character spotlight, day 18: pliarr
“Thank you for your input. However, what I do with my magic is not, never has been, and never will be up to you.”
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One of my favorite parts of phase 2 (and indeed one of the few moments I resonated with IDW Prowl) was when the neutrals were coming back to Cybertron and Prowl said that he refused to let Autobots be pushed aside and overruled after they were the ones who fought for freedom for 4 million years (the exact wording escapes me atm).
And I mean, that resentment still holds true even once the colonists come on bc like. As much as it's true that Cybertron's culture is fucked up, and as funny as it can be to paint Cybertronians as a bunch of weirdos who consider trying to kill someone as a common greeting not important enough to hold a grudge over.... The colonists POV kind of pissed me off a lot of times, as did the narrative tone/implications that Cybertronians are forever warlike and doomed to die by their own hands bc it just strikes me as an extremely judgemental and unsympathetic way to deal with a huge group of people with massive war PTSD and political/social tensions that were rampant even before the war?
Like, imagine living in a society rife with bigotry and discrimination where you get locked into certain occupations and social strata based on how you were born. The political tension is so bad there's a string of assassinations of politicians and leaders. The whole planet erupts into an outright war that leads (even unintentionally) to famine and chemical/biological warfare that destroys your planet. Both sides of the war are so entrenched in their pre-war sides and resentment for each other that this war lasts 4 million years and you don't even have a home planet any more. Then your home planet gets restored and a bunch of sheltered fucks come home and go "ewww why are you so violent?? You're a bunch of freaks just go live in the wilderness so that our home can belong to The Pure People Who Weren't Stupid And Evil Enough To Be Trapped In War" and then a bunch of colonists from places that know nothing about your history go "lol you people are so weird?? 🤣🤣 I don't get why y'all are fighting can't you just like, stop??? Oh okay you people are just fucked up and evil and stupid then" ((their planets are based on colonialism where their Primes wiped out the native populations btw whereas the Autobots and OP in particular fought to save organics. But that never gets brought up as a point in their favor)) as if the damage of a lifetime of war and a society that was broken even before the war can just magically go away now that the war is over.
Prowl fucking sucks but he was basically the only person that pointed out the injustice of that.
And then from then on out most of the characters from other colonies like Caminus and wherever else are going "i fucking hate you and your conflicts" w/ people like literal-nobody Slide and various Camiens getting to just sit there lecturing Optimus about how Cybertronians are too violent for their own good and how their conflicts are stupid, with only brief sympathetic moments where the Cybertronians get to be recognized as their own ppl who deserve sympathy before going right back to being lambasted.
Like I literally struggled to enjoy the story at multiple points because there was only so much I could take of the characters I knew and loved being raked over coals constantly while barely getting to defend themselves or be defended by the narrative so like. It was just fucking depressing and a little infuriating to read exRID/OP
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If nothing else Koenma is a Kuwabara stan and I'm right there with him o7 (I need to write the kuwameshi fic that goes with this fr)
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Seventeen really doesn't know what to think about Fox's new spouses.
They are...alright. That's the best word he can come up with, for now. They seem nice. Caring. Smart. Fox had mentioned them before, and always described them with good terms (which perhaps should've glued Seventeen in to the fact they were a thing. Fox had never been someone who would go out of his way to mention anyone just because), and the more Seventeen heard about them, the more he did appreciate them.
It just all felt fake, in a way. Not them, no. Seventeen had met enough nat-borns by now to recognise when they were being dishonest and smarmy. Not these two. Absolutely not. They were probably two of the most honest and open people Seventeen had ever met, which was also most likely one of the reasons Fox liked them. Fox had always liked it when things were said as they were. But just watching them, happy as they were, in their own little world where everything was fine and nothing else mattered, Seventeen couldn't shake the feeling of waiting for something, anything, to go wrong.
They weren't made for happy endings. Sooner or later something would happen, and ruin it all. They weren't made for soft things like this. They weren't made for things like love, not like this. Love for them meant training them, teaching them, pushing them forward and over their limits, so they wouldn't die.
That's what Seventeen had done.
It wasn't fair, some part of him screams. It wasn't fair that his love had been made to be bruises and broken bones and tears and anger, only for someone else to then come after all of it and claim that love was actually anything and everything else than that.
It wasn't fair.
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Why is the anime so weird, it's not even the same series dude?? It's like,
Anime:
GOKU: I have a great idea to bring peace to the universe, and my leadership and compassion alone will unite us all. I have No Flaws and am A True Relatable Everyman :)
VEGETA: NO! I AM THE BEST AND I WILL CAUSE PROBLEMS UNTIL I AM RECOGNIZED AS SUCH!!!!
Manga:
GOKU: Vegeta what's cornmeal made of? I know it's what the corn eats, but what's it made of?
VEGETA: Hey Kakarot let's play the quiet game until one of us dies.
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Broke: Dr Ratio and Alhaitham would get along
Woke: Dr Ratio and Alhaitham would hate each other for being ‘exceptionally arrogant’
Bespoke: Ruan Mei and Dottore are the real crossover academia duo that we should be talking about
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“white mourning.”
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Headcanons on Shapeshifting!!
Headcanon Time!!
On the topic of Shapeshifting:
So, we’ve seen in the show that both Macaque and Wukong have shapeshifting abilities. In the very first special, SWK is shown to be able to transform into anything from insects to mammals to reptiles. This is a given considering he has the power of the 72 transformations.
Building off of that, my headcanon is that, even though he has the ability to shapeshift into anything, he tends to stay away from water based creatures. Crabs are the extent of his comfortability with water type animals.
I also headcanon that he retains the same weight no matter what form he takes. He could be as small as a bunny but still weigh a thousand pounds.
In contrast, Macaque learned how to shapeshift for survival reasons. Therefore, most of the animals he shifts into are predators (i.e. canines, felines, bears, hawks, owls). He doesn’t like shifting into snakes but he can and he refuses to use any water-based creature as well.
Unlike Wukong (who sucks at using illusions), Macaque is also able to disguise his weight. He can also make himself human- something Wukong struggles to do as well.
Both of them inherit the instincts of whatever form they’re taking. However, they’re pretty easy to ignore.
Also, Wukong always ends up repelling all other animals, especially ones of the same kind, whenever he’s shifted. On the other hand, Macaque is like a magnet. He has used a domestic cat form in the city sometimes and always ends up with a crowd of other cats following him around.
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can we form a coup against asagiri and make you the writer instead? genuinely... I am not taking the Fyodor immortal information well.. please help............................ ( ´,_ゝ` )
Oh, I would absolutely not do BSD well either. I just wish Asagiri had stuck to his roots more. He was a great comedy writer, and the beginning of the story was great for it. It's the action and Death Note stuff he can't seem to get mastery of. But for the immortal part: I'm not entirely sold that Fyodor's immortal, yet. It seems like yet another twists that will twist to reveal oh, shocker, he faked his memories to confuse Sigma/the ADA... or something. Could very well be immortal, but not 100% guaranteed.
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Building off of what I wrote in my fic "Sparks," I'm really compelled by the idea of Ford genuinely no longer being interested in sailing around in a boat with Stan by the time they were seniors in high school.
I like the idea of it not being just a symptom of the resentment that had been building between them, nor it being a dream of Ford's that only paled in comparison to west coast tech, but it being a genuine loss of interest on Ford's end. I think it complicates things even further in some really juicy ways.
Like, imagine going through high school slowly losing more and more interest in the dream you've shared with your twin and only friend ever since you were little kids. How do you break it to him? How do you explain it to him without making it sound like a rejection of him? Without it making him hate you?
How do you explain it without it feeling like a spit in the face to all the hard work he's put into a plan that started out as a way of him comforting you by telling you "it doesn't matter what people say about you, you're going to be an adventurer who sails away into the sunset and never has to hear their mockery ever again, and there will be babes and treasure and heroism, and then they'll all see how cool you really are!"
And all through high school you think to yourself, "he's going to move on to more realistic dreams any day now, and then I won't have to say anything about it!" But no matter how many times you mention something else he could do with his life that he seems interested in, or bring up the challenging logistics of traveling around long-term in a boat, he sounds just as committed to the childhood dream as ever, and completely oblivious to how apprehensive you sound.
So resentment grows, little by little. Because that's easier than confronting the soul-crushing levels of guilt that are building up inside of you, every time you don't take an opportunity to tell him you don't want to do the plan anymore. You don't have a single person in your life who modeled how to have difficult conversations for you. As far as you know, having this conversation with Stan would crush him into tiny little pieces and then he would hate you forever, and you can't stand the idea of losing the only friend you've ever had.
So tensions grow. A lack of interest turns into a bitter resentment that, if you were really being honest with yourself, is directed more at yourself than it is at Stan.
And then the falling-out happens, and it seems like you were proven right. Stan hates you now, and he's never going to forgive you for giving up on his dream. But two can play that game, so you try to hate him too. Because if you hate him too, then maybe it won't hurt as much that he never came back. That he never even turned up at school, or by the boat, or in through your bedroom window in the middle of the night. He knows what dad's like, and how he says impulsive exaggerated things when he's angry, and haven't you both dealt with his harsh words countless times before and been able to dust yourselves off and joke about it later? So why isn't he back at home, joking with you about how absurd your dad acted that night, being impossible and belligerent about ruining your dream, but at least now you're even, because you've ruined his dream too.
-
And now imagine you find out he risked the lives of everyone in existence to bring you back, right after you had accepted your fate was to die killing Bill. It would be terrifying and confusing and infuriating. If he cared so much, why didn't he do something to reconnect with you sooner? Why did he ignore you in favor of trying to make it big without you? Why didn't he take the infinitely safer and simpler action of reaching out to you without you having to track down his address and send a desperate plea for help? You were convinced that he didn't care enough to bother with you unless you had an important enough reason for him to come. But even then, he thought your plans were stupid. He didn't want anything to do with you, not even with the world at stake.
Did he save your life out of guilt? Does he pity you that much? It doesn't add up with what he did in the decade leading up to shoving you into the portal. And the dissonance between the version of him in your head that hates you, and the man who held out his arms to welcome you back to your home dimension, is so strong that you feel like you're being lied to again, like you're back in the depths of gaslighting and manipulation that Bill put you through, even though there's no way that's what Stan is trying to do... right? You can't figure it out, so you run away from it. You don't want to know the answer to whether or not Stan hates you, because you don't know which answer would hurt more, so you try to make him hate you more than ever, because at least then you would know for sure how he feels.
And in the end, after he sacrifices his memories for you, and for the world, things seem clearer. The layers upon layers of confusion and anger and hurt seem to have washed away like drawings in the sand, leaving behind the simple truth: that you two had an argument, and didn't move past it for forty years, and despite everything you put each other through, you both still want to re-connect.
So you sail away in a boat together.
And at first, it's wonderful. It's exactly what you want. It feels like an apology to Stan, and a thank-you for saving the world, and a once-in-a-lifetime chance to heal the rift between you two, and it's good to be back on earth, and you wonder why you ever doubted the dream you two once had.
But then, after the first long journey you spend on the sea together, when you get back home to dry land, Stan is already talking about planning your next adventure out on the open sea. He recaps every adventure you had on the first trip, over and over again, and he wants to chat with you all through the morning and long into the night, and you don't have the words to explain to yourself that you don't have enough social battery for this, and suddenly you're slipping back into the horrifyingly familiar feeling of Stan being overbearing and needing space from him and how could you think that? How could you think that about him after everything he's done for you and everything he's forgiven you for? But the longer this goes on, the more you realize that you still don't want to spend the rest of your life sailing around with Stan. It's great fun in moderation, but the idea of your whole life revolving around Stan and going on adventures with Stan and being in a boat with Stan with no time to be by yourself thinking about your own things and figuring out your own dreams makes your skin crawl with a claustrophobic kind of panic that you still don't know how to put into words forty years after the first time this feeling grabbed you by the throat and ruined your friendship with Stanley.
But the first time this happened, it nearly ruined his life forever. You can't let yourself feel this. You don't feel this. You're happy to spend the rest of your life fulfilling Stan's lifelong dream, and making up for the time you crushed his dream, and sure, maybe he crushed your dream once too, and maybe it would be nice for him to support your dreams like you're now doing for him, but you can't say that. He saved the universe, and it would be horrible and ungrateful and cruel for you to try to voice these feelings, especially when you don't know how to voice your feelings without it making other people feel like you twisted a knife into their gut. So you try to pretend the feeling isn't there.
You go out on a boat with Stan again. You planned out another incredible journey together, and this should be fun, and you should be happy about this, but the unspoken feeling you shoved as far down in yourself as it could possibly go is eating you alive. The worst part? Stan is starting to notice. You have never been good at hiding your emotions. The trick to it has always been to convince yourself you don't feel it at all, and not think about it, and that has always worked like a charm. But whenever the emotion claws its way back up to the forefront of your mind, you can tell Stan knows something is wrong. So you can't even give him the happy ending he deserves. You can't even convince him that you want to be here on the open seas forever with him, like he deserves. And you keep trying and trying to hide it, but Stan keeps asking in roundabout ways, like "You're being awfully quiet, sixer," and "whats that look on your face?" and eventually it comes exploding out of you like a shaken-up soda bottle dropped on its cap.
And then it's like you're back at home in New Jersey again, standing in the living room while dad grabs Stanley by the shirt. It all comes pouring out of you, in the worst possible way, with the worst possible phrasing, like a pandora's box of monstrousness, and Stan tries to fight back against the sting of your words, but you're made out of acid and you're burning through him and you can see it on his face, and there's never any coming back from this, not this time, you'll just have to either jump into the ocean or become a monster forever, so Stan can hate you more easily again, and-
-and at the end of the outburst, you're still on a boat in the middle of nowhere in the ocean with your brother, in dangerous waters, and you have things to do to keep the boat running smoothly.
You can't run away from him. He can't run away from you. You're stuck here for at least a couple more weeks, even if you turned around and sailed back towards shore right away.
-
And the thing that compels me so much here, despite how unbelievably angsty it all is, is that it sets up a situation wherein the Stans might end up forced to actually address the decades of resentment and confusion and wanting-to-reconnect-throughout-it-all that they thought they could gloss over and heal with enough time spent adventuring together on a boat. They might end up forced to actually address the crux of the issue that drove them apart in the first place: Ford wanting a little more space to feel like his own person, and to feel like he's able to have his own dreams, too.
It wouldn't happen easily, nor right away, but if they were stuck together on a little boat in the middle of nowhere surrounded by magical creatures they have to protect each other from in order to make it back home alive, then after they had one fight where they brought up all the things they silently agreed to never bring up again, it would probably happen many more times, and each time it would leave them both angrier at each other than ever, until eventually something honest slipped through amidst all the saying-anything-except-what-they-mean bickering. And once enough of these honest moments slipped through, then they would have a thread to tug on to start to unravel the gargantuan knot of their decades of unresolved conflicts.
And then, eventually, maybe Stan could learn that he can have a good friendship with his brother without needing to be glued to him at the hip, and Ford needing a certain amount of alone time doesn't mean he dislikes him or wants to abandon him, and Ford could learn that he can be honest and have a meaningful connection with someone without it driving them away and making them hate him.
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I'm enjoying Fallout 3 a little more but there’s one thing that’s extremely bothering me.
How come, in the dialogue options, I can NEVER can mention, I was FORCED to leave the vault?
I didn’t have a choice but to leave. Jonas Palmer was beaten to death in attempts to get info about my father James. The Overseer was going to have the same done to me if not WORSE.
The Lone Wanderer: "So they killed Jonas, and I'm next, is that it?"
Amata: "Yeah. It's lucky I got here ahead of them. But we can't stand here talking! You're got to get out of here!"
I understand my father didn't know this would happen. That he simply thought I wouldn't be able to leave the vault after he escaped.
But the fact I can never explain what happened when reunited with him is just so ODD!?!?!!?
I COULDN’T STAY!!!!!!!
I FEEL LIKE THIS IS IMPORTANT INFORMATION YOU SHOULD WANT TO KNOW DAD!!!!!
WHY ARE THESE MY ONLY OPTIONS?!?!?!?!!!!!
Why give me that entire section where I had to escape the vault to avoid MURDER!!?? If they were going to back me in a corner (dialogue wise) that I would've gone after my father no matter what.
It would've made the dialogue option, "Why would you throw away the life we had?" WAY MORE INTENSE AND INTERESTING IF I COULD TELL HIM HIS ACTIONS UNINTENTIONALLY AFFECTED ME!!!
It could've been followed by a cute bonding moment where he apologizes and says while this life was never what he wanted for me he'll now help me adjust however he can.
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rewatching S6 in bits and pieces for current fic and ahhhhhhhhhh but the whole Jack, Diana, Mosley and Lizzie final dinner is so *viscerally* fucking satisfying on every sensory and intellectual and emotional level of consumption.
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even for period typical ableism it still drives me nuts for karen to go oh poor matt how can he deal and get around as if he hasn't been blind most of his life at this point and living on his own by himself as an adult for his entire adult life after college and has also lived in the city his whole life like girl use your damn brain he can get around by himself just fine. good god. like take five seconds to use your brain. literally adult man who lives by himself if nothing else that should tell you he is fine and when he needs assistance has the knowledge and ability to go get it you act as if he can't even walk on the sidewalk by himself. he literally shows up to work by himself. it drives me up the wall sometimes how she sees proof of him functioning fine independently literally witnesses it on the daily and still thinks these things. like again foggy isn't great either bc again the period typical ableism (and just general ableism in the world outside of this period as this is a common attitude of viewing disabled people as helpless and unable to function even if they are people who do live independently (and im not touching on people who do need extra support and caretaking in this context. as this post is about these characters in the context of a story. so im talking about what we see there instead of any truly meaningful nuanced way) but the writing here is like. Particularly this way due to the time) he has a modicum more of understanding that matt is literally a capable grown adult man. literally told karen matt is a big boy who can handle himself and then karen went b-b-but you forget he's blind as if foggy hasn't known him for years of his life and is his best friend like PLEASE SEE HIM AS AN ADULT. I AM GOING TO GO INSANE. PLEASE RESPECT HIM IF YOU LOVE HIM SO DEARLY. AND EVEN IF YOU DIDN'T. JUST RESPECT HIM AS A PERSON!!!!!!
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Always raise an eyebrow when people say they hate the totk Zora story like it's one of three reasons:
1. They genuinely think the characters were underdeveloped and needed more time to get the messages of the storyline across for it to work (this is my reason except I don't hate the story I just wish there was more.)
2. They were one of the people who wanted Sidon to have more depth as a character and then got mad when he had more depth as a character by showing his weaknesses and how he is in fact not perfect (this destroys the Tumblr sexy man version of Sidon they made up in their head.)
3. They hate women. Elaborating, they're pissy because Yona came out of nowhere and ruined their ship even though there's a billion other characters that came out of nowhere yet they're only mad about Yona (she gets in the way of the Temu yaoi which is a massive crime.)
It's usually the 2nd and 3rd.
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Linktober Shadow Day 6
Shadow Beast
The Twilight Princess fan in me really came out on this one huh? I blame the sleep deprivation. We never quite addressed the effects of the Twili Magic on Twilight and how it's only sheer force of will and the fact he's so darn kind, Midna's influence and Time teaching him the Song of Healing first being the main factor in making sure he doesn't fall huh? Even more so than the One Cutscene. We also need to talk more about the fact we technically kill Midna's people and how by the end of it all Twi is so changed by the Twilight Realm who's it's own can of worms that, much like Time he can't quite go home as himself me thinks, as a treat to myself
Mostly Twilight x Reader, this goes out to all of the folks who never quite recovered from Twilight Princess and the fact we never got that sequel (I mean it gave us BOTW and TOTK and Wild, but at what cost?), but can be read as Link x Reader either on the platonic or romantic.
Don't think there's any warning this time but might edit later if needed.
Actually yeah there is one warning
TW:
References to body horror typical to Twilight Princess, though I recommend not reading it I'd you're squeamish period.
Even after so long, you and Twilight could still remember the beauty and solemnity of the Twilight Realm, with it’s zircon skies with clouds of trapped fire and rains of viper obsidian.
The silence of the infection upon the realm of light broken only by the echoes of the howling elegy of the Twili and Interlopers who came before creeping over the land like rot and wither over flowers, the lament of the lost spirits of the people and animals of Hyrule falling over your spirit like a shroud, a shared hymm from two worlds reality had been twisted, only both of it’s princess, one filled the luster of empyreal sorrow in her mind and one with the scorch abyssal fury in her heart knowing to see the reflective tragedy befallen to their people. With Link as the one who restored the memory of what once was in both worlds as divinity and calamity sang in his bones and you a witness to the restoration of harmony to the discordant symphony, the two different songs of light and shadow refusing to let go of either of you in an eternal duet.
(Once touched by magic, it shall never leave the one if holds onto Twilight may have been the one with the Beast in his soul, with the howl of a wolf, the bite of shades in his veins and the lament of innocents taking precedence over anything purely because he learned how to silence the whispers of the one’s who made a grab for heaven’s throat and we’re pushed in the cracks of reality for their prideful vánitas even as he could taste it in the back of his tongue, twining around his ribs and overgrowing into his shattered mirror heart like vines, flowering with the divinity and eternal nature of the Hero’s Spirit, already having the hunt of the Fierce Deity in it’s veins and the remains of cursed divinity welcoming the new aspect merrily so he could bear it. The song of the innocent wrongly punished among the sinners rang into your mind, scratched at your skin and dug it’s claws around your throat, chocking you with sorrow and regret, more willing to leave gouges than to let go of someone’s who’s looked into the reverse side of the sacred realm and wept with grief for it’s people and the curse of it’s beauty.
It would never leave you, Link or Zelda, who learned who love the darkness the way Midna did, madness and unsightly delight and all.)
While the people of Hyrule merely became trapped as observers at best, if they were lucky, Midna’s raging grief and resentment quickly became obvious, once she revealed that rotten Zant had done to her and her people, twisted into a new form, distorted in body and trapped in mind like the animals and beasts of Hyrule, their pain driving them in becoming feral attack hounds for the usurper, their howling screams as much sorrow, wailing in an attempt to let their agonized, tortured souls to escape from it’s mouth, a futile attempt to flee from the strain of reality forgetting their true form in favor of Zant’s twisted design, of being used as sentient canvases for cruelty and ruthlessness, of their will being stepped over in favor of corrupting recreation.
Of how it only didn’t quaff down at Midna’s mind because of the nature of her ephemerality, fully beloved by the Realm of Darkness, of how she loathed him for it and wouldn’t wish her fate of that of her people’s on any living or dead soul, once she came to love the Realm of Light through Zelda’s sacrifice.
Which was why, when you saw three of the victims of the telltale twisting from darkness utilized with the intent to drive one insane, a familiar looking plate of stone engraved on the remains of ashes from their identity, the curling of distorted, solid darkness making crooked mishapen manes, bent out of shape from their too long torso and long, long arms adorned with twitching, deformed claws, you feel very justified in way your blood froze, holding onto Wild’s arms and yanking with all you had so his shot will miss, his yelp of surprise swallowed by the bone cracking, blood curdling screech from one of the beasts as a Skyward Strike grazed it’s petrified flesh.
You feel something warm drip down your ears, taste the promise of violence and the cry of lost souls on the back of your tongue and swallow it down as the memory of the Twilight Realm attempted to bite and crack your ribcage to quaff down your heart, to devour it bones and all, calling out in desperation, “Don’t! That’s a person!”
Sky freezes, as still as a statue, Legend curses the heavens crimson in a way you are so glad Wind isn’t around to hear as he retreats Twilight snarls, the wolf in him revolted and disgusted, you wonder if the Twilight is singing in his mind too as he restrains himself from reaching for the crystal as nails just a tad too sharp invite droplets of blood to one hand, grimm as a graveyard “We need to get them together anyway, felling just one won’t be enough.”
You grimace, releasing Wild, keeping your eye on the Shadow Beasts and another on your group, pointedly not mentioning the twitch in Four, amethyst clouding his gaze and the prism of his eyes turning gray with memories you and Twilight both knew all too well, of the grimace in Time’s otherwise stony countenance, you’d wished to avoid bloodshed of whoever was turned against their will, but you and Twilight both knew that might not be possible, death, unfortunately, might be the greatest mercy you can grant these poor souls.
(The Twilight is harmonizing in your ears, jeering, you feel the Interlopers insanity and the Twili’s lament on your teeth. As lovely as it could be cruel, the merry feeling upon meeting, the sorrow at a parting.
If you ever see the Shadow, you might just try indulging the echo by offering it’s blood as tribute. You'd make it hurt. The fact it learned the spell used to deform reality in such a way was cruel and vile.)
“Legend, how is your magic?” shoots Warriors, analyzing, calculating, it snaps the purple back into Four’s gaze, brings his mind back to focus as he reaches into his inventory for his Moon Pearl, Twilight is circling the beasts with single minded purpose, herding them together and prowling as he would as a wolf, Wild thankfully listened to your warning and had switched from the more destructive Flame and Lightning Arrows to ice ones. It doesn’t contain them for long but it gives a few precious seconds to strategize.
Legend catches on, switching to the Ice Rod on one hand and grasping his own Moon Pearl with the other, Sky has another Skyward Strike ready, but doesn’t release it, you switch from your sword to accepting a Magic Rod tossed at you from Wild, “Good enough.”
You breath in shakily, the symphony of the Twilight Realm has quieted, more lament than anthem as it’s Hero steps back, returning to your side, he nods grimly, “... Then, let’s end this quickly.”
You know your will boys will do their best to heal them, and failing that, you hope that they’ll hear the requiem of the Twili rather than the lament once they’re at peace, that they'll find some form of threnody.
It is a horrible thing, to be forced to die as a beast.
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[pericky; a look into ricky's head during their meeting.]
---
"I'm glad you came, I wasn't sure you would." The wine pours, the sound of it drowning out the missing word in that sentence: back.
Of course, is the response, and the part of Ricky that's spent twenty years tearing itself apart to understand why vibrates with relief. It doesn't matter anymore. Of course, of course, he thinks giddily along with the words. He never needed to wonder why Pericles wasn't coming back in the first place; he was always going to.
I'm happy you invited me, and of course he thinks again. A lifetime of pretending he wasn't always going to either falls away. However harsh and lonely the world has been, all's right with it again; and the shy voice of the boy inside him that he's tried so hard to kill says, so quietly, I missed you.
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