@mysral this is your fault
Vaggie s l o w l y putting together the pieces of her strangely un-demon-y rescuer’s identity together as she recovers from multiple traumatic amputations in the MANSION this random demon lady brought her back to,
while Charlie (who assumed vaggie knew who she was) (and then Panicked when she realized vaggie did Not Know) frantically runs around her home throwing blankets over incriminating stuff, trying to not freak out the new friend she found dying in garbage-
later she takes Vaggie on a little stroll down a hallway (once Vaggie's capable of like, standing without flopping over) (arm in arm) (so Vaggie doesn't just flop over)
and they walk along in companionable silence for a bit until...
Vaggie: "So.... Miss Morningstar, huh? Sure fits you better than your old man."
Charlie: "(bleats in startled goat noise) HOW DID YOU- I mean, pfft! It's not that big of a- I mean I'm only the third most important- well the second now? With mom gone? But-!
Charlie: (gives up) Yes, that's me. Princess of hell. For all the good THAT does."
Vaggie: "Hey, you're doing a good job, princess. You're at least not letting some random stranger die of her wounds next to dumpster."
Charlie: "Thanks. (sighs) Can you keep calling me Charlie? Please?"
Vaggie: "Charlie. I can't feel my arm you're holding on so tight."
Charlie: "SORRY!"
Vaggie: "And now you've let go completely, I'm falling."
Charlie: "Sorry, sorry, I'm sorry-"
Vaggie: "I can barely stand. Okay? I'm not, running off anywhere anytime soon or whatever."
Charlie: "Okay. Right."
Charlie: “…”
Charlie: "…And the whole princess of hell thing doesn’t freak you out?"
Vaggie: "Nope."
Charlie: "Not even a little?
Vaggie: "I'm more freaked at being found by the one decent person in hell, to be honest."
Charlie: "But the me being princess thing disappointed you, maybe? Thought I'd be taller or something?"
Vaggie: "You? Tall-er? Yeah no. I get neck pain looking up at you already."
Charlie: "I could hunch down!"
Vaggie: "And what, join me in neck pain? You'd have to fold yourself in half to get on eye-level with me, Charlie."
Charlie: "I could do that! I'm very foldable!"
Vaggie: "You're a sweetie. No."
Charlie: "Heheh."
Charlie: ".... how did you find out though? I thought I'd covered-"
Vaggie: (points up at the GIANT FAMILY PORTRAITS of Charlie and the king and queen of hell LINING THE WALLS OF THE HALL THEY'RE WALKING DOWN)
Charlie: "-everyyyyythhhh oh FOR FUCKS SAKE-"
Vaggie: "Nice emo phase, by the way."
Charlie: "SHIT!!!"
Vaggie: "Aw. I think you were cute.”
Charlie: “(distressed goat sounds) Can we just… steeeer ourselves and the conversation down a less embarrassing hallway..?
Vaggie: “Is that you as a baby?”
Charlie: “You know what that’s enough exercise for one day I think you need rest.”
Vaggie: “Is baby you chewing on a-”
Charlie, walking quickly: “Rest!”
then there's Vaggie, ten minutes later, left alone while Charlie- THE PRINCESS. OF. HELL.- runs out to get more bandages and pain killers for her. like this is normal. like this is not a thing to freaked out about
"SHIT!!!!!!"
vaggie's gonna freak out about it a little, tho.
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a taste of hannibal, a touch of megamind, a shot of venom (pours the whole damn bottle)
i love venom (2018) a lot, it’s my go-to movie when i’m bored or sad, i have seen it many many times. i saw it again a week or so ago with a bud and finally had the opportunity to pen down this lovely au i’ve been thinkin bout
i’ve got a much more fleshed out sketch of how this au plays out. not sure if i’ll write it yet
anyway some bullet points
noir (called, ofc, noir) arrives on earth-138 in the 1920s. his first host is robbie and they basically go through the venom movie, where noir slowly learns to love earth and humanity and all that jazz. up until the 50s or so they’re an investigative reporter and occasionally a scary vigilante superhero!
when robbie is killed (not ewaf style. i forbid it), it fucking devastates noir and he host-hops for a bit, doing fun anarchy things to keep up robbie’s legacy but also losing a few morals here and there. he can do a little murder and eat nazis as a treat
the symbiotes arrive en masse and osborn infects humans with them to turn into his fascist riot police army
through vampire-hunting-esque shenanigans, hobie and noir meet, and strike up a tenuous truce to fight the government. hobie does not like him at first, but noir very much does ;)
cue a slow burn gothic romance between a freedom fighter and a devoted monster <3
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I'm apparently just a bloodweave brain worms guy now
but OK, a lot of us have seen the idea exploring "Gale is using a glamor spell to give him the dehydrated pack of Hawaiian rolls abs we see in-game"
so picture Gale eventually dropping the glamor and everyone either doesn't say anything because it isn't their business, they straight up don't care, or they are quietly supportive/happy for him
but then Astarion finds out, sees his de-glamored, softer body, and he is pissed
"We have a half a dozen things want to kill us at any given moment, and you were using your energy on a glamor spell? When you look like that? I didn't think you were that particular brand of idiot."
To which Gale is Massively Offended because EXCUSE you, and they end up snapping at each other and getting in an argument
("--none of your business what I do with--" "Oh, on the CONTRARY. Unless that's a cantrip, and I'm godsdamned sure it isn't, I'd say your waste of our resources to survive are one hundred percent my business--")
and then later Gale is in his tent fuming remembering the argument but then goes. Wait a Fucking Second
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wait i think actually madeline miller's circe is the heir to margaret atwood's penelopiad, unintentionally, in the way it thematizes the impossibility of real solidarity among women.
bc it's such a major part of the penelopiad how penelope creates what she thinks is a real community, a sort of family, with these young women in her household only be to reminded and continue to reinforce that they are slaves over whom she (among others) holds the power of life and death. and penelope ultimately does not or cannot hold a lasting grudge against odysseus on their behalf. she aligns herself, or circumstances force her to align herself, with odysseus instead of with other women whose positions are even more dangerous than hers. the world they live in does not allow solidarity between women across lines of class and enslavement, and penelope is also complicit in maintaining that world and her place in it.
and then the thing i found so frustrating about circe was that at every turn miller forecloses the possibility of real connections between women-- but the thing in this world that prevents that is just, like, jealousy over men. and totally needlessly. the other nymphs are prettier. glaucus loves scylla and not circe. her mom never liked her. hermes doesn't really think she's hot. athena is a rival for odysseus' attention. and the book doesn't do anything with this, it's not due to structural power imbalances or a society built on enslavement or even how patriarchy pits women against each other (circe lives alone on an island outside of society that could be another writer's lesbian separatist utopia!), it's just that circe doesn't like other women and they don't like her. end of story.
much as i don't love what atwood does with helen, it does make sense in the context of the penelopiad! thematically and in terms of characterization. atwood's penelope has internalized this idea of what it means to be a good woman and, willingly or not, she's staked everything on being seen by men as a good woman. it makes sense that she's desperately trying to pull herself up or even just cling to what little she has by dragging other women down. she does to helen what she ultimately does to the maids. she's with and for odysseus, always, not helen, and not the maids. that's the kind of world she lives in, and while she likes to think that she's resisting it with a sort of radical female community, in the end she is its agent. even if she feels bad about it. she's here to tell a story about odysseus, not about the girls he killed.
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