actions speak louder than words | accepting

@chaosfate asked: pluck, sender plucks something out of receiver's hair , ❛ oo ! shiny ! ❜

The abruptness clearly caught March off guard - it took a moment for her to process what had happened before a glare painted over her ivory features.

"hey! that's my hairclip! what's your deal?? Didn't your Mother ever tell you not to take things from others? GIMMIE THAT"

Whatever

ok sudden change of heart i wanna write for eddie munson 💕💕😝 i haven’t finished season 4 yet BUT i wanna write random oneshots for him so pls ANYONE REQUEST SOMETHING IM BEGGING

cut my hair again 😇

“It doesn’t count! You have a drinking problem!!” 

The first time Selina saw tiny Dick Grayson as Robin her first initial thought was "Oh a new kitten," come to find out her new kitten can freaking fly and is actually Batman's batling.

She tries to corner him once or twice, just to make sure he's okay being Batman's sidekick and baby Dick is just like "???".

Bruce starts to realize what's up so whenever he needs to distract Catwoman, he just sends Robin to charm and disarm. Selina can't plan a heist if she's busy wondering about whether or not Batman's feeding him enough.

Dick eventually catches on and is just like "guess I have a mom now too." Does he sometime have to foil her plans? Yes but technically all kids do that. Does he mediate when Bat and Cat don't wanna talk to each other? Yes but so do children of divorce.

Selina's conflicted because she really likes the kid but she's got no idea who he is. Until, she's undercover at a Wayne Gala (gotta see what Brucie has that can go) and sees this tiny kid with a scruff of dark hair and a blinding smile running around followed by his exasperated father trying to reign him in and she has an "oh shit" moment.

Bruce isn't exactly sure she knows. Well obviously he knows that Selina Kyle is Catwoman and Dick knows because there's no keeping anything from his son. But "entrepreneur" Selina Kyle is suddenly not only interested in working with WE but also interest in his son's school play.

Dick is absolutely delighted. He begged Bruce to bring her to said play and when she shows up he's all smiles. Selina is thrilled, the teachers are confused because they didn't know he had a mother. It doesn't help that from afar he looks like the perfect combination of Selina and Bruce.

Selina babysat at the manor a few times and when Bruce returns to nothing stolen, he agrees to but her down as an emergency contact for Dick's school.

The only thing she worries about is keeping him away from his aunts. Mostly because one actively drugs his dad with flowers and the other's dating the Joker and if she's his aunt there's no way the clown would be his uncle. Dick understands but is confused because it seems to him that his aunts should just date each other. Selina feels vindicated.

Cinch had three charges in her care once, Celestia entrusted her with the day-to-day care of Prince Blueblood, the new Princess Cadence and her student Sunset Shimmer - running a kingdom is difficult enough alone without three young ponies to look after - so when Celestia is absent (often) that means Cinch was in charge of these three ponies. And while the matron of the castle was always rigid about rules and wanted her three charges to uphold her reputation and to build their own budding reputations high, she cared about them very much. You'd have to, spending your time with the same three young ponies for so long, guiding and teaching them to be their best...

By the time Ditzy came into the picture, Cinch was down to two charges. She refused to fail them the way she failed...

Well, with one down, there were two left and she cared so much she wouldn't let anyone ruin them, especially not themselves. Surely they would come to realize Cinch was only helping.

“It could be that the loss of her children drove the Queen deeper into her darker desires...but, I don’t believe she was fighting against them that hard before that particular tragedy. No monster does.” (Patreon)

Bonus:

Hmm, wonder what he could cover those holes with :3c

Hello i have a question about your oc spark. You said in their bio that their robot body is a toy for them, but have ever thought about them secretly going off to do heroics and fight crime like perry the platypus or the monkey from dexters laboratory?

Something like that…

I just realized that there is literally zero fanfics with Danny Fenton/M'gann M'orzz pairing and idk, am I the only one who see nearly endless potential in it?

I don't know how they met but they're probably pretty fast friends.

With Danny being space nerd, he would ask M'gann all the questions about Mars. At the same time, from what little I know about Miss Martian, she is "Earth nerd" and would ask him all the questions about Earth and what normal teenage life is like, because YL team is not the best study case. Like, only Wally and maybe Artemis (I don't know a thing about her other than 'snarky/blunt archer') had normal human life. He is happy to answer, introducing her to his semi normal life before accident.

They exchanged stories about stars from their respective homes.

Just imagine, Danny binge watching "Hello Megan" just to know what she is talking about and it's not his thing, really, but he learnt to enjoy it because he associated it with M'gann (we can have Jazz being fan too and feeling 'betrayed' because she tried to strongarm her brother to watch it for years and all it took was to cute alien girl to mention it and he is pulling all nighters).

Just imagine, M'gann asking one of her teammates (probably Robin) to teach her to play Doomed, so she can play with her halfa friend and his friends and not ask about every controller. They don't really mind her being newbie but sudden progress doesn't go unnoticed or unpraised.

Everlasting trio inviting her to Nasty Burger every once in a while to talk about random, not hero related things.

Rest of the YJ may not even know about Phantom. They just know about this Danny, M'gann's totally civilian friend, who likes milkshakes and video games.

They share their stories and tips about heroing and powers they have similar. Mostly M'gann shares things she learnt from her uncle or in Mountain because let's be honest, self taught is rarely better than someone with proper mentoring. She for sure helps with ghosts if they attack during her visit, even if Danny tries to shield her from it. "I'm supposed to be your civilian friend, am I not?"

She definitely does what she can to help with his hero PR. She may or may not accidentally convinced rest of the Team she has celebrity crush on underappreciated ghost hero from the middle of the nowhere. They help her, spamming all negative news reports with praises for Phantom from both hero and civilian accounts. It caused some mess, Justice League had questions but Danny was happy so it doesn't matter.

If we go with ghost being super emphatic we can have Danny overwhelmed by everyone's feelings (honest hate his parents have towards his hero persona, confliction of towns people, concern of his friends, excitement of Casper students idk, EVERYTHING) and M'gann helps him overcome it. Later both of them being there for eachother when everything was just too much. Y'know just this mutual understanding that nobody else can really give them.

Maybe some communication troubles because M'gann prefers telepathy and Danny does not like it in a slightest (Freakshow flashbacks or something) but tries to accommodate. Or M'gann doesn't even try because idk, one of telepathy rules is "don't read thoughts of dying person unless they project it to you" and she feels it goes for dead (even if only halfway) too.

They're just vibing with eachother.

Then there is ghost attack outside Amity and Team is send to deal with it. M'gann is surprisingly competent at dealing with everything ghost does while evacuating civilians while someone magic competent is called. Suddenly she stops, gets her phone and makes a call:

"Hey Danny, do you have a moment?" whole team is too shocked to react, because in the love of whatever they believe in, why is Megan calling her civilian friend in the middle of the battle with unknown entity. "It's [insert whatever ghost you want] wrecking havoc. Can you come by at take them to the zone? I don't have thermos on me right now. Thank you."

WHAT DOES THAT EVEN MEAN?

Que Danny flying top speed to wherever she is, fights a ghost and contains them. Que someone (maybe Wally) being like:

"When did you wanted to tell us that your civilian friend is a hero?"

M'gann honest to god forgot that Team thought Danny was a civilian.

"I worked quite hard to drag her into as little of my Phantom bullshit as I could. I am proud of being a civilian friend, thank you very much"

They all came in contact together after that.

Martian Manhunter tried to give Fenton a shovel talk but boy was too excited to meet his favourite hero and to focused on not making fool of himself to be actually scared or something. He deals with Skulker on a regular basis anyway, there are very few threats that could actually scare him.

Team members also tried to shovel talk him, just in case. They all failed for one reason or another

Or maybe Danny is already YJ member. Everything above can still happen just without ghost attack. Danny can have issues with Zeta Tubes though. That's a good stuff.

There can be a drama of "I'm your friend only because I'm alien/semi normal, am I not?"

Or we can go with space obsessed Danny going full Vlad on cute alien girl. Y'know, because "that's a halfa thing to do". M'gann is not into that. I'm not really excited about this take but that's a possibility too.

Use it as you will. Just please someone write it

Hey Macaque, have you ever used your shadow abilitys for pranking? Or just jumpscaring people?

thinking about the way shadowheart, lae'zel and minthara deal with breaking away from a god/god-like figure they've dedicated their lives to. shadowheart immediately latches onto rescuing her parents as her new 'mission'. lae'zel immediately dedicates herself to freeing orpheus with the vigor she served vlaakith. minthara fixates on obtaining the power to make sure she's never controlled again.

its like. breaking away from gods/god-like figures leaves a void to fill. they're trying to fill it, and trying to choose what they fill it with. and they know that's what they're doing, in some ways, maybe to avoid the enormity of what it means to have broken away. maybe to avoid working out what they'll do as individuals. shadowheart doesnt know her parents, and they dont know her anymore, but she has to save them. you can ask lae'zel why she won't focus on herself, and she acknowledges there's no time for that. not yet. minthara wants you to use the power of the brain, but has dialogue/approval when you speak to ravenguard and she realizes hes still in there beneath the tadpoles influence, just like she was.

'my deference to him is a habit that will die hard, i fear'. minthara still calls the elder brain the absolute, even after she knows the truth. lae'zel still calls out to vlaakith in battle. shadowheart still wears the symbol of shar in her hair after dyeing it. indoctrination/ingrained beliefs are hard to break.

they've broken away from what was controlling their lives. they're free. they've lost everything. shadowheart can save her parents and but will always have that mark. lae'zel has been declared a traitor and will be hunted until vlaakith is overthrown. minthara can never go home, and would be executed if she tried.

they've broken away. they've lost everything. they're struggling with what that means. they're free. they wouldn't have it any other way.

making banana bread for my grandma i hope she likes it

I'm simultaneously mad at the authors of Ever After High for saying there are no fairytales that go against the norm of damsel in distress and prince that saves her because it's possible they might not have done their research OR it could be a world building choice and for that i applaud them.

im reading Semi-Charming Kind of Life for a project im working on and im getting so angry by them saying there are no fairy tales where the princess saves the day or rescues herself or goes on an adventure but there are!!!! My personal favorite fairytale is exactly that, she literally carves a hole in the stone wall of her tower with a goddamn bread knife to escape when she realizes no one is coming to save her. There's so much more to that story but that's the start of it.

But it makes so much sense that a story like that, one where the details aren't simple and expected that someone like Headmaster Grimm would cut it from the lineup of stories told in the modern day. To make everyone believe that there is only one way of doing things and nothing has ever veered from that ever. That's part of his whole goal to begin with, isn't it? so to what extent would he be willing to go to confirm that? We already know he's willing to lie and deceive literally the whole world to fit his narrative, so what else would he do?

💕 Witch Hunter Mi/lf Hunter 💕

Based on these au headcanons by @livvychoclate. ❤️

I love this rare pair so much.

Thank you @slightly-gay-pogohammer for this adorable commission art! 🎨 <3

Sketch here ✏️

Also, ever since Beardo Philip complimented Camila on her lipstick, she has been wearing it more often. ❤️ 💕 💋💄

any thoughts on how once again zelda was robbed of her agency because her "father figure" didn't listen to her? even if rauru was kinder to her than her father. and that she had sonia who was patient and loving for a little while before she died (just like her mother). i know rauru apologizes for his hubris but still, i wish we saw zelda be upset about it. and even if zelda was such a big part of the quest she still literally sacrificed her humanity once again because of someone else's mistake- because rauru literally didn't listen to the girl from the future that warned you that shit was going to go down. o know nintendo just loves putting zelda inside crystals and stones but i wish we got something better. even if it was her decision to become a dragon... did she have any other choice? it really just feels like they robbed her of agency again just like botw and the games before

i've been trying to figure out how to answer this one. because there are two ways i could analyze this plot point, either from a writer's perspective or an in-story perspective, but neither of those lead to me fully agreeing with your interpretation? I think there's definitely something to be said about zelda consistently being pushed aside in these games, but. well. ok let's get into it ig

from a writer's perspective, I do honestly have quite a bit of sympathy for the zelda devs as they attempt to navigate the modern political landscape with these games. The cyclical lore, though canonized relatively recently, holds them to a standard of consistency in their games in terms of certain key elements. one of those key elements is that there has to be a princess, and that princess must somehow be the main macguffin of the game. The player must chase her, and the end goal of the game must be to reunite the player and the princess. In 1986 this was an incredibly easy sell. women didn't need to be characters. players were content with saving a 2-dimensional princess whose only purpose was to tell them "good job!" at the end. but as society advances, that princess becomes a much more difficult character to write while adhering to the established overarching canon. (as a side note: i don't necessarily believe that the writers SHOULD be held to the standards of that canon. I think deviating from it in certain areas would be a good change of pace. but i also recognize that deviations from the formula are widely hated by the loz playerbase and that they're trying to make money off these games, so we're working under the established rule that the formula must be at least loosely adhered to.) Modern fans want a princess who is a person, who has agency and makes decisions and struggles in the same way the hero does. but modern fans ALSO want a game that follows the established rules of the canon. so we need a princess who is a real character but who can ALSO serve as a macguffin within the narrative, something that is inherently somewhat objectifying.

the two games that i think do the best job writing a princess with agency are skyward sword and botw (based on your ask, our opinions differ there lol. hear me out) in both games, we have a framing event which seperates zelda and link, but in both games, that separation was ZELDA'S CHOICE. skyward sword zelda runs away from link out of fear of hurting him. botw zelda chooses to return to the castle alone to allow link the time he needs to heal. sksw kinda fumbled later on by having ghirahim kidnap her anyway, but. i said BEST not PERFECT. botw zelda I think is the better example because, with the context of the memories, she's arguably MORE of a character than link is. we see her struggles, her breakdowns, her imperfection, specifically we see her struggle with her lack of agency within the context of the game itself. when she steps in front of link in the final memory, and when she chooses to return to the castle, those are some of the first choices we see her make almost completely free of outside influence; a RECLAMATION of her agency (within the narrative) after years of having it stripped from her. from an objective viewer's standpoint, this writing decision still means she is absent from 90% of the game and that she has little control over her actions for the duration of the player's journey. however I think this is just about the best they could have done to create a princess with agency and a real character arc while still keeping the macguffin formula intact--you're not really SAVING zelda in botw. SHE is the one that is saving YOU; when you wake up on the plateau with no memories, too weak to fight bokoblins, let alone calamity ganon. the reason you are allowed to train and heal in early-game botw is because SHE is in the castle holding ganon back, protecting YOU. When you enter the final fight, you're not rescuing zelda, you're relieving her of her duty. taking over the work she's been doing for the past hundred years. in the final hour, you both work in tandem to defeat ganon. while this isn't a PERFECT example of a female character with agency and narrative weight, i think it's a pretty good one, especially in the context of save-the-princess games like loz.

as for totk, you put a lot of emphasis on rauru not believing zelda and taking action immediately, which, again, from an objective standpoint, i understand. but even when we're writing characters with social implications in mind, those character's actions still need to... make sense. Rauru was a king ruling over what he believed to be a perfectly peaceful kingdom. zelda literally fell out of the sky, landed in front of him, claimed to be his long-lost granddaughter, and then told him that some random ruler of a fringe faction in the desert was going to murder him and he had to get the jump on it by killing him first. the ruler which this girl is trying to convince rauru to wage an unprompted war on has the power to disguise himself as other people. no one in their right mind would immediately take the girl at her word. war is not something any leader should jump into without proper research and consideration, and to rauru's credit, he DIDN'T ever outright dismiss zelda. he believed her when she said she was from the future, he allowed her to work with him and he took her warnings as seriously as he could without any further proof. but he could not wage an unprompted war on ganondorf. that's just genuinely not practical, especially for a king who values peace among his people as much as rauru seems to. as soon as ganondorf DID attack, giving rauru confirmation that zelda's accounts of the future were real, he began making preparations to confront him. remember that zelda didn't KNOW that rauru and sonia were going to be casualties of the war--she didn't make the connection between rauru's arm in the future and rauru the king until AFTER sonia's death, when rauru made the decision to attack ganondorf directly. I think the imprisoning war and the casualties of it were less an issue of zelda being denied agency and more an issue of no one, including zelda, having full context for the events as they were unfolding. if zelda had KNOWN that sonia and rauru were going to die from the beginning and was still unable to prevent it that would be a different issue, but she didn't. none of them did.

I think another thing worth pointing out with rauru and his death irt zelda is that rauru is clearly written specifically as a foil to rhoam. this is evident in how he treats both zelda and link, with a constant kindness and understanding which is clearly opposite to rhoam's dismissiveness and disappointment. consider rhoam's death and the circumstances surrounding it. He died because, in zelda's eyes, she was unable to do her duty; the one thing he constantly berated her for. Rhoam's death solidified zelda's belief that she was a failure, a belief which she KNEW rhoam held as well. his death was doubly traumatic to her because she knew he died believing it was her fault. Now contrast that to the circumstances surrounding rauru's death. Rauru CHOSE to die despite zelda's warnings, because he wanted zelda and his kingdom to live. rauru's death was not agency-stripping for zelda; in fact, it functioned almost as an admission that he believed her capable of continuing to live in his place. With him gone, the fate of the kingdom fell to her and the sages. he KNEW that he would die and still went into that battle confidently, trusting zelda to make the right decisions once he was gone. where rhoam believed zelda incapable of doing ANYTHING without link, rauru trusted zelda COMPLETELY with the fate of his kingdom. several details in totk confirm that when rauru died there was no plan for zelda to draconify, that all happened after rauru was gone. it was HER plan, the plan which rauru trusted her to come up with once he was gone. and I think it's also worth noting that zelda's sacrifice with the draconification parallels rauru's!! Rauru gives up his life trusting the sages and his people to be able to continue his work in his place. Zelda gives up her physical form trusting link and the sages in the future to be able to figure out what to do and find her. these games in general have this recurring theme but totk specifically is all about love and trust and reliance on others. zelda relies on link, link relies on zelda, they both rely on the champions and the sages and rauru and sonia and they all rely each other. reliance on others isn't lack of agency, it's a constant choice they make, and that choice is the thing which allows them to triumph.

The draconification itself is something i view similarly to zelda's sacrifice in botw--a choice she makes which, symbolically & within the confines of the narrative, is a demonstration of her reclaimed agency and places her at the center of the narrative, but which ALSO removes her from much of the player's experience and robs her of any overt presence or decisionmaking within the gameplay. again, I think this is a solution to the macguffin-with-agency dilemma, and it's probably one of the better solutions they could have come up with. Would I have liked to see a game where zelda is more present within the actual gameplay? yes, but I also understand that at this point the writers aren't quite willing to deviate that much from their formula. the alternative within the confines of this story would be to let zelda DIE in the past, removing her from gameplay ENTIRELY, which is an infinitely worse option in my opinion. draconification allowed her to be present, centered the narrative around her, and allowed the writers to reiterate the game's theme of trust and teamwork when she assists the player in the final battle, which i think was a REALLY great choice, narratively speaking.

In any case, I don't think it's right to say that zelda was completely robbed of her agency in botw and totk. Agency doesn't always mean that she's unburdened and constantly present, it means she's given the freedom to make her own choices and that her choices are realistically written with HER in mind, not just the male characters around her, and I think botw/totk do a pretty good job of writing her and her choices realistically and with nuance.