weshouldstabcaesar

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Happy Chuunin Exam day

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I was feeling a type of way about jeyne and sansa and letting them be teenage girls again. So I wrote a blurb to go along w my drawing. I’m not a writer so don’t come for me if it sucks.

The morning was crisp and unusually bright, the pale sun glinting off the freshly snow-dusted stones of Winterfell’s walls. A sharp wind cut through the yard, carrying with it the sound of wood clashing and boys shouting. Robb and Jon circled each other on the mud-packed snow of the training yard, their wooden swords striking with loud thwacks. Theon stood to the side, lounging against a fence post, smirking to himself with an air of smug self-satisfaction as he waited his turn.

High above, Sansa and Jeyne peered down from the gallery, bundled in woolen covers lined with rabbit fur and bright in color, their cheeks tinged pink from the cold.

“Jon’s quicker,” Jeyne declared wistfully, leaning over the railing to a better look at the boys, her breath fogging the air. “But Robb’s stronger. I’ll wager he wins this bout.”

“Jeyne, you shouldn’t wager on such things,” Sansa chided, though her voice was tinged with laughter. “Nor wager at all. It’s unbecoming.”

Jeyne turned to her, her dark eyes sparkling with mischief. “Oh, don’t be so pious, Sansa. You know you’re hoping Jon wins too. He’s so brooding—girls like that, don’t they?”

Sansa gasped, her freckled nose scrunching in mock outrage. “I most certainly do not! And neither should you. We’re meant to cheer for Robb; he’s the heir to Winterfell!”

Jeyne burst into giggles, clutching at Sansa’s arm. “You sound just like boring ol’ Septa Mordane. Shall I fetch my sewing and sit by the hearth instead?”

“Perhaps you should,” Sansa teased in a feigned scolding, though the corners of her mouth twitched with amusement at her friend’s candor.

The girls turned their attention back to the yard just as Robb lunged forward, his sword coming down in a heavy arc. Jon stepped aside at the last moment, snow crunching beneath his boots, and drove the flat of his blade into Robb’s ribs. Robb stumbled, laughing as he raised his hand in surrender.

“Jon wins again!” Jeyne crowed, clapping her gloved hands together. “Well done, Jon! I always knew you were the clever one!” Sansa tugged at Jeyne’s arm, loudly shushing the cheering girl with a grin that split her face ear to ear.

Their voices rang out across the yard, drawing Jon’s attention. He looked up, his dark hair falling into his eyes, and gave her a crooked smile.

“Careful, Jeyne,” Theon called from below, striding forward to take Jon’s place. “You’ll make me jealous with all this talk of Jon’s so-called cleverness.” He twirled his sword in a flashy display and pointed the tip up at the gallery. “You should do well to save some of your applause for me.”

Jeyne cupped her gloved hands around her mouth and shouted, “I will when you deserve them, Theon!”

Sansa clutched her sides, laughing so hard she could hardly breathe. “Jeyne! You can’t say things like that!”

“Oh, why not?” Jeyne replied, her voice a mix of mischief and innocence, reclaiming her seat beside Sansa and playfully slapped at the maiden’s hands as they tugged on Jeyne’s sleeves. “They love it. Just look at them.”

Below, Theon puffed out his chest, preening under the girls’ attention. Robb rolled his eyes, muttering something to Jon that made him chuckle.

Sansa shook her head, still giggling. “If Septa Mordane heard you, she’d have you scrubbing the floors of the great hall from dawn till dusk.”

“Then I’d have plenty of time to think about Theon Greyjoy and his pretty smile,” Jeyne said, fluttering her lashes dramatically.

Sansa dissolved into laughter again, leaning into her friend for support. “You’re horrible,” she said between gasps. “Completely incorrigible.”

“So you say,” Jeyne said with a grin, her breath catching in the cold air. “But do you disagree?”

Sansa only responded with more laughter. The sound of wood against wood rang out again as Theon and Jon squared off, their movements swift and precise. The girls leaned in to one another, their blankets rustling, as they watched the spar with rapt attention. Jeyne’s cheerful banter filled the air, and Sansa’s laughter rang out like a bell, bright and unguarded, as if this moment could last forever.

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One of my favorite things about both Theon and Jeyne's stories both coming to the forefront again in ADWD is how Winterfell/Stark heavy their stories are with neither of them being true Starks. Their entire lives prior to the series kicking off had been to be the yes man/woman, number 2 choice, best friend to the actual heir - firstborn lord and lady of Winterfell - in their friendships with Robb and Sansa. I don't doubt that their friendships were true and that they really cared about them, but they definitely must have known their own statuses in comparison to Robb and Sansa. And so having Jeyne return as 'Lady Arya' and Theon as both the Prince and Ghost of Winterfell AND both of them reclaiming themselves in a way all while in the bedrocks of their childhood home....is really good lol.

l as well like how their ending (so far) is one of the truest to 'undissected' high fantasy romance we have seen so far. By romance I don't mean like they're actually in love with each other. I enjoy Theyne as a ship but only as a several years later type AU lol. But by romantic I mean how the actions Theon takes to save Jeyne are absolutely the kind of deeds that get people songs written about them in this series, romantic in the idealized way people imagine stories like this, and I think that's kind of beautiful as well as horrible. It is dissecting classic high fantasy in a way as it's showcasing the absolutely monstrous things that precede someone doing something like saving a maiden from an impenetrable fortress, all of the awful and unsavory parts that go along with it. But Jeyne and Theon still get that almost fairytale ending in Dance and I greatly enjoy that Jeyne - our lady of a minor noble house sold into sexual slavery and then forced to pass herself off as Arya, and Theon - our hostage turned turncloak turned regretful turned Reek turned Theon once more - are the ones who get to experience it. 🥲

"Abel had doomed them. All singers were half-mad. In songs, the hero always saved the maiden from the monster's castle, but life was not a song, no more than Jeyne was Arya Stark."

This quote is fantastic because I think it cuts deep into the heart of Jeyne and Theon's story. In any other story this is true and honestly in this one it is as well. No one would find it worth remembering Reek and Ramsay's frightened wife or Jeyne the whore. But in a song they can be more than that. They ARE the hero and the maiden escaping from the monsters castle, regardless of what anyone else may tell them. It doesn't matter that Jeyme is not truly Arya bc they still live out that trope and live to see another day for it. They are the antithesis and the blueprint of what makes up the songs of this series.

Anyway, I'm a little wine drunk and Jeyne and Theon subverting and also living out the tropes of fantasy as part of their regaining themselves plot is very special to me. 🥲

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Your art is so incredibly good! Indigenous northmen is my favorite interpretation of asoiaf. (It really does make so much sense.) Request if you want to draw it; I love Jeyne Poole & would really like to see her in your style. ❤

Oh boyyy I really struggled w this one so I went a little overboard. When I think of jeyne Poole I either think of how sad it was that sansa was annoyed with jeyne after Ned and jeyne’s father got yeeted, or how boy crazy jeyne was. So for a happier piece, I couldn’t help but to think of the two girls being teenage girls at Winterfell, watching the older boys practice in the yard. Jeyne could egg the boys on and sansa would laugh and half-heartedly beg her friend to remember her propriety, but treasures jeyne’s humor all the same

Hold on this made me so emotional hol on I jus need a minute hold on wait—

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the crew disbanded, walked their own paths – so did they.

and meet again as a long time passed.

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'It's not too late to learn, Fenris'

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fanfic writing culture isn’t “oh dang! I wanted to write about this prompt with this character but someone else already wrote it, so now I can’t”.

fanfic writing culture is always “two cakes is better than one. the more the merrier. there can ever be enough fics of this character with this prompt!”

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I've had an unfinished fic about Mystra and Gale that isn't aggressively anti-Mystra sitting in my wip folder for months. Every time I think about working on it though I think about the fact that it's the kind of fic that will absolutely get hate comments and feel my motivation disintegrate. I still kind of want to write it though.

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I actually posted that fanfiction I finished editing (the one where Anders POV turned unhinged). It's on ao3.

https://archiveofourown.org/works/65835940

It's outsider POVs from the DA2 ensemble about one of my mage Hawkes.

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Just finished writing my first fic since 2015 (just have to edit it) and it was some outsider POVs about one of my Hawkes. But the actual point of this post is that everytime I write Anders it starts out normal, and then turns into something so unhinged that the door is on the fucking ground

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It’s insane to me that Dragon Age 2 is sandwiched in between two WAY HUGER and WAY MORE SUCCESSFUL games about more traditional fantasy protagonists facing off against world ending threats and winning and it’s this…weird, raw, personal tragedy about how no matter what you do, you can’t always stop crisis and disaster from occurring. Like The Hero or Ferelden, no matter who they were, wants to stop a Blight. The Inquisitor wants to repair the sky. And Hawke, like, wants to make some money, hang around their friends, and keep their family and their adoptive city safe. And they can’t even fucking do that, so unlike the heroes before and after them. You spend seven years in Kirkwall until the game says, “yeah, no matter what, the prejudices and traumas and hurts of this world are Too Much for one person to stop them. The world changes, wars roll over the land, you cannot stop history, Hawke. You tried. You failed.” And then you just sit there, sixteen years old, listening to “I’m Not Calling You A Liar” and you’re like….well, I guess I really wasn’t a hero. Damn. I love it.

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Gale's Revelation (cut scene from Early Access)

source

Gale: (upon propositioning the player and being rejected in favor of another) I.. I see. He's a lucky man. Loyalty is such a... Such a very rare commodity.

Gale: Apologies, I really did think you and I... But no. Perhaps it's for the better. In fact I'll let you be the judge of that. After all, I still have a story to tell.

Gale: It is a story full of answers long overdue. It is the story of a man who fell in love with a goddess.

Player: Very well, I'll play along. Regale me, Gale.

Gale: Thank you.

Gale: Once upon a time, not quite that long ago, there lived a wizard in a tower. The wizard was what one might call a prodigy, who from an only age could not only control the Weave, but compose it, much like a musician or poet. Such was his skill that it earned him the attention of the mother of magic herself. The Lady of Mysteries. Mystra.

Player: What did Mystra's attention feel like?

Gale: Love.

Gale: Perhaps it was not quite love, but, you see, the wizard was but a very young man. It was most certainly love to him. Mystra showed him the secrets beneath the veils. The gossamer veils first, draped across the Weave. The delicate veils next, draped across her body. 'Chosen One' she whispered, as she slipped them off completely.

Player: The veils draped across the Weave?

Gale: Indeed. What most wizards perceive is but the ripple of the Weave's surface. Untold wonders lie beyond. I enjoyed them for a while. As we enjoyed each other.

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just saw ur gale/mystra analysis post. im new to the game and dnd lore and honestly… ur take on their relationship feels like the most natural/compelling one??? esp since its all too easy to simplify topics that have many facets and nuance….

thanks for sharing i love analysis and reading people’s takes on narratives : D

My pleasure! (Bee from the future here: congrats, you spawned another meta!)

I love complicated characters, WAY more than I like a clear cut-and-dry case. Flaws, to me, are what make a character compelling and lead to interesting stories about them with choices that can get them into situations. I'm both writing a fanfic and running a campaign where I'm playing as Gale, and in the interest of portraying him properly and in-character, I've gone into SUCH a deep dive into all the decisions and facts that make him him.

It helps to, y'know, also be in love with the fictional wizard, but I digress

The thing about Baldur's Gate 3 is that no character in there is perfect. I've seen a couple analyses about the theme of continuing cycles of abuse vs breaking out of them, but in my mind, in terms of the characters themselves, it goes like this:

The origin characters have just come out of the lowest situation of their lives (Lae'zel being the exception; being tadpoled is a gith's worst nightmare. You're seeing that lowest situation in real time).

Not the lowest point, mind. Gale's lowest was probably the day after he got the Orb. Wyll's was probably the day his father cast him out. Karlach's was the day she lost her heart. But the lowest, accepted normal for them is what they've just left.

They're then thrown out of their depth and forced to rely on you to live. That's #1 priority: living. We get the extremes of these characters before we get their nuances, because they're quite literally at their breaking points.

Then once we get to know them, we see their wants, their hopes, their fears, as they open up to us. Every companion's story is at their own pace, but they all have a moment where they ping-pong between despondency and desire. Sometimes that desire is what we know isn't good for them, like Shadowheart wanting to be a Dark Justiciar. Sometimes that despondency is only for a flicker, like Astarion's realization that he's condemned 7000 people to a half-life of tortured spawnhood for as long as he's been a vampire.

Romance lets us crack all that open more, because if you pursue a romantic partner, they see you as their closest confidant. They WANT to trust you, so they're more willing to explain how they see the world and what decisions they want to chase.

And then their endings. Those often get simplified as good/bad, continuing the cycle vs breaking away from it. But how is Duke Wyll on the same platform as Ascended Astarion? He's not evil, he's not even entirely unhappy. He might even have broken out of his abusive cycle with Mizora, if you played your cards right. And Ascended Astarion is overjoyed, even if he is remarkably more cold.

I think that the endings are less a dichotomy of "this is good for them" vs "this is bad for them," and more one of "bringing out their best traits" vs "bringing out their worst."

Wyll's worst trait is being willing to sacrifice his own wants for whatever people desire of him. His best is standing for what he believes in and ensuring people are safe. Duke Wyll leans into that necessity to turn the other cheek in the name of people who count on him, while the Blade of Avernus has seized that moral compass of his and forged it out of mithral.

Shadowheart's worst trait is blind obedience at the cost of her individuality, while her best is her desire to be kind to things that don't deserve to be hurt. Mother Superior Shadowheart's whole life is defined by Shar. Selûnite Shadowheart's life is defined by her hospitality, especially towards animals.

Karlach's worst trait is how willing she is to accept that things are (to quote her) fucked, letting despair override hope. Her best is her durability in the face of horror. Exploded Karlach would rather die than try to work out a solution in the Hells, because she's terrified of facing Zariel alone. Mindflayer Karlach has accepted her fate and decides to give up her heart and soul to go out a hero, losing who she is. Fury of Avernus Karlach is willing to keep fighting for a solution, and by the time the epilogue happens, she's got her sights set on one.

Astarion's worst trait is his desire for power over people. His best trait is using the tools he has to his advantage. Ascended Astarion has let his powerhungry nature and paranoia lead all of his decisions, with his sights set on dominating mankind. Spawn Astarion has embraced what he is, and carved out a life for himself where he can do as he pleases.

Lae'zel's worst trait is her blind fanaticism, while her best trait is her individual dedication, making her loyalty a marriage of the two. Ascended Lae'zel is a meal for the lich queen, turning a blind eye to all Vlaakith's tried to do to her and literally being consumed by her fervor. Champion of Orpheus Lae'zel has turned her loyalty into something productive for diplomacy. Faerûnian Lae'zel has seized her individuality by the throat and decided her own future.

And then Gale. Gale's worst traits are his hubris and, paradoxically, his low self worth. His best traits are his creativity and wonder for the world. God Gale is the embodiment of ambition, having burned away all but that in pursuit of perfection. Exploded Gale has let his remorse blot out all hope for a redemption in which he does not die, because he thinks he's earned it. Professor Gale leads his life by embracing the school of Illusion and letting his creativity thrive, teaching others to do the same. House Husband Gale has multiple creative projects he's working on, and Adventurer Gale is always finding new sights to see and wanting to share them with you.

There are arguments to be made on which ending the origins are happiest in, certainly, or which one benefits them the most, but each ending represents the extreme of a facet they possess.

So with all that, there's a sort of malleable method to figuring out the ins and outs of a character.

You take their endings—all of them, all variables they can have—and reverse-engineer the flaws and details they carry. Then you start to notice how those work into their approvals for minor things: Astarion approving of your taking of the Blood of Lathander, or Shadowheart approving of standing up for Arabella. Getting a list of approvals and disapprovals is helpful, but having those endings on hand tells you why they react like that to a majority of their decisions.

You take their romance-route explanations of how they act, and apply those to earlier decisions. Astarion's confession to manipulating you and Araj-prompted admittance to using himself as a tool brings to light how he reacts to your decisions, regardless of his actual opinions on them. Wyll's fairytale romance and love of poetic adages speaks to his idealistic nature, and why he takes a sometimes-blinded approach to decisions in which the "right" answer isn't always the smart one.

You take their beginning reactions to stress and use that to measure how future decisions impact them. Lae'zel locks down and gets snappy when she's scared, while Gale immediately turns to diplomacy. Shadowheart has gallows humor, while Wyll turns to quiet acceptance. If they break from these and seem even worse, you know the situation is more dire in their minds than having seven days to live.

And then you factor in all their fun facts and dialogue choices and backstories.

A wizard falls in love with a goddess and her magic, attempts to retrieve a piece of her power for her, is scorned for his attempt and is cursed to die.

Give that backstory to a Tav. Look at how it changes.

A chaotic good wizard fell in love with a goddess, thought retrieving a piece of power for her would be a showy bouquet of love, and was punished for not thinking things through.

A lawful evil wizard fell in love with a goddess's power, snatched the most precious thing she owned, tried to use it to barter his way through to the secrets she kept, and was given a swift retribution.

Same backstory. Same class, same act, same goddess. Wildly different connotations. Wildly different conclusions as to who is in the wrong.

If you take all there is to Gale, all that the game shows us makes up his character, and apply it to this backstory, you get what really happened:

A wizard, enamored with magic, fell in love with a goddess. His desires led him to want more than she was willing to give. In his well-buried fear of inadequacy, he concluded that the reason she wouldn't indulge his ambitions was because he just hadn't proven himself worthy enough. So he tried to prove himself, but he lacked the context for what he was proving himself with. And the goddess, seeing a weapon that had killed her predecessor, saw this ambitious wizard as losing his way and coming for her just like the weapon's creator had. She was angry, she withdrew his link to her, and he didn't know why. So he drew the conclusion that she took his powers to punish him, and let that encompass his fall from grace.

Was he wrong to reach for what was out there?

If you knew that the answers to everything you cared about were not only known, but kept by someone you loved—someone who adored you—what would you do to ask to see them? What if your curiosities were if there were other planets with life out there, or how dark matter worked, or whether or not we could one day travel in the stars? What if it was the potential cure to an illness that's little-understood, or the way to make a program you dreamt up, or the scope of the true limits of your artistic talents? Would your answer change?

Was she wrong to cut him off?

If you were once hurt, and the person you loved—the person who adored you—brought the thing that caused it to your door, believing you'd want it, how would you react to seeing it? What if that thing was someone you thought you'd broken contact with, like a friend or family member you'd been trying to avoid? Would your answer change?

That's the sort of scope that needs to be applied to this, on both sides. You have to take the perspectives of each party, and apply two analogies instead of one.

Gale saw the vastness of the universe, untold wonders, the solution to every question he could ever dream up, and saw Mystra as withholding this from him because she thought he just wasn't worthy enough. To claim Mystra knew his perspective does her a disservice.

Mystra saw a cruel weapon she thought long gone, in the hands of someone who could use it, brought right to her, and thought Gale was willingly following the path of Karsus. To claim Gale knew her perspective does him a disservice.

Should Gale have researched his prize more, so he knew just what he was obtaining? Should he have kept his hands off a cursed book that would devour him? Of course he should have.

Should he have given up on chasing his dreams?

Should Mystra have understood that Gale's pursuit of power was nothing like Karsus'? Should she have communicated when she was angry instead of giving the cold shoulder? Of course she should have.

Should she have given him the benefit of the doubt?

That's the root of their falling out. That's what leads to hurt being inflicted. Understandable, human reactions to the situations they perceive. Unhealthy, unwise choices made afterwards.

You work backwards from this to figure out their dynamic as Chosen and goddess. You work forward from this to understand more of where Gale and Mystra are during the events of Baldur's Gate 3. Gale reached too high, and understands this. His goddess hates him, and he regrets this. Mystra isolated Gale, and understands this. Her Chosen wants redemption, and she wants to make it happen.

Just like we took Gale's character into account, we also have to take Mystra's.

A goddess is faced with a problem. She uses someone who's desperate for approval to solve it, by telling him to kill himself.

An evil goddess is faced with a threat to her reign. She sees someone who's unfailingly loyal and hates himself, and elects to have him tear himself apart rather than do anything about it.

A good goddess is terrified of the future. She sees someone who tried to hurt her, who's going to die anyways, and tells him to use it to save the world.

Same story. Same act, same power, same pawn. Different character. Different perspective. Different outlook on whether or not this is the right thing to do.

Mystra has died, multiple times, to people trying to stake claim to her domain. Someone appears with the very thing that could do it again, right as she's regained her stability.

She does not see mortals the way mortals do. She is timeless. She is eternal. She has a duty to protect billions of people, and one person lost to protect that number is more than worth the sacrifice.

People like to bring up the Seven Sisters as proof of Mystra's cruelty. For those unaware, Mystra asked permission to, then possessed, a woman, used her to court a man (with dubious consent from the woman), and bore seven children, all of whom were capable of bearing Mystra's power as Chosen without dying. The woman she possessed was killed in the process (reduced to no more than a husk, then slain by her now-husband, hoping to end her suffering), and the husband was horrified by the whole story.

Mystra needed Chosen in order to restore herself in the event that she was killed again, to prevent magic as a whole from collapsing and wreaking havoc on the mortal realm, like it had in the few seconds Mystryl had been dead. Elminster, Khelben Blackstaff, and the Seven Sisters contributed to this. The more Chosen she has, the better; what happens if Elminster dies? She can't afford to have all her eggs in one basket.

Mystra has Volo (yeah, that Volo) as a Weave Anchor, imparted with a portion of her power to prevent the Weave from shredding itself to pieces in her absence. All Chosen of Mystra are Weave Anchors by nature. The creation of Weave Anchors was mandated by Ao, the Overgod, and Chosen are the best way to make sure those anchors aren't drained by ambitious people hoping for godlike power. Chosen can, and will, defend themselves, unlike static locations (which Mystra also has). The anchors are why the Weave wasn't completely obliterated during Mystra's last death, when the Spellplague rose up, because they stabilized the Weave around them.

Everything Mystra does is in the name of the big picture, to prevent a catastrophe like the fall of Netheril from happening again. Her restriction of magic, her numerous Chosen, her creation of Weave Anchors, her destruction of those who would claim her power, it's all in the name of the stability she's been charged with. Dornal Silverhand's grief and Elué Silverhand's death, while regrettable, were worth it to bring seven more anchors into existence to save all of the Material.

So someone appears with the Crown of Karsus, potentially powerful enough to try to kill the other gods in the name of the Dead Three. She can't risk being a target of them. She can't risk the destruction of magic again.

Gale is going to die. He lives in fear. He begs for forgiveness.

In Mystra's eyes, she's offering him the best outcome. She'll let him die in service to her, to save Faerûn, and she'll forgive him. He's going to die anyways, and if he does this, she'll give him everything (she thinks) he could ever want in her realm. She's asking him to do what (she thinks) is the right thing.

"She would consider what she considers to be forgiveness."

Notably, she leaves the decision in his hands. She doesn't have Elminster lead him to the Nether Brain. She doesn't activate him as soon as he's there. When he lives yet, she doesn't revoke the charm that keeps him stable. And when he declines, when he lets it go and starts pursuing Karsus' path, she doesn't smite him on the spot.

She is (she thinks) being incredibly patient. If Gale is going to try to be Karsus II, she's ready for him. If he decides to walk off and keep the Orb, he's dug his own grave in the Fugue Plane (those who don't have a god to claim them roam endlessly as husks and form a wall of bodies around the City of Judgement).

From her perspective, she's not being unreasonable. But from the perspective of a mortal, she absolutely is.

"Now, I have a question for thee: what is the worth of a single mortal's life?"

This is a question she cannot answer properly.

I think a lot of characterization is lost whenever someone paints one of them as being totally in the right. But I also think you have to be invested in them as characters to want to see that characterization. If you want to write about Mystra, you have to try to get into her head, analyze the decisions she made, figure out why she thinks she was right, and follow the pattern.

Gale's sacrifice is a very predictable thing for her to ask for.

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I can’t stop laughing why have I never seen this before it’s so true😩😩😩

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the greyjoys aren’t even weird that’s just what having a lot of uncles does to you. they keep disappearing the loadbearing ones too like aeron’s hardly even a warm body at this point it’s just hp euroncraft and victarion the wise toting around various limbless anime girl fetish torsos summoning monsters from the fathoms below or whatever. asha was fine because she had rodrik the baller to queen out with but theon had to be his own uncle and we all saw how that worked out also urri croaked at the tender age of teenager so he never got to grow into his unclehood SAD! well there are other uncles. soooooooo many uncles. and they call them nuncles also so like that’s an entirely new layer to the complex uncle ecosystem they’re cultivating over there. taking out balon was like a trophic cascade it’s fucking battle royale

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Time had faded the color, but not the memory.

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The Promise

I was never satisfied not knowing the context/dialogue around how Fenris got Hawke’s red favor/family shield so I decided to depict my own headcanon, featuring my Hawke.

In the game, I hated not being able to comfort Fenris and tell him that I would be there, no matter what. So Fenris, this one is for you. <3

Some of this was drawn from reference, some not.

A BIG thank you to @minwrathous for being my editor, Photoshop consultant, feel/angst specialist, moral support worker and just an awesome human being.