”

Jillian touches her arm gently, trying not to startle her. Beatrice holds onto herself, a sharp inhale the only thing that gives her surprise away. But either Jillian doesn’t hear or she’s too kind to bring attention to it. She simply gives Beatrice a kind smile and slight tilt of her head. A quiet, she’s asking for you.

Beatrice searches for the part of her that’s always stood tall in the face of adversity. It wasn’t always there, grown out of a necessity, but it activates now as she takes that first step into the room on feet that feel steadier than her heart does. The live wire edge in her chest fizzles a little when she sees the way Ava’s face lights up as she moves closer and her hesitation simply vanishes.

Ava smiles wider. “Hi.”

Hi feels too small. Hey feels too informal. I’ve been thinking of you every minute of every day for the last nine months and you’re a ghost haunting all of my waking moments and sleeping ones too and I think I’ve been waiting for you my whole life feels too big.

She settles for a quiet, “Hello.”

Ava’s nose wrinkles. “Hello,” she echoes, pitching her voice slightly deeper. A clumsy attempt at mimicking her accent. She blinks up at Beatrice expectantly. “Anything else?” she asks after a moment.

“You’re back.” Everything else she wants to say sticks in her throat.

“I am.” Ava tips her head curiously, keen eyes studying her. Beatrice wonders if she sees the new highlights in her hair, the added years Beatrice sees when she looks at herself in the mirror. “I mean, I wasn’t expecting a party, or anything. Maybe a banner or a cupcake. Though, I get that it was kind of an impromptu arrival and there wasn’t a lot of time to plan. I mean, it’s not like you guys have a ‘Welcome Back to Earth’ banner on hand, right?” She pauses again. “I was expecting more than hello, though.”

Restraint, Beatrice, her mother used to tell her. Show some restraint. When she spoke out of turn, became too excited - it was always whip-sharp eyes in her direction, reminding her to practice some self-discipline. Ava, on the other end of the long spectrum between what is expected and what isn’t, is the least restrained person Beatrice has ever met.

Beatrice, months separated from Ava’s influence, struggles to find a middle ground. 

“Seriously.” Ava laughs. She sounds nervous. “They didn’t, like, replace you with a pod person or anything, did they?” Her eyes widen. “Is this some kind of alternate reality where people are different? Are you really Beatrice? Or are you her evil twin? Is this world run by toads? I had a dream once where there was a toad king who demanded we all speak in ribbits. Or is it croaks? Hey, can you look up the sound toads make? I think I missed that science lesson.”

“Ava,” Beatrice breathes. Fond exasperation is easy to fall into.

Ava grins rakishly. “Ah, there she is.”

Beatrice opens her mouth to scold her, to tell Ava that she’s not as funny as she thinks she is, but she’s horrified when a single sob loosens from somewhere in the back of her throat and explodes into the space between them. 

They both look startled at the sound, but Ava recovers quicker than she does. She curses softly when she tries to move, wires tangling up around her wrists. She starts to try and move them out of her way, her legs swinging over the side of the bed as she starts to inch towards Beatrice. She looks up, forehead pulled together in frustration. “Hold- just hold on.”

Beatrice claps her hand down over her mouth, trying to stop the next horrible sound that comes out of it. She holds out her other hand, trying to tell Ava to stay back. No, no, no. This isn’t how this was supposed to go.

Ava curses again, louder and in Portuguese this time, as another wire comes undone and loops its way around her arm instead. “I swear to fucking God and all her shitty decisions that if this thing doesn’t- Ha!” She wiggles out of one wire, then a second. She smiles triumphantly at Beatrice but that wrinkle in her forehead hasn’t faded away.

Something starts beeping as Ava disconnects the next wire. There’s a moment where they both stand, suspended as they wait for Ava to suddenly collapse onto the floor, that one wire the only thing keeping her up. But nothing comes and Ava must decide that it’s the all-clear; she starts pulling at wires until they disconnect, creating a cacophony of noise that feels like a mis-paced symphony.

“Hold on, hold on,” Ava is muttering as she pulls the last wire free. She’s suddenly in front of Beatrice, hands out in front of her carefully. “Hey, Bea.”

Beatrice’s eyes dart around the room. It’s starting to narrow to a pinprick, the lights spinning around. Ava is the only thing staying still, her focal part as the rest of the room rushes in on her. Another sob starts to build in her throat but it gets stuck there, forming into a hard knot that makes it hard to swallow around.

Breathe, she tells herself. Just take a breath.

“Look at me. Just breathe,” Ava says quietly. She takes a hesitant step forward. “I think- Bea, I think you’re having a panic attack.”

Beatrice tries to shake her head. She tries, but she’s not sure that she does. Her body feels far away, like she’s swimming underwater from one end of an endless pool to the other. The beeping of the machines distorts into a heartbeat, but that might just be the blood rushing in her ears. She tries to inhale and chokes on that knot.

“Okay, just follow my voice.” Ava sounds closer, but Beatrice can’t quite say how close she is. The room is starting to stretch out like a funhouse mirror. “Bea, uh, okay. Okay. I’m going to touch you. I know, you might freak out. But I’m going to put my hands on your hands, okay? Just like… just like this.”

She feels something cool and soft land on the wrist of her outstretched arm. It becomes a focal point. She focuses all of her energy there, all of her remaining senses rush to the spot where Ava’s fingertips curl around her pulse point.

Ava makes a noise that sounds like a hum just under the hot whistle of air in Beatrice’s ears. “Good. Now the other hand.”

Another cool hand touches hers, pulling it away from her mouth. She lets her world dial down to just the feather-light touch of Ava’s hand tangling with hers, lets herself focus in on the soft pads of Ava’s fingers running over the silvery scars on her hands. Each brush against her knuckle breaks down the knot in her throat until she can take in a ragged breath, then another, then one more.

The world begins to expand again - light filtering back in, the beeping stretching out into its asynchronous rhythm, the slightly sterile smell of clean cotton on the hospital bed. She focuses all of her attention on Ava, though. On the soft soothing noises Ava is making, the heat coming off her body as she gets closer, the strange patterns Ava is rubbing into her wrist.

“Hey,” Ava says quietly in the spaces between the beeping. “Hey, there you are.”

“I’m sorry,” she croaks, graceless.

Ava’s eyes are wide, but kind as they come into focus. Beatrice could count the inches between them on two hands. “You don’t need to apologize. I don’t think either of us expected this.”

“I should have.” She inhales again, the exhale a little steadier. “I should have been expecting this.”

“Beatrice, I mean this in the nicest way.” Ava ducks her head just a little, meeting her gaze directly. “This is a compliment, okay? You are not perfect. You cannot anticipate everything. And you shouldn’t be expected to do that. So it’s okay, alright? It’s okay that you didn’t anticipate some scientific marvel spitting me back into reality. I think I can forgive you for that, hmm?”

“Okay,” she whispers, not believing it entirely. But Ava looks so convincing, she lets the idea sit and tries to believe it could be true. “I’m-”

“Don’t apologize,” Ava says quickly. “This is a no-sorry party. Apologies department is closed for… the rest of eternity. No need to leave a message.” She strokes her thumb against the back of Beatrice’s hand before her eyes widen in mock-surprise. “Maybe this is an alternate reality where I’m not funny anymore.”

“Your jokes were always mediocre at best,” she manages.

Ava grins. “She speaks. And she lies.” Ava’s expression softens and she pulls until Beatrice can count the inches on one hand now. They’re nearly nose to nose and Beatrice can see the thin skin over Ava’s collarbone, just a little more pronounced this close up. “You’re okay.”

Beatrice takes in a slow, measured breath. “You’re here,” she exhales.

“All 238 bones of me.” Ava’s mouth falls into a serious line. “I’m including teeth, of course.”

She can’t help the laugh that bubbles up from her unexpectedly. Get control of yourself, her mother’s voice hisses. But Ava is looking at her, pleased. It sends her mother to the back of her head, back behind Ava’s smile.

“You had your wisdom teeth removed,” she reminds Ava gently.

Ava’s mouth falls open slightly. “How did you-” Her eyes narrow, but she’s smiling. “No stone unturned for you people, hmm? I bet Sister Frances kept those teeth, too. You know, Diego and I always thought she had some kind of creepy collection of, like, teeth and hair. She seemed the type.” Her fingers start working over Bea’s hands and up towards her elbows as she carefully starts to guide them around her back.

“Ava,” Beatrice tries.

“I don’t know about you,” Ava says quietly. “I don’t know how long it’s been since-”

“Too long,” Beatrice breathes. Eight months, twenty-three days, and somewhere around three hours, she doesn’t say out loud.

“But it’s been even longer for me,” Ava finishes. “And, I’ll be honest, okay? I really missed Mother Superion and Camila and, yeah, okay, parts of Lilith. But you were the only thing that kept me going. So I’m going to hug you and you’re going to hug me and then I’m going to pass out, if that’s okay with you?”

Beatrice startles a little, their forehead nearly knocking as she grabs Ava tightly and holds her against her body. Ava seems to sigh into the hug, her forehead dropping into the curve of Beatrice’s neck, her hands gripping the back of Beatrice’s shirt tight enough to crease the carefully ironed fabric. She grows heavy nearly instantly and Beatrice almost sways under the sudden weight.

“I’m-”

“Shut up,” Ava murmurs. Beatrice feels the words more than she hears them. “Just, be quiet, okay? I’ve been imagining this for years.”

Years, she thinks. But she goes quiet again, pressing her lips to Ava’s hair. She breathes in something bleach-like, like the ozone burning. She carefully inches forward, Ava’s abandoned bed her destination. She can hear her heart beating against her rib cage, but Ava’s own heart seems to be answering in its own language.

She starts to loosen her grip on Ava, intending to convince her that she should lay back down, let Beatrice reattach all of the wires monitoring her vitals, let Beatrice go and find Jillian to make sure they didn’t mess everything up. But when she goes to loosen her grip, Ava hangs on.

“Don’t,” Ava whispers. “Don’t let go yet.”

Beatrice holds on tighter; doesn’t tell Ava she has no intention of ever letting go again.

[itsclydebitches]

There's something I find pretty messed up about Little's part of the story. Penny is dead. The story puts focus on this and how it's effecting Ruby and is why Little's death is what breaks Ruby. The volume ends though with Little coming back so it's a happy end, right? Except Penny is still dead and never coming back. And they are going back to a world where people die when they are killed. It's like "Forget about your dead friend cause we got one where your actions don't have consequences."

Yeah, that's an issue with the Ascension arc as a whole. As discussed previously, we're already starting from a place of confusing messages because the world can't decide what Ascension exactly is. Some beings lose all their memories and (arguably as a result) their sense of self. Some just seem to get cool upgrades. Some change in such monumental ways they probably can't go back to their old life even if they wanted to (can Somewhat ever live with the other mice again now that they're like fifty times their size?). And some, Like Ruby, undergo no changes at all except a convenient and ambiguous ~emotional clarity~

So Ascension is a catch-all "Anything could happen" situation where all options, no matter how shady they appear to the audience, are eventually presented as #good by the show... except I'm 100% sure they only come across that way BECAUSE they happen to side characters we're not invested in/are leaving behind. Would people honestly have been happy if Ruby:

Completely forgot who she was (King)

Got some crazy physical upgrade that would fundamentally change the power dynamics of the show/other her in Remnant/imply that she's a faunus to strangers if she got some animal trait (the Caterpillar/Somewhat)

Came away with a new "purpose" and decided she didn't want to be a Huntress anymore (the Paper Pleasers)

There's a reason Ruby did not change except to inexplicably regain her confidence because the show and on some level recognizes that these options are indeed an awful kind of "death," something that would be bad to do to your main character (baring a monumental shift in the show). When we talk about the importance of growth (in real life and in fiction) we're referencing a context in which a person changes slowly over time, adapting to each change in a natural way, all of it a combination of environmental factors and personal agency. To just have some magical tree instantly change you without consent, making you "better" by its own, undefined parameters... that's not wonderful, that's horrifying! But as you say, even if we overlook all that and come at Ascension from a direction the story wants, accepting and praising such an aspect of this world... Team RWBY doesn't live in that world. What did they learn from this then? Yay for people who live in alternate realities because they get to become "better" rather than dying? Good for them, but our friends are still dead and our lives are still on the line.

If RWBY wanted this arc they not only needed to reeeeeally clean up what Ascension is/how it works, but decide on the message they're trying to impart. Because what we got, on a literal level, is Ruby being depressed enough to choose ending (that version of) her life, instead being rewarded for that choice by a pantheon she's kinda fighting against (in a way that both skips her development and ignores every other implied rule of Ascension), and is returning to a world where none of this matters because death is a Permanent Thing That She's Going to Be Seeing a Whole Lot More of Soon.

Penny is dead. Many other allies are dead. Weiss' Kingdom is gone. Salem is set to exterminate the rest of Remnant, and instead of dealing with any of that Volume 9 gave Team RWBY a (literal) fantasy world where everything is just fine, actually. Wouldn't it be cool if no one actually died and whenever it seems like they did they'd just come back as an upgraded version of themselves? Yeah! Too bad that's not the reality they're heading back to.

Honestly, the way to clean up all of Volume 9 for me is to slap a "It was just a dream" disclaimer on it. Volume 10 we learn that Ruby had a crazy, contradictory fever dream post-battle in which the biggest trauma she's ever faced is magically fixed by her subconscious? Yeah, that tracks. More than taking Volume 9 at face value.

[auriidae]

more of these guys :] (part 1) (part 2)

classpect thoughts under cut! yippee

these absolute fools gave me SO much trouble. i changed each of their classes and/or aspects like twice while drawing this lmao.

pearle was going to be a rage player initially! i had her down as one for the chaos — yknow, ‘red’s my favorite color’ and all that. but the catch ended up being that in this au, as rage represents in-game chaos and bloodlust, it only exists while the game is in effect, and so rage players don’t have much dominion over stuff that happens after that period ends (which has all sorts of delightful implications for grienn’s character, but anyways). meanwhile pearle definitely continues playing and also grows as a character even in times of peace. i was thinking in terms of comparing her arc in double life to secret life in particular — ‘she left the tower’ and all that, yknow? she went from being terribly isolated and functioning on a completely independent scale, winning only for herself, to being a key member of a team and finding a purpose in helping them. which is pretty incredibly space-coded, in my mind! my personal qualification for space players is that they’re destined to be lonely, often physically separated in some way from others, for a while but not forever — because space is about creation, after all. and if you look at being a witch from the perspective of reinvention — what pearle manipulated or reinvented here was herself. she found her place in the story and the person she wanted to be. witches are also some of the most powerful characters in terms of specifically manipulating their aspect, i think, which is great because i’ve heard she's pretty great at pvp lol

ignore that martyn’s color palette is not particularly great it’s hard to unify the design of a character who is super rustblood-coded but also inextricably linked to the colors green and yellow of all things. i’ll redesign him later. anyways! at first i had thought there might not be any light players in this session — since light is about sort of seeing through the laws of the game and often deliberately defying them, as well as having a certain degree of control over narrative agency due to this. and because, yknow, the life series is a minecraft youtube roleplay series, realistically the ccs aren’t going to be playing any characters that go out of their way to completely ruin the game or refuse to play it by the rules altogether. but then i started thinking — and i don’t know an awful lot about martyn’s character so forgive me if i’m going a little bit off the rails here — does martyn want to understand? because if he as a character tries to understand and affect his destiny even though he’s ultimately limited by the nature of the story itself, then he could totally be a light player. so that’s where i was coming from here. think about how he won limited life in the end, for instance — not by playing into what the game itself had been leading up to, but by acting on and finishing his own story. he’s a knight because i do think knights are a certified Narrative’s Little Guy class — they persevere through so much pressure and often also have that sort of dual persona thing, both of which are particularly endearing to an audience. it’s hard work, keeping up with the narrative and fulfilling his own quest for understanding while he’s at it!! but he does it!!

renn is Such a blood player guys he is such a blood player ohhh my goodness. playing the game in terms of your relationships with others, right? basing how you go about it on allies and interactions, and being a leader above all else? i’d say that’s pretty ren the dog coded tbh. i don’t have too much to say here because i think seer of blood renn is pretty self-explanatory — he sees the entire game as a game of relationships and ties. he has a lot of knowledge about this field specifically, and shares it with his allies in the way he helps direct them and keep them alive. the reason he’s blood instead of light is because he puts his allies over knowledge, i think — he’s far too busy dealing with all that stuff to speculate for too long what the purpose of it all might be, and that would detract from his goal (of winning alongside others or dying nobly), anyway.

again questions abt them are open forever always :3

[spaceorphan18]

The Rogue and Gambit Project : The Muir Island Saga

The first time we see Rogue and Gambit on the same page together is the cover of Uncanny X-Men #275 - which was one of those VERY SPECIAL ISSUES that put everyone on the cover. No, this is not a part of the Muir Island Saga -- but belongs to the previous arcs (Savage Land and Space Shenanigans). Still, it's pretty cool to see them on the cover together.

So, here's the thing about the Muir Island Saga - the next arc of the comics - despite dealing with the same adversary, and spending time with the same group of people, we never see Rogue and Gambit mix. In fact - (something I'll point out in detail in a minute) - it's almost comical how much they seem to be ships passing in the night. It's almost as if it's done purposely.

I know that years (and years and years and years) later - we'll get a retcon of their first meeting. And I really thought a lot about whether or not I should talk about that here... and, not to disappoint some of you, but I'm not going to (for now). Because I kind of want to tackle this project from a chronological point of view. To experience things as they were happening without the added layers of what we'll get next. And the retcon kind of, gets into a whole lot of issues I don't want to dig into yet. So, I promise, I'll talk about Kelly Thompson's Mini when we get there, we're just... a very long way off from that.

In the meantime, the thing about this arc that's so fascinating is trying to pinpoint how they could meet. And when. And why. And thing I keep coming back to is... comics don't make a whole lot of sense, y'all.

Let's dive in...

Uncanny X-Men #278

The whole premise of The Muir Island Saga is that the Shadow King wants to get out of the Astral Plane and kind of brainwashes the residents of Muir Island (including the X-Men) in order to do it. Don't ask me to make sense of it, I'm just the recapper!

The real purpose of the whole thing is to reshuffle the line, which had been in such flux up until this point. The X-Office was getting ready to launch the new Adjectiveless X-Men book, and Chris Claremont was getting ready to depart after 17 years of being the sole author of X-Men. Things were definitely changing and this saga finally gets all the pieces to where they need to be.

As an aside, I do find it fascinating that the beginning of Rogue and Gambit's relationship coincides with all of these changes. Not only is the decade changing, but X-Men's status quo is about to be really shaken up after being a relatively steady book for a very, very long time. It's just kind of neat that the endings and beginnings happening on an external level are also happening with our characters as well.

Uncanny X-Men #278

For some context, after the destruction of the mansion after the Inferno crossover, and after remaining X-Men all ended up going through the Siege Perilous after the Australian era, Muir Island, home of (brilliant scientist and ex-Xavier lover) Moira MacTaggart became the home of a new (and short lived) group of X-Men. I can only assume that's why Rogue returned here after her little side adventure in the Savage Land.

Though I should point out that Rogue has ZERO idea who is alive and who is dead other than the people who are already on the island. I kind of wonder what her future plans would have been if the other X-Men never showed up. Anyway... though, there really isn't any full explanation as to why Rogue went back to Muir Island other than they had no intention of writing her out of the book, and they needed all the X-Men to be in one place.

How does she feel about the events of the Savage Land? What really happened with her and Magneto? The answer is -- who cares, we're done with that plot now and moving on until another comic book writer decides to tug on that loose plot thread. :P

Uncanny X-Men #278

What is important to know that the Shadow King is mind controlling everyone. And... he does so with Rogue by making out with her after she's been in the shower? What??

Look, I'm not going to claim this stuff makes a whole lot of sense. But I can fanwank it a little...

The Shadow King's whole deal is that he's trying to corrupt everyone and bring them to their most evil (because, you know, that's what evil villains do). And with Rogue - he plays on her sense of touch. Back in the old days, Rogue used kissing as her primary way of stealing people's powers. And on top of that, one of her deepest rooted struggles (as of obvious statement isn't obvious) is the fact that she isn't able to have physical contact. So the Shadow King is tapping into both of those things, and, as the whole 'temptation' quote insinuates - him letting her give into her desires allows him to brainwash her.

Now, do I really believe she'd be enticed this easily? Can the Shadow King have that deep a hold on anyone? That is for you to decide, fair reader.

It's at least my interpretation. Honestly, I think there's a bigger part of me that wonders if they really just wanted to see Rogue making out with someone because because they can.

Meanwhile, on the opposite page, guess who is landing with the rest of the X-Men who just returning from space? That's right, everyone can relax. Gambit has arrived. ;) They're now in the same place... so if we can only get them to the same panel...

Uncanny X-Men #278

Alright guys, time to play the logistics game... these two panels are on opposite pages. Gambit, fresh off his plane, ends up running into Multiple Man - and they have a little fight. Meanwhile, Rogue runs into Wolverine and Jubilee - and they have a little fight. Are you following me? Good! Cause it's going to get crazier from here.

Also, let's keep track of Rogue's clothes because... ooff, yeah, the continuity is worse than the story line.

Uncanny X-Men #279

Before I get into it - I need to state that Uncanny X-Men 279 is the issue where Chris Claremont just up and quit during the middle. He'll be back to wrap up his run in the new X-Men book (that we'll get to after this) but I'm sure the nonsense going on in the X-Office didn't help the clarity of this story...

Anyway, the next time we see either Gambit or Rogue is here... in the next issue. What happened between Rogue and Wolverine/Jubilee? How did Gambit handle Multiple Man? Who knows! But now Gambit is with Wolverine and Jubilee and Rogue is nowhere to be seen.

Also - that's the third 'bang, you dead joke' in, like, five issues. Good lord, Claremont, if this wasn't your final Uncanny issue (for now) I'd say give it a rest. I will say, though, I almost included the entire three pages of Wolverine/Jubilee/Gambit because they are that delicious, and easily the best thing about this entire arc.

Uncanny X-Men #279

On the next page, we see Rogue again - where she is taking on Forge. Note the wardrobe change? Did she have time to add more clothes after her 'fight' with Wolverine? Is any of this making sense yet? No? Okay... onto the X-Factor issue...

X-Factor #69

This is literally the next time we see Rogue - after Forge shoots her with a ray gun that stops the mind control. Did the ray gun just change her outfit as well? Was the previous outfit too evil?? Or was it just that artists Andy Kubert and Whilce Portacio just have zero communication when getting these issues out? (Honestly, I do not blame the artists - I do blame editorial though.)

X-Factor #69

Meanwhile, where is Gambit you ask??

Alright, guys, this is where we're at -- Forge has un-mind controlled Rogue, Wolverine, and Banshee. Meanwhile, Gambit, Psylocke, Jubilee and the Muir Island peeps are still under the Shadow King. And now X-Factor (the original five X-Men - Cyclops, Jean Grey, Iceman, Angel, and Beast) are now involved. All of them are running around the island. Only, it's X-Factor who finds the rest of the mind controlled - not Forge and crew...

Also, in case you'd like me to make it more confusing, Mystique has arrived in disguise (with Nick Fury), while all this mind control is doing wonders for Charles Xavier's son, Legion, who is about to go a little crazy.

Uncanny X-Men #280

Classic cover is classic. Also, Rogue still has more of her clothes! Don't grow too attached to them.

Uncanny X-Men #280

See, I told you not to get too attached to Rogue's clothes. Apparently, when Legion went crazy and caused an explosion, it blew off all her clothes. Miraculously, no one else had this issue. I guess Jean just used her telekinetic powers to keep hers on.

Uncanny X-Men #280

And on the other side of this really not very big island is the B-team. B for brainwashed. Yes - the two teams are going to meet! Yes, a big, huge battle is about to ensue!

Uncanny X-Men #280

Gambit is going to take on Wolverine (for the 100th time it seems) while Rogue will take on Strong Guy. Every non-brainwashed X-Man is going to take on every other brainwashed X-Man. Except for Rogue v Gambit. We don't get to see that. They do not share any panels together. Not even in the big group scenes. None. Nothing. Absolutely zero.

They just knew it'd be too much...

(Honestly, I am a little curious as to why this was. It almost does feel intentional at this point.)

Anyway, the battle ends. The Shadow King is vanquished (for now) -- and has the hilariously villain closing line of "No!!! I WAS SO CLOSE!!" And all that's left is to wrap up this little ditty...

Uncanny X-Men #280

I just need to talk about Rogue's clothes again. Her panties are barely hanging on by a thread, but her gloves are perfectly intact. How convenient.

Anyway, the last line of this comic reads: The End, and The Beginning. How appropriate...

Here we are, guys. The first issue where Rogue and Gambit end up on panel together. Are you ready for this??

Let's talk about X-Factor #70

X-Factor #70

Most of the issue revolves around Xavier trying to get into Legion's head while the rest of the group is either waiting around in the hospital room or tying up loose plot threads around the island.

So... how much time has passed? It's unclear - but enough that Rogue's had enough time to find some clothes that have not been ripped to shreds.

Anyway - one of the loose plot threads is dealing with Mystique's "death" that happened ages ago. Turns out she faked it and had been pretending to be Val Cooper for a while now. Rogue had seen news of the "death" and this is their reunion.

Great, now that that's squared away, we get one of my favorite sequences in comics... the chain letting everyone know that Xavier is okay ;)

X-Factor #70

Idk why, but I love this little sequence. I love the random 'no smoking' sign. I love Gambit freaking Polaris out. I love that Jubilee just does not give a shit. And I love that Rogue doesn't seem to either.

Anyway... now to the moment y'all have been patiently waiting for...

I present to you -- Rogue and Gambit's first on panel moment!

X-Factor #70

It's sort of anticlimactic, isn't it?

While Xavier's - what do we do with fourteen X-Men - is rather iconic, the art here is... meh. I'm so glad Jim Lee is going to redesign a lot of the characters. Gambit just does not look good in the yellow costume (also, he does not have his headsock on here for some reason). Meanwhile, even Rogue looks a little off here (though this is the X-Factor book and not Uncanny).

And... we're left with a bunch of open questions. Just how did Rogue and Gambit meet? What was their first interaction like? What is their dynamic at the very beginning? As I said before -- Kelly Thompson will one day answer these questions -- both brilliantly and unbelievably.

If you were looking for any kind of set up going into the relaunch, I'm sorry to say that what I've laid out for you is what we've got. So, introductions are open to interpretation...

My own version...?

Gambit: *speaking flirtations French to Rogue* Rogue: Wolverine - who is this? Wolverine: Storm brought back some Cajun leftovers from her time as a de-aged thief. Gambit: How about a kiss, chere? Rogue: How about I punch you?

And thus a dynamic was born. ;)

Next up: We're finally going to really get into it with X-Men #1-3!