#personal apocalypse

[crmsnmth]

My Personal Apocalypse

For you, it was just another dreary March day Where cold rains, and pushing winds make even the air intolerable A perfect backdrop for your miserable task Was it hard to look into my eyes while you told me this isn't working anymore Was it so awful that you forget to even tell me why? No. It wasn't. Because this just brought you relief

For me, that afternoon was my personal apocalypse I couldn't feel the rain on my skin anyway And it's not like breathing had importance anymore I asked what I did, and your answer was to turn away showing me your back again My brain flashes to a summer night in your room where I kissed slowly along your spine Laying claim, and being claimed

The end of the world comes in broken hearts and quickly vanishing taillights.

[nikkisticki]

RULE

[kendyroy]

Although very brief, I really really love the portrayal of Logan’s Weapon X breakout scene in X2. i love how it shows how nightmarishly awful this whole situation is for him. The fucking trauma of it all. His agonizing scream and the fact he looks absolutely horrified by the blood and the adamantium claws.

[throwthepumpkin]

I love Martin Blackwood so much I love how complex of a character he is I love how he's somehow both a manipulative bastard and a genuinely kind person simultaneously I love him and Jon's relationship and how complex that is I love how he's (arguably) one of the most realistic characters in tma I love him

[girl-mercury]

i just went to see furiosa, it was fun as ridiculous car chases tend to be (i will watch fast and furious 1–98) and had good worldbuilding, but there was something i was wondering the whole time

it’s made very clear that this takes place specifically in central australia after the nuclear apocalypse; it’s specifically about conflict between several violent groups attempting to hold control over scarce resources. white guys, almost exclusively. but where are the aboriginal people? indigenous people have been in australia for a very long time, and after surviving colonization i’m honestly not sure another apocalypse is going to be that overwhelming

so what i’m wondering is, assuming they’re there but not seen while the car enthusiasts battle it out, is this like a donner party situation? are there indigenous people watching these idiots explode themselves over food and water and gas from behind a rock and going “you dumb pieces of shit. if you could put down the guns for a second we’d show you where the food is. or… no? you’re just going to eat each other instead? cool cool cool. have fun. yikes.”

[thegreatyin]

ffxiv as a whole is like a ghibli movie. not in the way people usually describe ghibli movies like they're just peaceful and cozy and light-hearted but like. in the way it's a post-apocalyptic world and an active apocalypse story on like a dozen different levels and it's also all about society rebuilding after the apocalypse never quite reclaiming what it used to be but making something new all the same. and also it's about how gay catboys are equivalent to nuclear missiles

[bacchusbasil]

Analytic Deep-Dive of Stanford Pines

Something I don't see talked about like AT ALL is how arrogant and selfish Ford was.

Man literally has delusions of grandeur all throughout Journal 3 and Book of Bill. He decides not just to look at the big picture, but the frame, wall, room, and building it's hung up in.

Fiddleford spent days putting together a whole thesis for Ford that would change his life and give him everything Ford dreamed of; money, renown, credibility, but it still wasn't enough for Ford.

Even when everything fell to ruin and he realised that Bill was trying to end the world, his big dumb nerd brain just couldn't let go of his research, not even for the sake of the world.

(This is kinda long so I'm cutting it; more below)

If he had destroyed the Journals like his first instinct told him to, Bill wouldn't have had blueprints. No one would be able to summon Bill. None of the information in the Journals would have reached any hands, much less the wrong ones.

But Ford was just so *adamant* about preserving his research, he decided that instead of removing the tools of destruction, it'd be better to kill a god instead.

His own hubris lead to everything that happened. Stanley pushing him into the portal, Gideon getting his hands on Journal 2 (an elementary school was a *great* place to hide a book of spells), the whole time thinking he was sticking it to Bill, when really he was playing into his hands.

Ford was a selfish man, and Bill enabled him by filling his head with flattery and praises.

Even after the Portal incident, Bill's influence still lingered in Ford's mind.

He still thought he had to do everything alone, that only he had the power and intelligence to destroy Bill once and for all. And some of his experiences only confirmed that belief.

Journal 3 details a dimension Ford visited where the Portal Incident never happened. In that dimension, Parallel Ford achieved everything Ford dreamed of. PStan listened to PFord, PFord reuinited with his PFiddleford, and PFord found a way to both stop Bill and keep his portal. This is a dimension where Ford got to have his cake and eat it to.

While I vehemently believe Parallel Ford learned many lessons about the importance of trust and community, I wholeheartedly believe that 46'/ Ford only saw this as a world where people listened to HIM, where he was in charge and in control, and everything worked out because of it. I fully believe seeing this dimension further drove our Ford to the conclusion that being the lone scholar was the right thing to be.

He held onto this belief even after coming home, even after reuniting with his brother, and continued to hold on to that mistrust and toxic independent mindset.

His character development didn't start until he played a table-top roleplaying game with a 12 year old boy.

[beforetimes]

i also think it's fair to say that charles was projecting onto erik a tiny bit during that fight on the jet to paris. when he says that erik took raven from him. when you're watching first class it's sort of very clear to see that charles did his share in pushing raven away throughout the film. especially when she's portrayed to be in this space between acceptance and rejection of her mutation. after erik enters her life around the same time she finds more mutants to bond with, she gets positive reinforcement surrounding her blue skin. when before, she asks charles and he sidesteps the question, and hank outwardly rejects her. she was definitely a kid at the beginning of the film before transitioning into someone who decided she deserved more than to be hated for who she was at the end. and in that process left the person who had raised her but also never seemed to see things the way she did; see her the way raven saw herself. becoming mystique and shedding the name raven was a way to divorce herself from charles' influence but! erik still played his fair part in bringing her over to his side. both charles and erik pushed her away from home and both charles and erik needed to work together to bring her back to her family

[honeysucklethornsandalligtrhorns]

'i'm fine with elias simps but i draw the line at lady mowbray you people have clearly never met old rich ladies-' i'm not in it for the money i'm in it for the senseless violence and killings. god forbid a woman do anything.

[kiaxet]

Sooooo y’all see the latest @somerandomdudelmao comic update? Because once again it is living in my head, which means once again my brain has generated fic. This one’s ~1200 words and slightly less tragic, depending on whether or not you take dramatic irony into account.

~~~~~~~

It starts fairly innocuously.

One of the surviving technicians monitors a computer as it finally, finally boots up successfully, whooping when the Genius Tech loading screen pops up. He grins and pats the power cable. "Thanks, Raph!"

It catches on.

A water purifier, disconnected to save a struggling power supply, gets plugged back in. It chugs back to life, and the kids responsible for its upkeep cheer and high five. One of them waves at the ceiling, where a power conduit runs overhead. "Thanks, Mister Raph!"

And it spreads like wildfire.

Every time something works the way it's supposed to - every time a much-needed device pops back to life, or the emergency doors close correctly, or a dying lightbulb flickers on one more time - they thank Raph. In gleeful shouts and careful whispers, they show gratitude for the person who gave up his life - and his second chance at life, at that - to keep them safe. It makes the emergency base, ramshackle and barely held together as it is, feel a little more like a home. A little more alive.

It doesn't take long for a few unspoken rules to develop.

They never say it in front of the metal shell. It's one thing to say it to the walls, the cables, the electricity; it's something else to say it to a figure with a face, seated against the wall like a sentinel that will awaken and protect them when danger arises.

(Nevermind that they've been in danger, constant and unending, for decades, and that this sentinel is already protecting them in smaller, everyday ways.)

They learn very quickly never to say it in front of Raph's surviving family, either. Master Leonardo gets angry when he hears it. It's an anger born of grief and loss, painful but not dangerous to allies, but given how terrifying Master Leonardo can be on the battlefield or a bad day, nobody really wants that anger directed at them. Master Michaelangelo just stops when he hears it, lips curling up in an expression too devoid of life to truly be called a smile. It's almost worse to witness than Master Leonardo's anger. No, they learn to watch themselves in front of the family, carefully taking their gratitude towards a dead man elsewhere.

Until the day someone forgets and says it in front of Casey Junior.

The kid looks up at Roger with wide, almost hopeful eyes. "Why did you- is he here? Can you feel him?"

Roger stares back at him with equally wide eyes. He'd just been grateful the computer had booted correctly for his monitor shift, and he hadn't been looking, and now he has to try to explain this to a kid who's never known a life outside the apocalypse. Oh boy. "No, uh- I mean- I don't have magic like your dads do, Casey, I couldn't-" He sighs. "It's just...a thing people do, when things work. Before the Krang, we had all sorts of machines that made life easier, and...we'd talk to 'em. Thank 'em when they worked, yell or beg when they didn't...I remember threatening a fax machine once, not that that made any difference. I think that just...kinda carried over here." Wait. "Not that your uncle was a machine or anything-"

"His body was a machine," Casey says simply, with a pragmatism that Roger hadn't been expecting. Apocalypse-raised kid. Right. "That wasn't what made him Uncle Raph. He was- it's-" Casey falters, expression starting to crumble. Pragmatism be damned, the kid is still grieving-

Rem, just coming off her shift, steps in smoothly. It's not the first time she's saved Roger's ass, both on and off the battlefield, and it won't be the last. "We know," she says gently, putting an arm around Casey's shoulders. "What Roger means is that we're grateful he's keeping us going, and that people like to bond with machines even when they're too simple to bond back. We all used to name our cars - can you believe it?"

"I named mine Red Rider," Roger says wistfully. He still misses that car.

"And I used to sneak out of the Hidden City with my cloaking brooch and go joyriding outside of human cities," Rem says, a grin splitting her feline muzzle. "I named every car I stole Phantom, like I thought I was cool."

Casey smiles - small and watery, but there nonetheless - and Roger breathes a sigh of relief. "What else did you name?"

"I mean, it was mostly cars, but some people named their computers."

"I had a friend who named her phone and just kept adding numbers when she had to replace it. It was Duchess O'Brien the eighth last I'd heard."

"I know some Yokai named their weapons, but I never really kept track of those. It was more of a Battle Nexus fandom thing."

Another Yokai leans in - a four eyed lizard whose name Roger could never remember no matter how hard he tried - and Roger shuts up. She's in charge of security now, and honestly she intimidates him. She looks around - at him, at Rem, at Casey - and then intones seriously, "I once named a kitchen appliance Toasty McToastFace."

There's a beat of silence. Casey has a lopsided grin growing on his face, like he doesn't get the joke but he knows it is one, and that's enough to lift his mood.

And then Rem doubles over, cracking up, and Bob smiles carefully. "Really loved that toaster, huh?"

"It was my closest friend," the lizard Yokai replies, deadpan as hell, before leaving the conversation.

Casey turns that confused grin on Roger. "Was she serious?"

"Kid, I have no idea. Some people are just really into this kinda thing."

Rem finally straightens up, wiping a tear from her eye with a paw. "Ohhhh boy. Oh, I needed that." She turns her smile back on Casey. "Point being, naming something makes it a little more real, and makes you a little more likely to take care of it. The system here...already has a name. We're just saying thank you, you know?"

The grin on Casey's face settles down into consideration. "Yeah, I think I do. I- Thanks. I'm gonna-" He waves at the door to finish his sentence.

"Go for it, kid." Roger waves him off as he departs, then sighs once he's gone. "God, that kid is just hemmhorraging family, isn't he."

"We all are, Roger, it's the fucking apocalypse." Rem flicks an ear.

"Yeah, but still. It's rough." There's a second or two of silence. "Also, if he says it in front of Master Leonardo, I'm denying all knowledge of this conversation."

"Spirits, same."

Roger learns a few days later - from Rem, of course - that Casey has named his chainsaw hockey stick Killer, because it's what his mom used to call him. Well damn, if kids like him are gonna be the future, then maybe they have some hope after all. He raps on a wall lightly, just below where the power conduit is mounted. "I know you didn't have a lot of time with the kid, but you did a good job." He can't help but smile. "Thanks, Raph."

[that1notetaker]

I think that the whole 'Greated Ninja To Have Ever Lived' title had a lot less to do with being a ninja and more to do with the fact that Leo just happened to be one. Not everyone can inspire people to be willing to fight during the literal end of the world, way past the point of redemption, you know.

[kryptonavatar]

[chirpsythismorning]

Can we talk about how Jonathan might've been able to clock Mike simply because of what happened with him and Nancy in season two?

This will be a long post, so you might want to strap in or save it for later.

In Will and Mike's case, it would obviously be much different from Jonathan and Nancy's situation, given that you know, they're gay. But we still have Jonathan arguably going through a similar experience as Will, while Mike is going through a similar experience as Nancy.

In s2, we see Nancy confront Jonathan about how she waited for him before getting back with Steve, which is a revelation to him. Then they're at Murray's and she's struggling to say she loves Steve, after a handful of moments between them that felt like she might return Jonathan’s feelings. And you can clearly see it in his eyes, listening to Murray imply that they have feelings for each other, with him looking back and forth sort of in awe of what's happening, like he's starting to question if she might actually like him back.

Will doesn't have that same affordance as Jonathan to really hope, at least not anymore. Which is why these relationships in s2 and s4 end differently for these two brothers.

Based on all the signs he was seeing that Nancy felt the same, Jonathan decided to take the plunge to admit to Nancy how he felt, and at that same moment Nancy had the courage to show how she felt. In Will and Mike's case, Will wasn't ready to take the plunge to admit to Mike how he felt, at the same moment Mike didn't have the courage to show how he felt.

What's so painfully hilarious to me about all of this though, is that Jonathan arguably starts the season in the same shoes as most of the audience, where from his perspective, it's becoming obvious to him now that Will like's Mike, but that Mike does not feel the same way.

First at Rink-O-Mania, Mike appears a little uncomfortable upon hugging Will. Then as the happy couple continues on their adventure into Rink-O-Mania, he watches Will lagging behind moping. And then unfortunately he's out of commission for the rest of the evening...

But once he's sober and back to being an attentive brother the following morning, we see him watching them at breakfast, with Mike barely sparing Will a glance, all while Will is blatantly staring, almost like he's waiting for Mike to look back, only for Mike to get up and walk away.

All of these instances gotta be SCREAMING unrequited gay love to Jonathan. He's already gotten signs for years that Will is gay, these are now just the signs that are instilling his suspicions that Will has feelings for Mike. He could have easily interpreted their relationship in the early seasons as young best friends, with Will seeming to have a crush on Mike, and with them growing up and that potentially including Will's straight friend distancing himself from him because he doesn't feel the same. It's not the most unexpected thing in the world considering.

But then there's a shift.

Suddenly he's creeping up on them talking in his room. And we know he was listening in on the conversation because he brings up Owens when he sits down. As he's eavesdropping, he's probably thinking something innocent like Aww they're making up! And like, hey! Even if Mike doesn't feel the same, which is okay and entirely expected honestly, at least he still cares about Will enough to make things right after acting so out of character. Still, I'm not gonna lie, that sounded a lot like flirting to me--

Then he's knocking on Will's door like 30 minutes or less later only to find Mike and Will back on their bullshit. Mike suddenly isn't going out of his way to ignore or put Will on the back burner. In fact, he's on his bed and they're talking, again! The door is even closed this time, which is interesting. This has gotta be a good sign in Jon's eyes. Nothing to worry about! Right? Right...?

But then suddenly this shift continues, going in a direction he probably didn't expect.

I mean, this is literally an identical jancy parallel we have here with byler on the hood of the car, with Jonathan right there to witness it. Despite him maybe only now subconsciously picking up on the similarities between Will and Mike to him and Nancy here, he's at least taking note (I mean he's even got his gay map out and everything).

It isn't until the van scene happens, that I think Jonathan starts to genuinely consider his suspicions, which is that Mike might actually like Will back.

EVERY time we get a shot of Jonathan looking back at Will and Mike in the van, followed by a shot of his POV from the rearview mirror, we're faced with Mike looking at Will while Will is looking away.

As Jonathan is hearing Will confirm his suspicions about his feelings for Mike, he's simultaneously witnessing Mike not looking at Will with disgust, but something more akin to reverence. All of those moments in the van that we witnessed, including all the ways Mike looked at Will and everything that was said, Jonathan was right there.

And what's even more insane about this scene, is that it circles back to Jonathan as a character himself.

I remember when people were talking about how odd it was that we never saw Jonathan with a camera in s4. After 3 seasons in a row of making his passion for photography a big part of his identity, that part of him was apparently absent entirely this time around... But was it really?

This is the same guy that said, "Sometimes, people don't really say what they're really thinking. But you capture the right moment, it says more."

Jonathan might not have had his camera in s4, but this was without a doubt one of those moments where he captured something more.

Something that I also think get's highly overlooked about this scene, especially when it comes to Jonathan looking back at them, being followed by a shot of Mike staring at Will, is that he could see both of their reactions the whole time, from beginning to end. Will nor the audience had the affordance of knowing because Will was facing the other way at the end, while we on the other-hand were blurred from even having the chance, despite Mike literally being in the frame. But not Jonathan. He even lets us see what he sees, a few times, but not at the very end, which would have been nice after they didn't let us see Mike's reaction seconds before this.

Let's just stop right there for a second though and circle back to what I consider to be the first time Jonathan really picked up on Will's feelings for Mike, which was at the end of s3, in a sequence that is a little too relevant to the van scene if you ask me, given that they are almost direct parallels.

While these parallels are pretty spot on visually, they are also near spot on narratively when it comes to the evolution each of these characters are experiencing.

For Will in the first scene, it's sadness that he's moving away from his friends in Hawkins and also feeling like he's losing Mike, after what looks like him and El making up, which makes him scared he'll distance himself again. For Jonathan, it's sympathy for his brother who appears to have some very deep feelings for his friend, feelings he can't quite grasp yet but soon enough will.

For Will in the second scene, it's heartbreak that he has to accept that Mike will never feel the same, knowing that supporting his relationship with El (encouraging it honestly) will likely turn out just as it did last time, with him losing Mike all over again, for the last time. For Jonathan it's sympathy for his brother who has now confirmed his suspicions that the feelings he has for Mike are more than just that of a friend.

Given that this parallel reinforces the same feelings Will and Jonathan had in s3 to now, why would this not also reinforce those same feelings that Mike had in s3 to now?

In the first scene, Mike was visibly distraught, with dialogue from Hopper in the background applying a little too perfectly with what he was feeling in that moment, which was scared. He’s apparently back together with El now, despite them doing just fine as friends for the last 3 months, as well as him and Will just having finally gone back to them being on good terms again. But now, it’s like he’s right back where he started at the beginning of s3, feeling obligated to be the perfect boyfriend to El, and as a result, having no choice in his eyes but to distance himself from Will. Mike then walks into his house looking like a zombie, almost emotionless stepping into his mother's embrace.

Now, I say almost emotionless because it looks like Mike was trying to hold back showing how he truly felt in this moment. He's not crying like he did in s1 when he lost Will that first time. Time has passed and things have changed (he doesn't want things to change). And he's trying his best to keep it together. But the in-focus close-ups make it clear that he is definitely not okay.

What's so impactful about these parallels is that it presents the inner struggle both of these characters are having, both queer and experiencing doubts, but in different ways and for different reasons.

Will is the one who covers it all up with lies, hiding the tears in his eyes, because boys don't cry.

Mike is the one who has never cried to them, just to his soul (RUN AWAY! TURN AWAY! RUN AWAY! TURN AWAY! RUN AWAY!!!).

If you actually try to get a gage on Mike's in-focus emotions in that first scene vs. his out-of-focus emotions in that second scene, well they're not that far off from each other.

We go from Mike smiling vibrantly at Will, to him now slowly turning away to look back down at the painting, with whatever the hell emotion this is...

It's near impossible to catch because of how out-of-focus it is, but looking a lot closer, it honestly appears like Mike is feeling something akin to sadness that he's trying to mask. For a moment it even looks like he turns his head to wince emotionally, only to correct himself.

And call me crazy, but these shots also low-key parallel each other. Mike looking down trying to keep his emotions in check and failing miserably, only to look up and meet eyes with someone whose witnessing it.

With each shot before this of Jonathan observing Mike looking at Will, with him showing all the emotions Will never got to see and everything else in between, I wonder what Jon saw this time? Probably another thing he didn't expect.

Can you just try to imagine the silence in this van, accompanied by Will's muffled sobs, and then try to imagine Mike turning to look down at the painting, only to sneak a glance, and then go right back to looking at the painting, IN SILENCE, and then try to tell me how the assumption that Mike didn’t notice Will crying makes any sense, like realistically?

Yeah me and Jonathan are confused too.

Right now, Jonathan's probably wondering why Mike was acting a little fruity and repressed during the painting reveal. And that although he may have a penchant for being able to 'capture the right moment', Mike is sticking with his story (despite all the stalling and doubt). He is 100% straight!

And so maybe this is where Jonathan tries to accept what is being presented to him as the truth, despite the contradictions in front of him. It's likely that despite the way Mike looks at Will and acts around him, in ways he would have assumed coming from Nancy in s2 would've been evidence that she felt the same, it probably doesn't apply to Mike.

Maybe Jonathan's ready to accept that it's a lot more likely Will is experiencing unrequited love as a gay kid growing up in a small town, the most predictable experience a gay kid could go through, and in contrast Mike just feels too bad to let Will down easy.

Or who knows, maybe Mike could still be a little bit gay too...

But it doesn't matter anyways. Mike seems to be adamant about this and so there's really nothing else Jonathan can he do besides tell his brother he'll be there for him no matter what. And so he does just that.

But then Mike just has to surprise him one last time.

For those that don't know, the line Mike gives here in his monologue was in part pulled from Will's monologue in the van. Most don't know this because this line didn't make the final cut for the van scene, but in the official script the writers posted, what we find is an almost a direct parallel.

Which makes the reaction shots of Will and Jonathan directly after Mike says this all the more epic.

From Will's end he was probably hearing Mike say this and just thinking 'Damn. Well, that's what you get for using your feelings to inspire Mike to profess his love to El.'

But from Jonathan's end, I don't think his outside POV of these events overlapping was nearly as naive as his brothers understanding of the events. Because why the fuck would Mike need to use Will's feelings to inspire him to profess his love to El in the first place? Is this what Mike has been struggling with? Really? Why before every moment Mike takes action in this scene, is Will's hand literally pushing him into it? Why is Mike being so dramatic about saying I love you, stuttering and rambling about her being a superhero, not saying nearly as meaningful of things as what Will said in the van?

And then it hits him.

Mike is reminding him a little too much of another Wheeler right now...

Nancy Wheeler, who was afraid of what would happen if she accepted herself for who she really was, leading her to retreat back to the safety of Steve. Because Nancy liked Steve, but she didn't love Steve.

And now here is Mike Wheeler, who has went from being incredibly distant with Will after reuniting with El, something that is very unlike the Mike he knew in previous seasons, to something more himself again after they make up, with him looking at Will with adoration after hearing his words in the van, only to turn away and look heartbroken. Mike who is now struggling to simply tell El he loves her with Will right behind him literally yelling at him to do it.

And now it's like all those little moments are starting to add up to Jonathan.

Suddenly all those signs he picked up on from Will when he was younger are now blending in with moments Will shared with Mike. It was Mike who jumped in after him and his mom's speech to Will in the shed in s2, with tears in his eyes recalling the day that they met (without being asked, let alone pushed to). And it's Mike who is now looking like he's at war with himself as he attempts to give encouragement to El, just like he did with Will in s2, but this time he needs someone to push him to do it, and that person just so happens to be Will. After just finding out about Will's feelings and also while assuming El wants him to love her that way still, Mike is stuck.

I don't think it's takes a genius to consider Jonathan is capable of realizing how fucked they all are in this situation.

As much as Mike isn't ready for a sleuth of reasons, Will isn't ready either.

This provides a huge contrast between the bylers ², because while Jonathan and Nancy went through a similar experience to Will and Mike, them being ready to accept it and act on it didn't involve nearly as many factors and risks. Will and Mike also have the added barrier that is homophobia.

Will's internalized homophobia lies in part with assuming Mike could never feel the same based on some of the words he said in their last two fights, with parts being painfully reminiscent of the things his dad and bullies used to say about him. These are also words that contradict Mike's own words and actions from the previous seasons, things that did once give Will hope. The shame and guilt that comes with falling for your best friend, who you now know will never feel the same after being foolish enough to believe it not too long ago, and who might not even want to be your friend anymore upon finding out the truth, is understandable. He can't have hope like Jonathan can. It's just not the same.

Mike's internalized homophobia lies with assuming El wants him to love her, along with their relationship being expected and socially acceptable from everyone around him. Though unfortunately for her he feels abundantly more in love in the moments he shares with Will. Despite trying to make it work with El as hard as he could, because she's amazing and all any guy could hope for in a girlfriend, he can't ignore the fact that the feelings he has for these two people are different. The shame and guilt that comes with you, a boy, falling for your best friend, who is also a boy, and who is starting to show that he feels the same, all while you can't muster up the courage to break up with your girlfriend, nor can you muster up the courage to tell her that you love her, not when she's begging you, dying or even just simply at the end of a letter, is pretty understandable too. He can't have hope like Nancy can. It's just not the same.

Spoiler: They were not ready.

PS: I'm still not over the fact that they low-key confirmed these events elsewhere in the story...

[the3rddenialist]

What is wrong with him

[alienssstufff]

Obsessed with your last life apocalypse au spare lore please? 🥺👉👈

(also the ethubs and ranchers oneshots you mentioned are they posted anywhere?)

So far? No where. this is the first of its kind B]

That Ranchers oneshot, in a perfect world, would’ve been smth of a visual novel / rpg horror (but that’s the whole au tbh). Where SYNOPSIS picture this:

It’s week 5 into the apocalypse — you’re Tango Tek, alone, driving along the beaten road in your friends’ ute. You (as Tango) spot this stranger, also alone, who by mysterious means is walking on the side of it.

He begs you to take him with you (when I mean begging he is grovelling crying you think he threw up at one point) so you do. And now you, and this stranger, together in your friends’ ute, on route to the Nether Lands — because by gods, it takes two if you’re going to retrieve everything your idiot of a team member dropped when he turned.

As for the ethubs comic,,,,, I lost it 💀 idk what or where I named that working file. I doodled this instead :]

[knightpetrichor]

Zosan zombie apocalypse au but it's lone survivor Zoro meeting escaped lab experiment Sanji