#sorry that I wrote an essay

[astradyke]

okay yeah let's get freaky with it (not an acceptable way to start a post whatsoever) i cannot stop THINKING about this fucking We're All Doomed cap. like just in the last TWO days...

[ID: photo one is of Phil Lester in the hospital, wearing the We're All Doomed cap. photo two is of Phil Lester in a pool, in which the We're All Doomed hat is laying on the edge of the pool. end ID.]

and then not to mention all the latest videos...

[id: photo of Phil wearing the We're All Doomed hat]

(there are definitely more but i'm multitasking so i can't sleuth out the videos rn)

like, when i am trying to describe Dan and Phil as a phenomena to my friends i always mention the fact that Phil is like THE consistent hype person for Dan (vise-versa but focusing on Phil here). "Dan is leaving me" is obviously an insane video about their relationship but also spends a substantial time promoting We're All Doomed; "I TRY TO GIVE DAN A HAIRCUT!!" is basically just YWGTTN promo. What Dan and Phil Text Each Other 2 (iirc) Phil encourages Dan to talk vaguely about upcoming stuff, etc. like Phil is ALWAYS so crazy supportive of what Dan does

from the mukbang "I wanted you to be happy [...] you did loads of shit on your own" (quoting from memory)

but something about the We're All Doomed hat feels DIFFERENT to me fundamentally because it's just... such a casual thing? they're no stranger to using their old merch, or wearing merch in videos after its release, but Phil literally cannot be separated from this hat as a guy who never seemed to be that crazy about hats to begin with. but it's just such a casual presence in his life, like a must-have object, it goes with him everywhere from Türkiye to the A&E, just this constant support for Dan's solo work.

when Dan says in Basically I'm Gay: "And for someone who has dealt with the same kind of self hatred I have, one person accepting you makes all the difference." (quoting from memory again),

it's like. there is such a love confession in the sheer act of seeing someone's creative work, something they poured their life and soul and savings into, and holding THAT in your palms -- and loving it. Phil was part of the WAD pre and post show, Phil was listed in the credits, even in Why I Left YouTube Phil's presence is there in the fact that he was patient as Dan tried to pursue Dan Is Not Okay, even at the potential risk of them postponing moving. don't even talk to me about how Phil was involved in Dystopia Daily, not only as a guest but also working on the set too.

holding something that has as much meaning as We're All Doomed does to its creator and not only loving it in the moment, not only relentlessly promoting it, not only being part of the premiere, but also continuously wearing its merch -- it's such an embrace from Phil of not only Dan as a person, but who Dan is creatively, and the ways he expresses himself.

and considering all the thematics of We're All Doomed, the hope and the new era and the self acceptance... yeah. fucking YEAH.

we talk a lot about different kinds of love and all the different ways they love each other, and i think this has always been the loudest and what i've personally been most affected by. the way that Phil Lester became a safe and accepting place for Dan Howell back when he was eighteen, and how he never fucking stopped being that place for him since.

[janearts]

okay but what is the state of astarion's kidneys? what has roisia observed in regards to astarion's kidneys? i must now know!

[Anon is referencing this post.]

¯\_(ツ)_/¯ Who knows? Roisia's observations below the read-more.

[Just a wee reminder that I'm not a medical professional. Take everything I say below with a grain of salt as I am just as likely to be flat out wrong. I also want to acknowledge that I'm mixing in some stereotypical vampire traits with what we can figure out about vampires in BG3.]

Roisia believes that Astarion has a partially functioning cardiovascular system. That is to say, he certainly contains blood. He bruises and he bleeds. He can even perish from exsanguination himself. He can experience erections (presumably, anyway). Why he doesn't have a heartbeat is beyond her. Does his blood just sit stagnant in his arteries and veins? What the hell is going on in there?

In the living, kidneys form a pivotal function: they filter the waste (urea) in your blood and create urine to be expelled from the body via the bladder. They also perform a critical function by regulating the blood in your body (volume, pressure, acidity, etc.).

So Roisia knows, for example, that the average medium-sized humanoid has roughly 5 litres of blood in them. The kidneys make sure you stay at whatever level is natural for you, because excessive fluid will increase the pressure on your arterial walls. So the question for Roisia becomes: if Astarion drinks blood to excess, would he experience hypertension or bloating? Or perhaps both? Or maybe neither?

In some form or fashion, the waste that Astarion intakes (e.g., if you're into the vampire version of menstruation sexy times, if he drinks from Roisia's external jugular, etc.) or generates through his own bodily functions needs to be expelled. Does he piss it out? Does he sweat it out? Does he vomit it out? Does it misty escape out of his body while he rests?

The answer could simply be: the waste is magicked out of his body and that's that. If Roisia knew that Astarion urinates, then she would assume his kidney is probably functioning to some degree. If his urinary system is non-functioning, then she would be curious as to how the critical functions mentioned above are managed or if they're even necessary at all for the undead.

TL;DR: Roisia would likely have some sort of idea, but I (IRL) don't have the information I feel I need to even hazard a guess. And I must say questions like this would make Roisia want so very, very badly to take a peek at his insides or at the insides of any vampire or vampire spawn. She is not a Dark Urge character, but that is her dark urge born from an insatiable curiosity to figure out how people—living, dead, or undead—work.

Bonus Points:

Roisia would answer her own questions above with the following theories:

Digestive system could be partially functional if the blood that is consumed is sent to the stomach and then absorbed in whole or in part through the digestive process.

Respiratory system is also likely partially functional. I.e., Astarion can use his lungs (to speak or sigh, for example), but neither a vampire nor a vampire spawn requires air.

Endocrine system is likely no longer functional. (This is my own headcanon so Roisia doesn't have to worry about an unwanted pregnancy.) She knows that the endocrine systems of a Vampire lord are likely somewhat functional due to the existence of Dhampyr. His colder body temperature could be the result of the lack of function of the hypothalamus.

Integumentary system is likely functional to a certain degree. E.g., vampires and vampire spawn are naturally regenerative, but if you were to shave Astarion bald, would his hair grow back to the way it was prior to his death? Skin also helps with temperature regulation and provides a barrier from UV radiation, so it may not be fully functional if his body is a colder temperature and is extremely sensitive to sunlight. (Are his melanocytes dysfunctional or dead?)

Lymphatic system is likely functional to some degree. This would assist the blood consumption + waste removal processes, presumably. It's a bit of a stretch, but since Astarion can experience a diseased condition type (e.g., Flesh Rot, Contagion), perhaps surviving that (after 25 turns) could be spun as an indication of a non-magical immune response?

[rpgchoices]

tw for abuse

So I tried to break up with Wyll and refuse his romantic dance and ask him about the tadpole, but why is the game SO CRUEL WITH ASTARION?

Like, if you want him to use the astral tadpole he straight up says no, So you can have a wisdom or intimidation check (if you fail them he is going to break up with you and be so mad).

But basically the wisdom check is trying to use one of his old memories (the worst possible memory) against him to remind him he is too weak, and he needs power if he wants to stay safe.

The intimidation is literally using his self hatred against him. If you play with the vampire lord ending you can break up with him and tell him you preferred him as he was, and he is shocked because he was "pathetic"

The thing is, to soften him/get the good ending (chosen by him without persuation checks) I think you need him to accept that he is who he is, and he is okay as he is. Coincidentially, trying to talk him out of the Cazador ritual is so insightful, both here in the video (this is before you get attacked by the other spawns) and later (after you get attacked) you have some options/dialogues about how he is so different now, he is not like "them"/his old pathetic self anymore.

This is the other post-attack dialogue:

When I played friendship Astarion, the most interesting part post ritual was the dev literally spells it out:

In the crypt you also find a book about Cazador's master and the rules he made for Cazador, and the abuse Cazador suffered before killing his master in revenge.

And of course:

[squash1]

THREES THREES THREES:

Oh hello. I want to talk about the stylistic/textual role of Threes in The Raven Cycle.

Threes – as a general concept and as a number – are a major symbol and motif in the series. Maggie tells us that threes are important from the very first book: from Maura’s favorite saying being “good things come in threes” to Persephone telling Adam that “things are always growing to three or shrinking to three,” threes are discussed at length in the text of the narrative. Maggie also shows us that threes are important as a motif/symbol for important aspects of the story: three Raven Boys, three Fox Way women, three Lynch brothers, three main ley lines, three sleepers, etc. Threes are, textually, incredibly significant in The Raven Cycle, and we know this because we are shown AND told it throughout the entirety of the books. 

We all know the significance that is given to threes in the story itself, but what I want to talk about is the usage of a thrice-repeated word or short phrase (going forward I’m referring to this as “Threes” or “a Three”) as one of Maggie’s writing signatures (across the series, there are 65 Threes). This creates a meta level to threes being an important aspect of The Raven Cycle universe. A classic example of a Three (one of my favorites, in fact) is from The Dream Thieves: 

“As they walked, a sudden rush of wind hurled low across the grass, bringing with it the scent of moving water and rocks hidden in the shadows, and Blue thrilled again and again with the knowledge that magic was real, magic was real, magic was real.” (TDT, 12)

In a way, the Threes join the intradiegetic (what is happening within the narrative itself) with the extradiegetic (what the narration is communicating solely to the reader). The reader and characters are told explicitly that the number three is significant, important, notable, and powerful. In using Threes as a writing signature after giving the reader that information, the Threes are designed to signal to the reader that this line, this moment, is important.    

So the question is: What Are The Threes Trying to Tell the Reader??? 

Amazing question. 

In my recent TRC reread, I was already keeping track of Threes, because I was curious to see how many times they appeared. And then my sister, who was also rereading, said something interesting (after reading this Three from The Raven Boys):  

“He was full of so many wants, too many to prioritize, and so they all felt desperate. To not have to work so many hours, to get into a good college, to look right in a tie, to not still be hungry after eating the thin sandwich he’d brought to work, to drive the shiny Audi that Gansey had stopped to look at with him once after school, to go home, to have hit his father himself, to own an apartment with granite countertops and a television bigger than Gansey’s desk, to belong somewhere, to go home, to go home, to go home.” (TRB, 370)

My sister said: “Adam’s like Dorothy.” And then she said: “Wait. Do you think the Threes are like a spell? Or… a wish?”

Which was……. Interesting. 

What I have determined, after completing my reread and spending way too much time analyzing this, is that a Three is either a wish, a hope, a longing, a prayer – or, alternately, a warning, a curse, a negative promise. 

In either sense, Threes are a foreshadowing of what is to come – whether it be good or bad. Threes exist to signal to the reader that they should be paying close attention to whatever is being said or observed.

Threes in….. Everything Else: 

Before we get too far into TRC Threes, let’s talk about the precedent for three being an important number in art, math, storytelling, etc. I found some interesting information about how three is a satisfying number for the brain: 

Grouping things in threes leverages the power of repetition to aid memory; denote emotional intensity or importance; and ease persuasion (research by Shu & Carlson (2014) found that three positive claims is the most effective for persuasion).

Three is the smallest number that the brain can still recognize as a pattern, and the brain loves pattern and repetition. This is true in visual art – having three main compositional figures to create a pleasing image – and also in storytelling and narrative. Using threes for repetition in storytelling is a very common occurrence. 

Some classic examples of repetitive threes are Shakespeare’s “tomorrow and tomorrow and tomorrow” or Lincoln's “a government of the people, by the people, for the people.” In each of these examples, a repetition of three is used to create pleasing auditory rhythm. There is something inherently memorable about literary Threes. 

Perhaps the most interesting information I found while digging into the precedent for threes is about the rule of threes in folktales. This information happens to come from Wikipedia (side note: Wikipedia is a modern tool of collective consciousness and we should utilize it more). This page describes how in its most basic form, the rule of threes in storytelling is just beginning, middle, and end. Because this is such a common convention, writers tend to “create triplets or structures in three parts.” It then talks more directly about the use of threes in folktales: 

“Vladimir Propp in his Morphology of the Folk Tale, concluded that any of the elements in a folktale could be negated twice so that it would repeat thrice.”

This is especially interesting to me. The idea that an element of a folktale “could be negated twice so that it would repeat thrice” shows up prominently in the plot of The Raven Cycle – a book that is heavily influenced by folktale motifs – but also in so many of the folktales/fairytales we all know. A classic example of this would be Goldilocks and the Three Bears – Goldilocks must try porridge that is too hot, too cold, and then, finally, just right. The journey of these three actions is satisfying to the brain because it is a complete pattern: the third and final result of “just right” porridge is only satisfying because of the two “not right” porridges that preceded it. 

Getting back to Stiefvater Threes:

For anyone who’s seen The West Wing (and even those who haven’t), here’s a good way to explain what I think the Threes are doing. You know that thing they do during a The West Wing “walk and talk” where two characters will be throwing information and little quips back and forth at each other rapid-fire, and then suddenly, they will both stop walking, and the camera will stop moving, and they’ll say a line that contains really important information that you need to know to understand the storyline of that episode? That’s what Maggie’s Threes are doing for the reader. That’s what 6:21 is doing for the characters. It’s intentional: the writers/directors/actors/camera operators on The West Wing know that they’re throwing a lot of information at you, and know that they need to get you to pay attention to the most important parts somehow, so they do it by forcing the viewer to lean in and listen. It changes the focus and energy of the scene from something with momentum to something that pauses, and therefore makes you pause. 

The Threes compel the reader to pause and consider the information being delivered as more important than they might consider it if it was not written as a Three. “Maura’s expression was dark” does not read the same as “Maura’s expression was dark, dark, dark.” And in a text where characters directly state the magical importance of threes, compounded by three as an overarching motif, there is clear intention and meaning behind these written Threes.

In the context of TRC, Threes act as a fourth-wall break.

They are essentially a way to poke the reader and say: “Are you paying attention? Because you should be.” 

These Threes use a symbolic motif – the rule of three – that is already heavily discussed in the text – to get the reader to pick up on the internal motivations of the character who is “wishing” their Three or the narration which is using a Three to foreshadow some important aspect of the plot. 

The Threes are like the literary equivalent of a record scratch. It stops you in your tracks, breaking the established rhythm and making you take notice of what is being said in a new way. 

Let’s Look at Some More Threes (but just a few don’t worry)!

1. We get a classic Three, and a very Gansey Three, right after the group comes out of Cabeswater: 

“‘What about that thing in the tree?’ Blue asked. ‘Was that a hallucination? A dream?’ 

Glendower. It was Glendower. Glendower. Glendower” (TRB, 231).

Finding Glendower is one of Gansey’s core wishes, one of his core longings. Although this line is a literal answer to Blue’s question – he saw Glendower in the tree – in making it a Three, Maggie has given it added weight and meaning. It is prayer-like in its intention. It is almost an incantation: by saying it in Three, Gansey wishes it into being.

2. In The Raven Boys, after Gansey has bribed Pinter to keep Ronan at Aglionby and has learned that Noah has been dead the whole time they’ve known him, we are given this Three: 

“The Pig exploded off the line. Damn Ronan. Gansey punched his way through the gears, fast, fast, fast” (TRB, 311). 

This moment foreshadows what directly follows: a distinct lack of fast as the Camaro breaks down and Gansey is held at gunpoint by Whelk. This Three is not a prayer, but a warning, and an indicator to the reader that something important is about to happen. Had Gansey not been trying to go so “fast fast fast,” the car might not have broken down; because the Three incanted it, disaster follows. 

3. To return to a Three I have already mentioned, but follows the typical Three structure: 

“...to go home, to go home, to go home” (TRB, 370). 

In this scene, Adam’s wish is less about actually wanting to return to his literal home, because his house was never really a home for him. Adam’s wish/longing is for a home that he could return to, that he would want to return to. He is longing for a place/feeling/experience that does not exist for him. The Three in this sentence comes after a string of active wishes/longings, and by ending with this Three, it casts a spell of sorts, honing in on the truest underlying wish that Adam has. In using the phrase “to go home” three times, the narrative is making sure you, the reader, know that this want, this need, this wish, is the most Important to Adam, and will drive his actions for the rest of his story. 

Most of the Threes feel like this. They are often tacked on at the end of a sentence or embedded in a sentence. They’re an addendum to the action of the story. They’re like casting a spell – once to manifest, twice to charge, three to cast. 

…..And Some Other Types of Threes:

Then there are the Threes that don't follow the typical pattern of the same word repeated three times one right after the other, but are still a Three in a different way.

There are short phrases/sentences that are repeated three times throughout a page or chapter. In the prologue of The Raven King, we get this: 

“He was a king…

He was a king…

He was a king.

This was the year he was going to die.” (TRK, 1-3)

In this case, the Three acts as a promise of Gansey’s kinghood, but in ending the sequence with “this was the year he was going to die,” the promise of the three is given a condition: it is not going to be a joyful kinghood, but instead a kinghood intertwined with the death we’ve known is fated for Gansey.

One of Adam’s Threes from Blue Lily, Lily Blue, uniquely breaks the mold of Threes in a format that does not appear anywhere else in the four books: 

“It was his father. 

He opened the door. 

It was his father. 

He opened the door. 

It was his father” (BLLB, 242).

❋ (We’ll talk about this one more in-depth later.)

There are also a few “unfinished” Threes: 

In The Raven King when Ronan is having a nightmare (infected by the demon) about Matthew and the mask, he has this Three: 

“Ronan’s throat was raw. I’ll do anything! I’ll do anything! I’ll do anythi 

It was unmaking everything Ronan loved. 

Please” (TRK, 96). 

With the uncompleted Three, there is an uncast wish. Ronan’s wish is about Matthew, yes of course, but also about being willing to do anything to keep those he loves (ie. Adam, Gansey, Blue, his brothers) out of the reach of the “unmaking.” This unfinished Three serves to foreshadow the harm that does ultimately befall first Adam and then Gansey as a result of the unmaking of Cabeswater by the demon: without the Three spell completed, his wish is not fulfilled.

*This is Not all the uncommon/mold-breaking Threes, just a few that are interesting!

Do All Threes Come to Fruition???

The short answer is: No. Or at least not in that way. 

Once again looking at the text of The Raven Cycle, we are given an answer of sorts. In discussing Gansey’s predicted death, Maura says:

“First of all, the corpse road is a promise, not a guarantee” (TRB, 155).

This seems to apply to Threes as well. Threes are not a guarantee. They are a promise. Not all Threes come to fruition the way one might expect – or at all, for that matter. The important part of Threes is not that they will definitely come true, it’s that they could come true, because the Three gives them the potential to come true. 

Structure, Structure, Structure:

The main Threes structures are:

Three of the same word separated by commas: 

“magic, magic, magic” (TRK, 59).

A short phrase/sentence separated by periods:

“My father. My father. My father” (TDT, 369).

A short sentence that is repeated three times throughout a page/paragraph:

“Gansey did not breathe…

Gansey did not breathe…

Gansey did not breathe” (TRK, 209).

A word that is repeated three times and is connected by “and”:

“Round and round and round!” (BLLB, 224)

Italics vs. Non Italics:

Italics in The Raven Cycle are often used for character’s inner thoughts/anxieties. This continues to be true in the context of Threes. A Three that is not written in italics indicates a promise, or some foreshadowing of a plot point being foretold through the Three – it is typically more “real” – whereas a Three that is written in Italics seems to indicate a wish/hope/longing that is unattainable in some way. Italics almost always indicate a Three that may never come to fruition, or at least not in the way the character hopes it will. 

An example of this distinction can be found in chapter three (hah) (I don’t believe in coincidences and neither does Gansey) of The Raven King: 

First we are met with Ronan wishing/hoping to return home:

“That morning, Ronan Lynch had woken early, without any alarm, thinking home, home, home” (TRK, 24). 

This home, home, home, is in reference to the idea of home rather than the reality. Ronan is wishing to return to a home that does exist physically, but is not the same as in his memory – he wants to be at the Barns as it was in his childhood. 

Then, in the very same chapter, Ronan actually returns home and we are given this Three: 

“Slowly his memories of before — everything this place had been to him when it had held the entire Lynch family — were being overlapped with memories and hopes of after — every minute that the Barns had been his, all of the time he’d spent here alone or with Adam, dreaming and scheming. 

Home, home, home” (TRK, 27).

This second home, home, home, is about the actual reality of being in his childhood home – the good and bad that has existed in the years since the childhood he longs for. 

The Addition of AND:

The most notable use of “and” is in Noah’s very last chapter:

“Sometimes he got caught in this moment instead. Gansey’s death. Watching Gansey die, again and again and again” (TRK, 416).

When “and” is added into a Three, it becomes circular, cyclical. The “and” gives the Three a sense of infinity, or creates a loop of sorts. 

This Three operates in the same way “tomorrow and tomorrow and tomorrow” does in Macbeth – it is meant to convey the endlessness of time, a relentless cycle of tomorrows.

❋ While there are not many of these Threes with “ands” in The Raven Cycle, there are other examples of Threes or Three-like occurrences that fulfill the same purpose as the “and.” For example, remember this Three:

“It was his father. 

He opened the door. 

It was his father. 

He opened the door. 

It was his father.” (BLLB, 242).

In this case, instead of the word “and,” the Three (It was his father) is connected by “he opened the door.” This Three is accomplishing the same feeling as “again and again and again” – the feeling of being caught in an endless loop. 

Another example of an (implied) “and” in The Raven Cycle is: Gansey’s life. Gansey starts out alive and then dies as a child only to be reborn, and then killed again through his sacrifice, and then reborn for a final time. Gansey is Alive, Dead, Alive, Dead, Alive. And so Gansey’s life is a cycle of Three.

As with the Threes that contain “and,” Gansey starts where he ends: alive. 

Other Ways Threes Show up in The Raven Cycle:   

I will state the obvious once again: there are three Raven Boys, three Lynch brothers, three Fox Way women, three sleepers, three main ley lines (the lines that “seem to matter” to Glendower’s story), Gansey the Third (Gansey Three, Dick Three). 

There are also the more obscure: the “three kinds of secrets” in The Dream Thieves prologue and epilogue; each Lynch brother inheriting three million dollars from Niall Lynch; the three figures with Blue’s face on the tapestry and later as a vision in Cabeswater; Adam and Gansey going to DC for three days; the shield pulled from the lake having three ravens embossed onto it; Ronan having dreamt Matthew at the age of three; the door to the Demon’s room needing “three to open” it; Aurora Lynch staying awake for three days after Niall died. 

And of course, we have the ley line symbol/chapter header:

And then there are the 300 (three hundred!) Fox Way “villain” readings. (This was something that was particularly interesting to me.)

The first antagonist we meet is Whelk. When he comes for a reading at 300 Fox Way, he first pulls the Three of Swords. 

When the women all draw cards together, they pull identical cards for Whelk: three of the Knight of Pentacles, then three of the Page of Cups. After drawing, essentially, three threes (the Three of Swords, then two sets of three matching cards) in this reading, the first Three of the entire series appears: 

“Maura’s expression was dark, dark, dark” (TRB, 124). 

The second “antagonist” we meet is the Gray Man, who comes to 300 Fox Way in The Dream Thieves to “observe.” Maura, Calla, and Persephone are predicting which card is on the top and bottom of the stack and the first card, predicted by Calla, is the Three of Cups off the top of the deck that Mr. Gray is holding (a remarkably happy card in stark contrast to Whelk’s Three of Swords). 

When the third antagonist, Greenmantle, comes for his 300 Fox Way Reading he also draws the Three of Swords. The fact that each of the three antagonists come for a reading is in itself a sort of Three, but to further the importance of these moments, each of them draws some sort of three-related card. 

All of the examples I have touched on have been more symbolic references to Three as a motif of the books as a whole. However, Threes also show up in the literal number of times important quotes are said/written. 

I was tracking some of the most well-loved TRC lines to compile them, and noticed that the lines “don’t throw it away” and “safe as life” happen to appear exactly three times throughout the series. This was honestly pretty surprising based on the importance of those quotes – I would have assumed they showed up far more. Actually, they both appear twice in The Raven Boys and once in The Raven King. Threes, and the importance of Threes, is embedded so strongly into the narrative of The Raven Cycle that even the quotes we all think of as the most beloved of the series follow this rule of Threes. 

Now, could you chalk some of these up to coincidence? I guess. But Gansey doesn’t believe in coincidences so I don’t either. So what’s the point of all these Threes?

Conclusion???

In a literal, literary way, Threes are a fourth wall break to make the importance of a moment obvious, but I’m not sure what the larger “point” of Threes is. My best analysis comes from the idea of The Raven Cycle being all about time and Threes playing into the importance of time as a sort of record scratch or loop. The Threes, as a stylistic, written motif, seem to connect the time-based cycle the characters experience to the time-based cycles the reader experiences by reading the books. 

But my conclusion feels incomplete and so I would like to rely on the collective for this one – just about the most Raven Cycle thing you can do. So I’m asking you, the collective you, what conclusion would you draw? What do you think? 

What I do know for sure is that Threes are magic, magic, magic.

For Your Convenience: Here is the textual significance given to threes within the books (chronologically): 

And here are the Threes, Threes, Threes (compiled):

(If you made it to the end of all this, I love you. Have a gold star and a hug <3)

[obizenyukii]

top 10 obizenyuki moments (+all of the honorable mentions that i almost picked bc these three are too much .) DISCLAIMER: these are my opinions and also i talk a lot. <3

under the cut bc this is so long oh my god

number 10

THIS PANEL OF THEM BEING SO AT PEACE RESTING BY EACH OTHER'S SIDE. OBI DEEP IN CONTEMPLATION AS HE WATCHES OVER SHIRAYUKI AND ZEN. THEM SLEEPING SO SOUNDLY BECAUSE THEY CAN LET DOWN THEIR GUARD AROUND HIM. I'M FINE.

every time i see this panel i just feel so happy. they belong together.

number 9

needless to say you'll miss the young miss, but you'll be lonely without me too, i bet. this entire conversation . obi saying this as a light joke but also because he knows how much they both mean to zen. obi searching, in a way, for a reassurance that he /is/ needed and wanted as well, since it's so obvious that shirayuki would be. zen's response. this is a moment that shirayuki isn't physically in so i bumped it down a few places, but it's still so meaningful for the ot3.

number 8

obi longing for zen and telling his bestie (zen's gf, who he's known for also occasionally longing for) about it casually under the stars (and saying he'll say that to zen under the stars) . i know what you are .

this moment is absolutely iconic and one of my personal favorites <3

number 7

ot3 date <3333 the entire next chapter is just a bunch of cute moments of them (honestly could have had like 300 pics on this post if there wasn't a limit). them spending time together, goofing off, having fun and enjoying each other's company. give me 10 more of these dates please.

number 6

whenever i reach out my hand, you would grasp it?

the most iconic trio of all time you will not change my mind. this moment being an unsaid promise between the three of them to always come back to each other . lay me to rest

number 5

THE FACT THAT YOU'RE NOT DASHING OVER TO HER RIGHT NOW IS ALL THE ANSWER I NEED. THE TRUST. GOD. SHE CAN HANDLE HIM. I'M ON THE GROUND.

this moment is not as talked about (at least i haven't seen much of it discussed) but it's SO important to me. so much is being said without needing to spell it out. obi and zen keeping watch from afar, content in each other's company but also making sure shirayuki is in their sight. this is so romantic to do under the stars . they make me unwell. i need a vacation

number 4

obi and shirayuki always keeping zen in their hearts no matter what, despite him wishing not to weigh on them. this also touching on zen telling obi he wishes the title he gave him won't be a burden to him. the bond they have is highlighted so beautifully here. it's pure love <3 i'm sick to my stomach. /j

(& the bonus of obi and shirayuki seeing zen off together and looking at his retreating figure fondly. this is so romantic . i'm crazy .)

number 3

the iconic whenever i'm with you two it's always like this ;^;; <3 obi's love towards these two started to take root here. you don't understand because it's love dude . you don't understand because you were never attached to someone like this. you never had a home to come back to, never had the acceptance and understanding you have in them. dumbass. (said fondly)

it's okay, he learns it later <3

number 2

zen, furiously questioning obi and shirayuki on their health, making sure they're fine, and finally pulling them into a hug. his relief to have them safe and healthy in his arms. them realizing how worried he was . this is probably the most iconic obznyk moment and is a contender for n1 for sure, it was tough choosing between the n1&n2 moments ;; . god this moment. zen's "that's the most important thing" . don't talk to me i love them

number 1

the iconic line that is also my ship tag, if it's for you and mistress, i'm willing to go anywhere </3 this moment was what solidified the ship for me when i was only an anime only (shudders) slowly getting into the fandom. the anime was enough but this entire chapter had me setting my house on fire (joke). the brainworms never stopped. the entire chapter is so crazy ot3 but this moment is my favorite and overall the message/highlight of obi's resolve & his answer to zen's questions. it also showed more than any other moment obi's love & dedication to shirayuki and zen. shirayuki isn't even in this scene but it's still my favorite ot3 moment in the manga so far <3

and now, some honorable mentions. these following moments were all contenders for top 10 bc obznyk is so good. also these are not all of the obznyk moments in the manga ofc. there are many that i couldn't find in my screenshots and tried to find skimming through the manga but failed lol. these are just some classics/faves.

zen's iconic heart eyes

pretty early on in their relationship development, zen liking seeing them together ;;

zen being so happy around obi and shirayuki ;-;

zen introducing himself as obi and shirayuki's companion <3 it's just spelled out at this point lol

zen's heart eyes pt 100, if this post didn't have a limit i would've posted so many more of these

shirayuki and zen fretting over obi and then spying on him (while obi knows and is having the time of his life stringing them along) because he was seen with a pretty lady

it's like a part of me is always by their side <3 <3 <3 this would've been n10, but it's now the official number 11 moment

shirayuki and zen putting their full trust in obi to the point of fully letting their guard down, and obi realizing that for the first time, he's wholeheartedly wanted.

zen and shirayuki being the obi detection/protection squad <3

there's so much more. i love them so much <333333

[yuri-is-online]

I can get why yutus so afraid of azul. He's heard a hundred stories about a suave, smug, but clingy octopus and then he meets him and hes this possessive little swinderler who's trying to get him to sell his soul to him and fuck his parent lmao

referencing the tags on this ask about this au

Tako Yutu didn't have the easiest time as a kid.

He was a chubby little thing raised by a single parent who didn't have the clearest memories of his father, or of their past at all really. I wrote Yuu and Yutu as being a sort of outcasts in the community because people thought they were strange, and were skeptical of Yuu's amnesia. Azul! Yutu was really bothered by that, much like his dad he got bullied and sought solace in books, but unlike him Yuu decided to enroll Yutu in some martial arts classes and hey. He was pretty good at those, his submission holds are real bad news, even won him some competitions. But he's not some muscle head even if he sort of looks like one (he didn't really drop his baby weight so much as he did bulk up) so when he gets his first real look at his father... everything in him is screaming that this guy is sketchy. He knows that Azul and the twins are watching him even if he can't see it outright and to make matters worse, when he asks his parent about him they make a face. A face Yutu knows well that he thought was reserved for the annoying nosy couple who lived next door to you and not his father. His father who Yuu's few memories had made sound wonderful; his father who was supposedly talented and hard working, smart and proud of it, but so desperately in love with his parent they still longed for him with broken memories in a completely different world. His father who Yuu had said he was so much like.

"He's not a bad guy." Yuu says and Grim huffs.

"Don't listen to them Henchuman 2." Yutu has no idea how he feels about Grim calling him that. "Azul's reeeeeeeal bad news. If he's interested in ya' it can only mean one thing, he's after your tuna and he's after your magic."

"That's two things." A smooth voice says at the same time he does and for once, Yutu sees surprise on Azul's face when he tries to make eye contact and not carefully calculated confidence.

"Well they do say great minds think alike." His father says and extends a hand. "But I must say you didn't strike me as the shy type, it is Yutu right?" The way he says it, the way he shakes his hand, Yutu knows he at least suspects him. So he smiles and makes sure to make his handshake just a touch too firm when he responds.

"That's right." Yutu is impressed that Azul doesn't flinch even slightly when he pulls back his hand, if anything his little action makes his smile wider. "And not so much shy as just curious and knowing better than to poke my nose where it doesn't belong."

"Not until you've asked anyway." Azul really isn't content with letting him remain ambiguous, he thinks nervously glancing back to Yuu. "But still there really is no need to bother the prefect over such trivial things, if you have questions about me you can just pay me a visit at the Mostro Lounge. My door is always open to poor unfortunate souls such as yourself." Azul smiles at him and adjusts his glasses and Yutu is... impressed even if the thought of being alone with this man terrifies him. But he's going to have to be eventually, Azul really wants to talk to him for some reason and Yutu finds himself wondering if he's going to find it possible to lie, or just what price he will be expected to pay to have the privilege of keeping his secrets.

But when he looks at the way Azul talks to Yuu... he isn't sure if he likes it but he does find it funny. Azul is so horrendously down bad and Yuu is so unaware of it (there's a part of him that thinks Azul might be a little bit jealous of him which he finds really funny). And Yutu understands why Yuu likes Azul so much. He is everything they remembered him being: smart, ambitious, and motivated. It makes him a little more secure in his existence even if he doubts that Azul will like having a son like him. But that's ok too because a son like him is exactly what's needed to make sure his parents get to stay together in this timeline.

now if only he can convince him to stop bugging him for his real name

[babycandle]

kindergarten teacher!reader x john price imagine 🖍️🧨❤️‍🩹

You first meet John when he comes to pick up his niece and nephew with his sister-in-law.

According to Lucy, his brother’s wife, he’s a government worker who is constantly traveling for work, and the kids missed their super cool uncle dearly. You’d heard many stories from the kids themselves, but this Uncle John remained sort of an enigma to you, like an imaginary friend.

Nothing could have prepared you for the real Uncle John.

He stands at a good head (and maybe half) taller than you, dressed in a casual navy shirt and utilitarian cargo trousers, a baseball cap embroidered with the British flag atop his head. Thick facial hair covers most of his lower face, but it doesn't do much to hide the bright smile he gets as soon as he lays eyes on the kids. The ease with which he picks up his niece and nephew, Olivia and Oliver, nearly leaves you breathless – not to mention, the sight of his thick, fuzzy arms flexing and unflexing as he tosses a kid over each shoulder, eliciting delighted squeals from them both.

(In some decrepit corner in your mind, you wonder if he could do the same to you. Probably.)

As you're chatting with her and updating her about her kids’ day, Lucy motions him over so she can introduce you to each other. “This is my husband's brother, John!”

“Hello there, lass.”

The smooth, brassy tones of his voice wash over you like a tidal wave that you’d happily drown in. You introduce yourself as the kids’ kindergarten teacher, and he gives you a good-natured smile as his niece and nephew start climbing all over him like a tree. “I hope they haven't been causing you much trouble,” he chuckles, a twinkle in his eye.

You try your best to swallow the dryness in your mouth. “Of course not! It’s a joy to watch them learn and grow everyday,” you reply sheepishly, clearing your throat as you avert your gaze.

You're too busy internally cursing yourself for not looking a bit more put together; there's dirt and sand all over the bottom half of your overalls, paint splatters going all the way up your arms and maybe even on your face, and your hair is matted and frizzy. Self-consciously scuffing the soles of your sneakers against the floor as you try and fail to get the sand off of it, you miss the way his gaze rakes over you from head to toe, the corner of his mouth curling in interest.

It's at that exact moment that Lucy plucks her kids off of John and hands them each their backpack to carry themselves. You deflate a little, knowing that that's their cue to leave.

However, you instantly perk back up again when John turns to you, his arms now empty, and extends a hand for you to shake. “‘Twas a pleasure meeting you, lass. Hope to see you around more often, yeah?”

Your heart catches in your throat as you reach out to shake his hand. When he grabs you in a firm, warm grip, you feel his calloused fingerpads brush over the back of your hand, and you have to suppress a shiver from running down your back.

“It was nice meeting you too, John.” You offer him a shy smile, praying that your cheeks don't look as warm as they feel.

You distantly wonder if you were imagining his touch lingering just a tad too long before he finally lets go.

As he turns around to leave with his family, you're quickly whisked away by the other kids demanding your attention. Consequently, you don't notice the way his eyes stay on you even as he walks out the gates, nor do you notice the way his sister-in-law waggles her eyebrows at him suggestively as soon as they're out of earshot.

You don't have high hopes of seeing him after that, of course. Maybe it's just the fact that you've been single for several years since your first serious relationship ended – yes, you convince yourself, that's why you can't stop thinking about him all night. That's why you still feel the weight of his hand in yours, the brush of his fingers on your skin tickling like a phantom touch. That's why the sound of his voice echoes in your mind like a broken record, and that's why you keep thinking back to the way his eyes crinkled when he looked fondly at his niece and nephew.

But you can't deny the way your chest squeezes when, the next day at kindy, he comes by to pick up the kids again – this time, alone.

bonus (an alternative pov):

There's a very short, concise list of the things Price lives for. Since the birth of his brother’s daughter, she’s been undoubtedly added to the top of that list. Then followed the birth of his nephew as well, who obviously followed suit and quickly became a serious contender for the number one spot.

He makes it a point to visit his brother’s family every single time he gets time off without fail. The kids grow up absolutely adoring their super cool, super strong uncle who always comes back from his business trips with funny stories to share. (Their favourite activity to do with him is hanging off his arm, almost using it like a monkey bar.)

So, when he’s finally granted leave after nearly a year of bouncing all over the world and eliminating several apocalypse-level threats, the first thing he does is call his brother and fly back straight to them.

He lands while the kids are at kindergarten, so when Lucy offers to bring him along to pick them up, he jumps at the chance. (He made sure to take a very thorough shower before hopping on the flight here, not wanting a single speck of dirt from foreign lands or speck of blood on him. Even so, before he leaves with Lucy, he takes extra care to wash his hands and scrub underneath his fingernails again. Just in case.)

It goes without question that he's absolutely over the moon to see Olivia and Oliver – the sight of them running to him, screaming his name in joy is nearly enough to make him melt. He sweeps them up in his arms, holding onto them like a lifeline.

Occupied with the kids for a few minutes, he glances up to see where Lucy has gone. Then, he sees you.

You're chatting with Lucy, your smile bright and your eyes brighter. There's wildflowers tucked into every pocket on your overalls and rainbows of paint on your arms, as well as a smudge of yellow on the side of your cheek. The soft afternoon sunlight hits your hair at just the right angle that it highlights the stray strands of hair on your head, making you look like you're wearing a halo.

For a moment, all the bustle and noise around him winds down into a fuzzy, white silence. You're the prettiest thing he's ever laid eyes on.

[felt-squirrels]

[is-it-bussin-hannibal]

okay so,, I don't know if i have it in me to write a whole fic, but i needed to get this slightly dark Paul out of my head

Paul is married off to Feyd the second Feyd is of age (which avoids the attack on Arrakis yadayada as Feyd, alongside Paul, will inherent Arrakis, everybody wins). At first, obviously, the boys don't like each other very much, they're two teenagers, but they're also of noble birth, it's their duty, and Paul is bene gesserit, his whims have no place here. Feyd tends to ignore his husband most of the time, but he sleeps in the same bed, sometimes he'll stay in their rooms while Paul read or draws, somethings he really just stays there, quiet, sometimes he will engage in an activity of his own, they're practically parallel playing, sometimes he'll excise, and Paul will quietly join him. Paul knows he could seduce him, but there's just something about Feyd, how he avoids physical contact, how he'll move an inch away when approached, he's very mistrustful, and Paul respects that. It only infuriated him a "bit" when he found out Lady Fenring seduced his husband, and he knew why. Still, Feyd willingly spends time around him, and he doesn't do that to anyone else, and that means something.

Living in Geidi Prime proves to be a chore, it's harsh and cold and empty. Paul has observing as his form of distraction, right away he understands the power balance here, he understands why things happen the way they do, he sees the Baron for what he is, he also starts to understands Feyd the longer he stays with him. Paul never had anyone his age around, granted, but he also never had anyone match his wits, and he's delighted with how smart Feyd is. From what he learned with the bene gesserit, his husband was a animal, aggressive and not particularly intelligent, like his brother but stronger, he thought his marriage would be just taming a beast, like he was trained to do, dull and uncomfortable. But oh, what a delicious surprise!! Feyd managed to deceive the witches, made this mask of a monster, but of course, no one can get close enough to see through it. Paul does, like a bad dog, Feyd-Rautha bites when threatened. And soon Paul realizes, that everything here is a threat to Feyd, and has been since he can remember, the biggest threat? the Baron. He feels sorry for his husband, but he knows that would not please Feyd, and Feyd made the effort to be around him, because for some reason, he decided to stay with him for life and not just, kill him, and he's happy with that, so he does his best to show Feyd what a family is, because now they're family.

Paul sets for old fashioned childlike friend making instead of bene gesserit seduction. He talks to Feyd, even though Feyd does not respond, tell him things, sometimes random things, sometimes important things about himself, just to make conversation, to guide Feyd. The Na-Baron is very confused at first, but he listens, Paul urges him to speak too, he doesn't really knows what to say, but in time, he starts making comments about things here and there, like he's seen Paul do, which seems to please Paul. They create a routine. He annoys Feyd enough that the older has no option but let him do whatever he wants, and what he wants? to know Feyd, to be his friend. Feyd is not really familiar with the concept, he has his pets of course, but they're just one of the twisted mentat's failed experiments. The girls are beautiful but with the intelligence of a doberman. They were given to him as mock, but his pets suppressed expectations in his hands. Paul doesn't mind them at first, they scare him but it's nothing he can't deal with. He knows Feyd loves them, he usually doesn't show soft emotions, not here, never here, but Paul just knows, he can feel it. So he approaches the girls, he has heard all kinds of horrible things about the Na-Baron's harem of cannibals, but that's just what they are. They were born cannibals, they need human meat, Feyd is a gladiator, he keeps the girls fed, nothing else. For the world it looks sadistic and evil, adding to Feyd-Rautha's lore, from up close, it's really what Feyd can show of compassion. Gretel, Mischa and Niobe, they can't talk, but they're smart, Paul teaches them some sign language. Feyd is more than impressed, the girls usually don't let themselves be approached by strangers, but Paul won them over, especially Niobe, she's the one more taken by his little husband, follows him around and is eager to communicate, even started to sleep by his bed. Feyd asks to learn sign language too, of course, he also wants to communicate better with the girls. Paul can explode with happiness, something else to bond over!!! They're already have fighting, flying and Paul noticed the dedication Feyd has with his looks and decides to match him. It takes hard work, but Feyd starts to relax around Paul. He also understands Paul is his equal, just as intelligent, just as resilient, he can see Paul and Paul can see him. He's still hesitant, like a wild animal who was kept in a cage too long, but he's getting there and that's okay for Paul, he'll teach his husband, feelings are hard and Feyd never learned to deal with them besides bottling them up and attacking first, but now Paul is here, they are friends.

Enough spice in the food has enhanced his perception, he noted, and easily enough, he knows who he is, what he is, not just a Harkonnen by marriage but by blood. He can feel it now, in the back of his conscience, that thing that have always flown through his blood but he could never name it, hedonism. His sheltered, kinda repressed, life in Caladan makes him a little angry, all he has been denied and for what?. The Baron obviously takes a like for him, and he understands why, he also understands why Feyd seems uncomfortable, almost disgusted with it, and he too, feels a little thrown off by it, but he's bene gesserit, he uses it.

No reason to tiptoe aroud it, Paul calls him grandpa, which just makes the Baron happier with him. He stays at the Baron's side, sits with him in his floating device, talks about whatever the Baron wants, let's his thick hands linger, he gains advantages over the fat man. Soon enough, he's included in the important conversations. Even though the old man is a disgusting creature, Paul sees he's also very intelligent, and even learns a thing or two from the Baron. His grandfather is more than happy to dress him up in the most expensive fabrics, parade him around like a trophy, and Paul does the Baron's biding because yes, he's the most disgusting man in the galaxy but boy, he sure knows what he's doing, and he's got to make the most out of his situation. He knows his family would be outraged to see the Duke's son like this, in the Baron's lap, laughing, clinging to him, whispering in his ear a thing or two he noticed about the nobles around them. But Paul is not just the Duke's son, he's bene gesserit, he has the power here, he's a mentat, he's doing this for the advantages, he's Harkonnen, he's doing this because he can, because it's his birthright.

Paul noticed how Feyd would tense up in the Baron's presence, how he hated to be touched by anyone but held very still anytime it was necessary, he noticed Feyd would cover his body head to toe when he had the choice, only socially he would be showing skin, enchanting everyone around him like a good showman, and Paul knew he hated it, he knew he was doing what he was taught to do, to be a good boy and entertain. Maybe after a while he ever got a taste for that, not enough to enjoy having skin showing around the Baron, but enough to do it effortlessly.

After so much time around the Baron, Paul learned he did, in fact, have strong Harkonnen blood running through his veins. He enjoys power, he enjoys lavishness, he is very much a hedonist. The bene gesserit training served him well, but he saw through them now, he would not do their bidding, especially after learning what they did to Feyd, setting a trigger word that would render him paralyzed, "for safety" they said, it makes his blood boil. Taking away Feyd's agency, making him vulnerable, he knows those are Feyd's biggest fears, oh how he would snap those witches necks with his bare hands, maybe he will if they ever get too close to his husband. Let them think he tamed the beast, let them think of him as a beast, that keeps him safe, and Paul learned from Feyd, add fuel to the fire if it's working for you.

His training from his old masters also served him well, but now that his grandfather included him in real talks about the imperium he knows there's no such thing as morally better or whatnot, if anything, his father was not very smart, leading with his heart and training with repression. He loves his family dearly, but the world is so much bigger now, and out of everyone, is the Baron teaching him. His sees now, his mother is a Harkonnen like any other, hungry for power, he cannot see how love would blind such a powerful woman, that's why she defied the sisterhood, why she tried to make him a boy, the one. He wonders how different things would be if she had been raised by her father, maybe she would be like himself now.

Like the Baron, he thought of Feyd as "his", differently from the Baron, he would NEVER hurt him, and that's how he distance himself from that man, he can not stand the thought of Feyd being hurt, and he will do whatever it takes to protect his husband, his friend. He knows Feyd initially was angry at him for this behavior, withdrawing from him, he couldn't understand why Paul would let the Baron touch him, knowing what he knew, knowing what he did to Feyd, how could he be fine with that, was he that much like his grandfather? it was revolting to him. And at first, Feyd thought his husband was stealing his thunder, then, he thought his husband was giving himself for free. It took a while for Feyd to realized that with Paul gliding around the room in his pretty, expensive clothes the Baron chose for him, nobody, especially the Baron, minded him. He could wear the clothes he was comfortable with, no one cared, he didn't need to say a word to anyone, all eyes were on Paul, the sweet, pretty grandson of the Baron Harkonnen. He felt it, Paul was doing this for him, no one was going to touch him, no one was going to be all over him, he wasn't going to be forced to perform, the Baron would not hurt him, not under the little witch boy's spell. Paul was also safe from the people around them, Feyd was a plaything until he started to bite back, but no one would touch the Baron's arm candy, the Baron's only grandson. Feyd is as close to free as he could ever be, thanks to Paul, he almost can't keep it in his chest, the dukling likes him so much he is willingly at the Baron's side, knowing that his family will not be happy with that. No one had ever protected Feyd before, maybe his mother once, but he couldn't really remember. And like that, he trusts Paul, and maybe that's what love feels like. Paul knows what loves is, he was loved from his first breath, and when he sees it in the Na-Baron's eyes, directed at him, he feels complete.

In the early days of their marriage, when Feyd was very skittish around him, and would not touch him, Paul thought of many things, maybe the Na-Baron didn't find him attractive? or maybe he was repulsed by sex altogether, odd, considering what he learned about Geidi Prime and Harkonnen culture. Maybe he was impotent? no, the sisters would've told him that, they wouldn't jeopardize the way for an heir. That wouldn't do, they needed an heir to secure this union and Feyd unwillingness to touch him as unbecoming.

One day, during their training session, Paul was wearing a short blouse that would ride up with every move, he caught the older boy's eyes lingering on his frame, he said nothing, Feyd also said nothing. Then Paul noticed his struggle to move, the Na-Baron's pants had become tight, the duckling smiled to himself, so he was attracted to him after all, and he clearly could get it up, so what was the issue?. One day, Paul used the Voice on Feyd, they were wrestling, he thought it would be funny to get the upper hand like that, and a good way to let Feyd know of his abilities. He was wrong, Feyd moved so fast way from him, it was as if he used the Voice to tell him that and not "down". He looked terrified for a moment before he caught himself, still away from Paul as he got up. Paul felt so bad, he understood why Feyd was terrified, Feyd hated not having control over his own body, more than hate, he feared that. Paul explaind he only wanted Feyd to know he could do it, told him he would NEVER use the Voice on him again, apologized profoundly. Feyd acknowledged his explanation but was very surprised by the apology, he liked it, Paul could tell. He decided to show what a pinky promise was, and made a promise with Feyd. Feyd-Rautha was quite happy with that.

They had become more comfortable with each other over the weeks, they held hands and hug every once in a while. Paul would have vison nightmares sometimes, other times Feyd would have nightmares, after calming down they would just hug until they fell asleep again, Feyd was getting found of hugs. Paul even got a kiss! the only other time they kissed was at their wedding and Feyd did as fast as he could.

One day, while they were laying in bed, just enjoying the other's company, Feyd asked, out of nowhere, if he would use the Voice on someone else. Paul took a while to respond that yes, if he needed, he would, he saw something shine in Feyd's eyes, he couldn't tell-- "you're very powerful" Feyd said, not blinking, looking directly at him, breathing heavily, and oh, that's it, Feyd is not only attracted to him, he's also attracted to power. Paul then decided to show how much he appreciated his husband by giving him power over himself. Feyd, unlike him, was experienced, forced to perform, then acquired a taste for it, for taking back. Paul knew what he was taught as a bene gesserit and what his grandfather had shown him in filmbooks but nothing felt like giving in to Feyd, not having to be the one in control all the time, just letting go, he trusted Feyd, knew he would never hurt him, and Feyd trusted Paul to never force him to do anything. They were a united front now.

[horsemeatluvr23]

etho doodle!!!!! this one is late because i was having an identity crisis and thinking about moving to lebanon. anyways the necklace is bdubs missing tooth from secret life <3

[eyestrain-addict]

I just realized why lestat marked Tom, like the big stupid idiot I am

(I know everyone else probably already figured this out, but this is MY blog and I get to post whatever deranged thought crosses my pea brained mind.)

When I watched that scene in episode 5 where they're at the bar talking to Tom, I was confused as to why exactly. Why does Lestat mark Tom? If he's marked to kill, why does he wait almost 2 decades later? Well I realized, as all realizations come, in the shower.

Lestat has been planning on killing Tom the whole time.

(Warning before you click read more, this post is a lot longer than I first intended holy fuck)

Well not the whole time. Just right when Louis realized that Anderson and Fenwick had screwed him over. Maybe even longer if he knew it was a trick ("ridiculous of you to mix human and vampire business it always ends poorly"). Notice how he's upset with louis when he kills the guy who's microaggressive with him, cus lestat wasn't there (even if he was there I have my doubts Lestat would understand microaggressions, but he would have definitely killed him for touching Louis.) But tells Louis he's proud of him for killing Alderman. I think this has to be because he witnessed the disrespect first hand. He didn't give a fuck about the money, what he DID care about was that those two disrespected not only him, but Louis.

Even with Lestats little understanding of race relations of the time in America, he did understand hierarchys. He's from 1700s France for God's sake. It's no coincidence wanted to be king of mardi gras. Lestat came to New Orleans and saw himself as the king, even if no one knew it. And he wanted Louis to be his queen. Honestly I could make an entire other post about how Lestat almost literally saw himself as if he was a King and Louis his beloved Queen, which is why he thought it was okay for him to sleep with other women (mistresses and playthings of the king should mean nothing compared to the queen in lestats eyes) but that's getting off topic. I only bring that up because I'm trying to paint a picture of how I think Lestat sees disrespect done to Louis. To him that goes beyond disrespect or rudeness, it's irreverence.

You begin to notice if you watch scenes with them together. Because while I wouldn't say lestat is good at controlling his anger, he's definitely great at concealing it until it erupts (props to Sam Reid have to be given here) lestat is always on the verge of fury when talking to Tom. It starts as a distaste then as he begins to fall more in love with Louis and become more protective of him, his anger builds. Claudia was wrong about one thing, it was no petty slight that was the reason Lestat killed Tom first, it was a loooonng time coming.

I could list every detail I think supports this but I'm sure you get the gist by now. My main point is really the layer of complexity this adds to not only the story, the characters, but also lestat and louis' relationship. Consider it for a second, Lestat saw all his violence as justified, everything he did one can see it through the lense of him punishing the disrespectful (take a shot every time I say disrespect in this post jesus christ). "I bring death to those deserving" indeed. Lestat has a god complex out the wazoo, and every attack, torture, and death he caused was righteous to him and thus enjoyable. Louis on the other hand didn't see himself so highly. He may seem confident but if you look through the cracks it's apparent Louis's self worth in near nonexistent and he's horribly insecure. I think lestat thought when Louis was made a vampire he would see himself as Lestat saw himself, and as Lestat saw Louis. But again, another post for another time.

Despite Louis' insecurities (or perhaps because of them) louis revels in the violence lestat commits for his sake. That's probably why louis is so quick to forgive lestat about the priests. For a brief moment Lestat truly said the truth to Louis and Louis could forgive him because of it. As lestat says, he doesn't kill the priests to intimidate Louis, nor does he do it just because he enjoys it. He does it because he sees them as humiliating Louis, charlatans that don't deserve Louis' sorrow. Louis didn't want the priest's to die, but he could understand why lestat killed them, simply because for once in his goddamn life lestat told the truth, and louis loved that truth. That truth being that lestat killed and mutilated and committed such horrors not just because he liked it, but because he did it out of a fucked up sense of protection. Him killing the priests was essentially a knight killing a dragon to earn the princess' hand in marriage.

The worst part is that Lestat doesn't even realize it. Not fully anyway. Let's be honest with ourselves, lestat doesn't understand Louis. Obviously there's the race, background, culture differences that lestat doesn't understand nor seems inclined to try, but there are better posts about that made by smarter people than moi. I'm mostly talking about lestat doesn't understand louis' mind itself (louis' mind in a vacuum I suppose you could say) he understands Louis' desire for violence sure, but he doesn't understand the core of that want. Honestly I'm on the fence of if he ever understood that Louis loved it when lestat was protective in the first place. I guess it can be dumbed down to Louis wants Lestat to kill to protect Louis and to protect the family (and anyone who deeply disrepects them), lestat perhaps understood a little at one point, but since he sees everyone as a threat and everything is a slight to him, he has no trouble and qualms with delighting in the torture of people Louis views as innocent. Louis' heart is a bit dark, but ultimately human, so he's disgusted by lestats violence towards the undeserving. Lestat can no longer read Louis' mind and even if he could, Louis doesn't quite understand the difference himself (that's why he tries to hunt for criminals briefly) so the cracks of miscommunication starts to form, and neither of them even realize there is miscommunication.

Therein lies the importance of Tom Anderson for season 1. Not much of a character, more of a plot device in human skin. Claudia can see that Lestat hates him, but doesn't understand why, nor does she care to get to the depths of that. (*Mr house voice* understandable) I think it's notable that Louis rarely brought him up, he didn't understand the depths of lestats love. Nor did he know about Lestats 3 decade long grudge, all because Tom disrespected Louis.

Now I'm not excusing Lestat's actions, I just think it's interesting how this one throwaway character reveals a whole level of complexity to the relationship between him and Louis, and better sheds light on not only Lestats personal philosophy but louis' as well. Even Claudia to a degree.

Anyway, uh. End of essay. Bye.

[p0rchc0ll4ps3]

Sapphic Disco Week Day One! -> Favorite Female Character(s)!!

joyce invited judit over for a cup of tea or coffee (spiked, even) on her yacht. judit's listening to joyce talk about her pale travels, and seeing how lucid she is for how much pale she's been exposed to, judit's got a nagging thought in the back of her mind: can her husband be saved? can she pull him out of his palefucked mindstate, or has she still lost him completely?

~~~

doodle-ish for sapphic disco week!!!! would love to do one for every day bc i need to draw more women and i have Thoughts and Ideas but as you can see i canNOT just draw images. there has to be some sort of accurately perspectivized bg ft the most complex decoration in the world bc the nature of revachol architecture is that its maximal 🙄 and the perspective on this is still kinda JANK. and dont forget to mention LIGHTING god forbid you put them in a place, they have to be LIT accurately

also just for information, my judit's husband drives lorries and his brain is not all that intact anymore. judit loves him!!! they were really good together. but the economy tanked. and they needed money. and daddy figured better his two boys have a house and no father than live on the streets

also also its hard choosing a fave 😭 i like joyce and judit but also elizabeth and ruby and klaasje and tbh theyre all so quality. all these women r incredible. love it when a story has women and theyre like. well written and actually like real people LOL

[leather-field]

three healers

[milkweedman]

Hi, I have a handspinning question I was hoping you might be able to answer if you have the time/energy. I’ve been 2-plying my singles and I keep running into this issue where it ends up seeming both underplied and overplied. Specifically, it twists up in some spots instead of hanging nicely, but in other spots (of the same length) I can still see gaps between the twists of the two singles.

Does this seem like an issue with my singles? They are quite inconsistent thicknesses and I suspect they might be overplied if anything. I’m not too stressed about fixing this current batch but I’d like to figure out what I’m doing wrong for the future :)

That's an interesting one ! It does indeed sound like an issue with your singles; i think either your fiber is not so good or youre having some drafting issues. Possibly both. Without a picture I'm having a hard time knowing exactly what's up, but maybe this will help.

WHAT INCONSISTENCY DOES TO YOUR SPINNING:

First, inconsistency can mean a couple of different things; it can refer to slubs (i.e. short sections of fiber that is much thicker), it can refer to thinning (i.e. short sections where the fiber ran far too thin) or it can refer to overall inconsistency, where you never had a stable width to begin with. These all affect your finished yarn in different ways.

A slub often has little to no twist, because the twist simply can't enter the fibers there as it would take more energy to twist this thicker section than is available. This will lead to lumpy yarn, and sometimes to the gaps you're referring to--especially if you end up with both plies having slubs at the same spot. It will look undertwisted because it is undertwisted. Usually slubs are short (maybe the length of your pinky at most) but especially with beginner or with some bad fiber, you can end up with huge long slubs.

Thinning can lead to yarn that's kinda hard or scratchy in some places. Twist will always go to the thinnest section of fiber and spread outward from there. So if you have a singles that is worsted weight with a thin section that's more like lace, to add enough twist to the worsted section you will also inadvertently add a ton of extra twist to the thin section. In some cases (especially if you aren't careful) the thin spots will kink up in the middle of plying, and now your yarn basically has knots in it.

General inconsistency means both of these issues but usually to a lesser degree. Your thin spots will be overtwisted and thick spots will be undertwisted. Or maybe you are overcompensating and you end up with yarn that is falling apart in some spots because it's thin but not twisted enough and hard/lumpy in other spots because you added way too much twist to spin the thicker sections.

WHAT TO DO ABOUT IT:

Inconsistency is typically caused by one of two things: bad fiber or user error. Or both.

Fiber that was prepped inconsistently or that has tangles, nepps/noils, mats, or that has been partially felted will all be prone to producing slubs, thin spots, and general inconsistency.

On the other hand, if you hold the fiber too tightly (especially if your hands are sweaty) you can restrict the fiber from drafting out well. Sweaty hands can even felt it.

Another potential pitfall is allowing the twist to enter the drafting triangle.

If you don't know what I'm talking about, this page is pretty helpful !

https://www.hearthookhomespun.com/how-to-draft-fiber-for-a-more-consistent-yarn/

Once the twist enters the drafting triangle you will not really be able to draft that section anymore. So what naturally happens is you move on and keep drafting, right ? But you didn't fully draft that section before the twist entered it, so its thicker--now you have a slub.

The key to not doing that is largely to recognize the slub as soon as you've made it. Then pause, untwist the slub (roll it in your fingers the opposite way you twisted). Now you can draft it thinner and add more twist if necessary.

Similarly, the key to preventing thin spots is to recognize it as soon as it happens, snap it, and reattach your fiber, then try again. This one can be harder--those thin wispy ends don't really hold together well. So usually I will remove all evidence of my thin spot and reattach fresh fiber to the last point that the yarn looked right. It takes some practice, but that's how you remove thin spots from your yarn. Physically remove it and reattach the ends. This is a good time to learn spit or water splicing (get both ends wet with spit or water, place them overlapping on your hand, then rub vigorously. Spit is more readily available and felts better, but obviously is a little gross).

Preventing general inconsistency is a longer project--I've been spinning like 7 years now ? Something like that. And I can't reliably spin a yarn that is a consistent width the whole way through. My issue I think is probably just the memory disorder, but there's also things you can do to help improve your yarn anyway.

The first thing is having something to compare your yarn to. A crochet hook or knitting needle the same size as the singles you're going for works fine. You can also spin a little bit that is the right width, snap that off, and compare it to the yarn as you spin. There are WPI cards as well that do the same thing (I have one tied to my wheel, I'm just bad about using it). Checking your yarn every length (when drop spindling) can really help get past bad inconsistency problems, because you're correcting the mistake as soon as you make it.

And remember, even once you add twist you can still turn your yarn back into fiber. You just have to remove the twist. If you're looking at the newest length of yarn thinking "uh oh, every inch of this is incorrect", don't be afraid to snap that length, let the twist out, and pull it back into fiber. If attaching is too hard, then get more comfortable reattaching. It is a very helpful skill to have.

MAYBE YOUR FIBER IS ALSO A LITTLE MESSED UP ?

I mostly spin fiber I also prepped, and as such I have a decent understanding of what problems can be caused by a bad prep. I will assume you're spinning roving as that is what most beginners use, but this can apply to any prep really.

Look at your fiber and feel down it--are there lumps ? Those will turn into slubs. Can you see bits of lock structure in there (waves, curls, etc) ? That section was inadequately processed, and will either turn into slubs, thin spots, or both.

How hard is it to tear in two ? Wool isn't very strong without twist (tbf, lots of roving has a little twist to keep it together, but usually not much as it inhibits drafting), so if it's difficult to pull in two with your hands several hand widths apart, then your fiber has felted somewhat. This can happen due to improper storage (either by you, the seller, or the manufacturer). Humidity + pressure + time = felting. Basically, don't store it squashed up long term and you'll be fine. If you do have partially felted fiber, I would recommend putting it aside and buying better fiber to learn on. It can still be spun but without re-processing it will be difficult, and you probably don't need that when you're still learning the ropes.

Lastly--idk if you've tried chain plying yet, but that might help you put a finger on what exactly is happening. With chain ply you are plying each section against itself, and so your errors compound (rather than even out a little, like they do with 2 ply). That makes it easier to see.

Hope this was helpful ! If you want to reblog and add a picture of your yarn someone can probably tell you specifically what's going on, but I hope if nothing else you can now diagnose it yourself.

[corviiids]

THANKS @kimdokjafan you are so kind and generous. ok im cashing in the first of three blank checks to talk about faith trust and pixie dust (most recent chatfic) because the last two directors commentaries were too serious so let's do a silly one.

some p5r spoilers, and this is mostly about sumire, and it's long again. do i need to keep disclaiming that these are long? you should know me by now.

i had this written for a while before i started formatting it because i wasn't really sure if i should post it? i feel like silly chatfic is something people go to for predominantly lighthearted nonsense so i was like, maybe there's too much plot and dramatic misunderstanding and i should just keep this one for myself. but then i was like well nothing matters and maybe someone will have fun with it. it's kind of terrible how much fully or mostly completed fic there is my docs that just doesn't see the light of day lol. write for yourself etc but i like sharing! too bad it comes with the mortifying ordeal etc. anyway that was a tangent

potato counter is a neopets game. there's no deep lore i just like neopets. i guess in this universe ryuji doesn't play neopets? or maybe he's just never played potato counter specifically. i also have a different fic where ryuji DOES play neopets. it's about neopets and ryuji and goro talking on neopets.

i think this might literally be the first time ive written sumi in a fic because i haven't actually written that much fic for royal, like, now that im looking, literally almost none? and none that had a group dynamic. so it was kind of fun to find her voice for the first time in a silly groupchat like this. i was worried people would find her exclamation marks annoying but i personally thought it was endearing so i added it in there.

every time i do a gag where a character corrects their own typo i have to code more stupid little bubbles to make it happen but i think it's worth it. all the effort that goes into making tgis look as much like a real chat as possible

this obviously doesnt take place in the canon p5/r universe, but im imagining sort of a postcanon sumi personality where she's more comfortable being herself and isn't borrowing kasumi's brand of confidence, but she's visibly a really anxious person without that kasumi veneer. i also think in this universe sumire is a fairly recent addition to the friend group, and while everyone likes her a lot and she really likes them, i kind of wanted to emphasise that feeling of being in a friend group where everyone's established and you're sort of a plus-one? you don't really fit yet. part of that is her being new, part of it is her anxiety, part of it is just the kind of person sumi is where she's so polite and self-conscious she ends up taking herself out of things with her own good intentions. stuff like her interrupting the flow of an existing conversation by greeting everyone instead of jumping straight in because she doesn't feel comfortable inserting herself, which means everyone else stops to greet her even though that doesn't normally happen in a friend group, or making a point of thanking everyone for being invited to events while the others take it as a given.

idk i love that she feels a bit out of place with the phantom thieves in p5r. and part of that is a natural consequence of being a new addition in royal who can't be naturally integrated with an existing dynamic but i honestly feel like the writing team realised that and acknowledged it, and really leaned into it, and that made it work incredibly well for me. like, it's part of her character that she's sort of an outsider. it's not like p4g's incredibly clumsy integration of marie and subsequent attempt to shove her down everyone's throat as the canon love interest in p4ga (knife). sumi has that outsider vibe on purpose and it makes me really like her dynamic with the thieves as an individual

goro also feels slightly out of place in these chats, but his conversational style blends more naturally with the other thieves at this point and he even uses their codenames sometimes. i keep saying my chatfic series isn't a real Series because the lore keeps changing, but if we accept that they're all kind of following a General Continuity, assume this takes place some time after the last fic in which ren added goro to the groupchat and they made an effort to integrate him into their friend group. he's kind of there now and has settled into being the weird boyfriend. that's his role.

every time goro says something like "ren and i" assume it's the text equivalent of him talking to the group with his arm around ren's waist.

ok i got really fond of this silly running joke where sumi brings up the weather when she's feeling uncomfortable. she's so polite. i like this thread because setting it up meant i got to tie it off like this:

this just made me happy lol i liked writing this. i tried to use it to demonstrate that despite goro's abrasiveness he obviously knows sumire pretty well, he's attuned to her quirks and knows how to tell when she's having a bad time with her anxiety, so he uses her little weather habit to ground her.

i honestly dont think goro and sumire could be considered close in p5r and as much as i like the "royal trio" in canon they're not really... like... friends? with each other? they're both attached to ren, so it' more a V shape than anything else. but that said, i really LIKE goro and sumi's canon dynamic. he takes a really grouchy but politely attentive supervisory role to her during their few forays into the palace as a trio where he doesn't really know her well but clearly identifies her as a harmless little tryhard who needs some guidance and steps into that role grudgingly, and she immediately looks up to him despite being very wrong footed by his ruthlessness, which i find incredibly charming. i think given time they could be good friends, they just didn't get much chance to know each other very well in canon. so i tried to kinda do that here.

once goro stops being evil and joins the group they all kind of tiredly accept that his role is to occasionally push a cup off a bench while smirking and refuse to clean it up. emotionally, i mean.

wait i need to backtrack chronologically to talk about akeshu.

in this scene they're in the same room lol talking and snickering while typing. im trying to get at that vibe of the annoying couple who is flirting with each other, via you. you know? like ostensibly they're talking to you (sumire) but everything they say to you is part of their stupid game. sumi is incidental to goro and ren teasing each other about flirting with someone else, goro is reporting everything ren says because his boyfriend is so eye-rollingly foolish in a cute way. they're very tickled by how amusing and charming they are. gross. disgusting. sumire im so sorry for putting you through this

anyway here are too many of my favourite jokes from the fic

[basilcatchup]

selkie kieran… you cannot just say that he loses half his pelt and not elaborate on how. now I NEED to know

Ohohoh >:]

Ok ok let me explain!

So Kitakami in this au has a tradition of having a massive bonfire a few days after the festival and people tend to bring things to burn (even tho it’s probably not technically aloud-)

The atmosphere at the bonfire is probably sour for Carmine and Juliana (this happens after the whole ogerpon thing)

Kierans pelt was hidden in the attic by him, Carmine finds it basically is like “well we don’t need a seal skin” “kinda gross anyway.”

And she decides to burn it, giving it to Juliana to put in the bonfire.

Kieran isn’t there at the time- he’s heading to the dreaded den and even tho he knows ogerpon isn’t going to be there, he goes anyway (he’s kinda in denial about the whole thing:[ )

Anyway he’s halfway to ogerpons den, and suddenly he’s in searing hot fucking pain. As Juliana tosses his pelt into the bonfire:)

Ogerpon is like “nu uhh, that’s not yours” and saves Kiki’s pelt before it’s all gone- ogerpon goes to find Kieran halfway to her den and puts his pelt on top of him, then she realizes that he’s still not moving (he’s awake but unresponsive because of the pain) and she takes him to her den to make sure he’s not- uhh dead.

(Kierans doesn’t remember ogerpon taking care of him btw :)

Anyway yea then his indigo disk phase starts :] expect he’s kinda uhh more emotionally numb :(

Drawing of him with his burned up pelt yippee!

He can’t bear to look in the mirror anymore after his pelt was burned, even when he’s not wearing it :(