chance existence

anonymous asked:

with all of the asks that are send to you about the chapter i just have to say that i love your positivity about the future of kaneki and touka, that they are going to have a rough time but in the end they are gonna make it, i feel that this will not end with a tragedy like the first part, it's gonna be really rough and hard but they are gonna make it

Thanks anon! This isn’t just wishful thinking on my part either; I can appreciate tragedy just as much as a happy end (just look at my metas on the characters who I think are not going to make it), but from a purely logical analysis of the themes of this series I genuinely think they’ll both survive. I had a strong sense of what Ishida was doing here since I first discovered the existence of :re - a testament that even in the darkest, blackest pits of despair when all hope seems lost, the chance for happiness still exists. 

OFF THE CUFF HOMESTUCK THOUGHTS #3: THE SELF PILE DOESN’T STOP FROM GETTING TALLER OR: THE PROBLEM OF DEAD MARIOS

DISCLAIMER

IMPORTANT THEORETICAL FRAMEWORK

[CHECK THE TAG FOR MORE THOUGHTS]

So, a long-ass time ago, Rose and Dave had a conversation like this:

TT: After you go, what do you think will happen to me?
TT: Will I just cease to exist?
TG: i dont know
TG: i mean your whole timeline will
TG: maybe
TT: Maybe?
TT: Is there a chance it’ll continue to exist, and I’ll just be here alone forever?
TT: I’m not sure which outcome is more unsettling.
TG: the thing with time travel is
TG: you cant overthink it
TG: just roll with it and see what happens
TG: and above all try not to do anything retarded
TT: What do you think I should do?
TG: try going to sleep
TG: our dream selves kind of operate outside the normal time continuum i think
TG: so if part of you from this timelines going to persist thats probably the way to make it happen
TT: Ok.
TG: and hey you might even be able to help your past dream self wake up sooner without all that fuss you went through
TT: I think the true purpose of this game is to see how many qualifiers we can get to precede the word “self” and still understand what we’re talking about.

This is the most important sentence in Homestuck.

I am dead serious.

Well, OK, I mean, it’s pretty important for understanding some major Homestuck themes and shit or something like that.

Also, I totally should have said: Pre-Retcon Doomed Timeline Non-Dreamself Rose but ultimately about to become Dreamself Rose who semi-merged with Pre-Retcon Alpha Timeline Rose and Doomed Timeline Dave aka Davesprite AKA future Davepetasprite^2 or as we all call them around the office, Davepeta, had that conversation.

Maybe you begin to see what I’m going to talk about here.

One of the major frustrations a lot of people had with the retcon was that the characters we ended up with at the end weren’t the ones we’d come to love and know throughout the story. Was it even worth it, to lose the characters we loved to the tyranny of Game Over? The victorious kids, with the exception of John and Roxy, were other people, with other histories, other goals, and other choices.

Allow me to submit that that may be the whole point.

SBURB is cruel. We’ve known that for a long time. It’s cruel not as Caliborn is cruel, but as the cosmos is cruel, as a supernova is cruel. It wants what it wants, and doesn’t care about how that intersects with the needs of humanity. It wants to make universes through a complex game-playing method, and drags hapless, vulnerable adolescents along for the ride. And most of the time it doesn’t even succeed, leaving its champions to rot in a doomed timeline or similar! Skaia’s victory is an amoral creation myth where individual human beings are just the carved pieces on the chessboard. (I mean, the other ones. Not the carapacians.)

Again, let’s consider the theme of VIDEO GAMES vs. REAL LIFE.

Homestuck, let’s be real, is basically some postmodern horror timey-wimey Jumanji. For a generation way more familiar with pixels than cute little tokens It’s easy for teenagers and in fact, basically everyone, to fantasize about escaping their life and slipping into some game world forever, where they get to do awesome things and be a heroic person.

Homestuck makes that literal. Congratulations, everything you ever knew is dead. You will never see it again, except your internet friends, who turn out also to be your family and other important people. I mean, from a distance, SBURB sounds like an awesome game, right? You figure out who you are and get to wear a cool costume displaying that identity. You get to make anything you want and enjoy this hyperflexible mythology tailored to YOUR CHOICES. HS fans talk all the time about how cool it would be to play a real version of SBURB. That’s a big part of the appeal of SBURB fan adventures. They put you and your friends in the story. Or your favorite characters! It sounds like a fantasy come true.

The thing is, as fantastical as it is, it’s also really fucked up, and ultimately you and your friends are being used. By a giant frog to let it have its babies. By the universe. By a smug blue cloud thing that doesn’t care about you at all.

SBURB does not care about you at all.

The funny thing, SBURB features a mythology with so many layers and nuances and seemingly human motifs about growth and self that you might search for some grand ultimate meaning behind it, but it’s not even human enough to have a personality, to be something you can argue with or fight. It just is. It’s all the cruelty and power of a god without any of the dazzling personality. It’s empty. It just wants to make universes all day long, or fail trying. It is a great, weird tadpole-making machine that eats children.

One of the big ways it doesn’t care about you is its attitude toward the self. Humans and trolls and whatnot prefer not to be relentlessly duplicated. SBURB says, oh yeah, let’s make tons of copies of the player characters and use them for a lot of different purposes.

There’s the dreamself, an essential bifurcation of identity (you are now and were always the dream moon princex) that sometimes gets merged into god tier but sometimes doesn’t. There’s doomed timeline selves, who exist ultimately to augment an Alpha timeline whose Alphaness is decided very arbitrarily and frequently by Lord English. There’s the you who exists before a scratched session and the you who exists afterward, who are two different people but started as one baby in an act of ectobaby meteor duplication, your player self and your guardian self. Dead timeline yous fill up the dreambubbles made by the horrorterrors and get endlessly confused with each other. Any one of these could be the you experience being at any given moment, and which one it is entirely arbitrary. Don’t like being Dead Nepeta #47? Tough hoofbeast leavings, kiddo.

To top it all off, in Terezi: Remember, we learn that every single time we thought someone changed from one self to another, was resurrected or something like that, it was another act of duplication. For every time someone’s died, there’s another version of them waiting in the Dream Bubbles, surprised that they’re not the main character anymore. And we have no way of knowing which is which. Even John, good old everyman John, may or may not be the person who died three or four times. It’s really impossible to say whether we’ve been following the same person throughout our story, or just the illusion of the same person, like a horrifying cosmic flipbook.

The retcon is a return to this same theme. Ultimately, there’s very little new in the changes John makes to reality except that they drive the point home.

John’s friends all died. John and his friends won the game. These things are both true at the same time, except those things may not have happened to the same people. There was a happy ending. Hooray! For, um, some folks who may or may not be the ones we care about. In fact, it’s very confusing, because from Rose’s perspective, Roxy is dead but came back to life, and from Roxy’s perspective Rose is dead but came back to life, except also she came back to life as a weird tentacle catgirl of pure id and self –indulgence. So there’s that. Um. Which Rose are we rooting for again?

Or wait: is it none of them, because the first Rose died in a doomed timeline, hundreds of panels and a number of years ago?

There’s a tension here which one experiences between saying it’s okay because it’s still the same people, and saying it’s not okay, because it’s not the same people at all. This tension is exactly what we’re meant to wrestle with. To put it another way, Homestuck asks if identity can work in aggregate. Are all Johns John, all Roses Rose, and do they all share in what they accomplish? Or are the final victors only accidents created by the whims and needs of the frog baby machine?

What I’m saying, basically, is that the retcon, in the sense that it pointed out our confused relationship with these characters, was already here.

In interviews and questions put to him over the years, Hussie constantly compares HS and SBURB to other video games, particularly Mario, which he frequently returns to as a baseline of comparison that most of his readers will know. One answer, from a recent Hiveswap interview, is particularly revelatory. To the question of “Why do you kill off all your characters?” Hussie replies:

[…]HS is supposedly a story that is also a game. In games, the characters die all the time. How many times did you let Mario fall in the pit before he saved the princess? Who weeps for these Marios. In games your characters die, but you keep trying and trying and rebooting and resetting until finally they make it. When you play a game this process is all very impersonal. Once you finally win, when all is said and done those deaths didn’t “count”, only the linear path of the final victorious version of the character is considered “real”. Mario never actually died, did he? Except the omniscient player knows better. HS seems to combine all the meaningless deaths of a trial-and-error game journey with the way death is treated dramatically in other media, where unlike our oblivious Mario, the characters are aware and afraid of the many deaths they must experience before finally winning the game.

The big man hass the answer.

Homestuck is the story of those dead Marios.

Other works, like Undertale, have engaged with this topic as well. But one of the major differences between Undertale and Homestuck is that in Undertale, between “lives,” one’s consciousness is preserved. In Homestuck, it’s discontinuous, and the value of the overall trial-error process is called into question by the fact that you, the player, may not even get to experience the victory. What meaning does victory hold if that is the case?

So, to put it in a nice thesis format:

One of the central themes of Homestuck is the challenge of reconciling an arbitrary and destructive pattern of growth and victory with the death and suffering you experienced along the way. Homestuck asks: is victory worthwhile if you’re not you anymore? And would you be able to know?

What even is the self? Is there such a thing?

If you were left feeling somewhat disconcerted by our heroes’ tidy victory and departure to their cosmic prize, or by how which Rose gets the spotlight is so deeply, deeply arbitrary, there’s a good reason for that. You’re supposed to be.

The philosophical problem of Wacky Cat Rose is insignificant next to the bullshit of SBURB.

And don’t forget—John and Roxy’s denizens helped them achieve the retcon. Ultimately, the victory they achieved was mediated by the same amoral system of SBURB, and was a victory over an enemy, Caliborn, whose power was created, perpetuated, and ended by that same system.

Okay, so here’s where it gets contentious. There’s an argument to be made, which I’m not sure how I feel about, that some of the character development that could have been in post-retcon Act 6 was left out precisely to push this feeling and play up this tension. Note that this is not the same thing as saying that they were deliberately badly written, but that they’re deliberately written to make us uneasy.That Hussie deliberately played with the balance between making these retconned characters feel familiar and making them feel eerily different to leave us feeling uneasy with the result.

I’m not sure I like that idea. It smacks a little too much of that “everything is perfect” thinking that comes sometimes from the far Metastuck camp. Some of the differences may also be the result of flawed writing. (See: Jane and Jake’s character arcs, which I might talk about later.) And I want to be able to critique those flaws. Ultimately, I think we still needed more time and development to figure out who these new people were—even if our goal was ultimately to compare them to their earlier selves. And again, more conscious acknowledgement of the problem from our heroes—especially John, the linchpin in this last and biggest act of duplication—might have helped drive this theme home.

Still, I think the Problem of Dead Marios is one of the most fundamental questions of Homestuck, maybe THE biggest question. It’s essential to understand it to understand what Hussie’s doing—or attempting to do— in the retcon and the ending.

I don’t know that Homestuck offers us a clear answer to that question. There are some confusions around the issue, too. Where do merged selves fit in, exactly? Clearly they’re a big part of the discussion, because Hussie spends some time in Act 6, especially near the end bringing the identity-merging powers of the Sprites to the forefront. (See also: the identity-merged nightmare that is Lord English.)  Can we even come up with a clear answer to what it means when a dead Mario returns to life grotesquely fused with Toad? How does he beat the game? Does he tell himself that the princess is in another castle? Or what if he merges with Peach? Are they their own princess? How do they know if they’re in the right castle?

Um. Anyway—

Interestingly, it’s not all grotesque—spritesplosions suggest that personalities that are too different don’t stay together long, so a fusion might rely on some inherent compatibility between the two players. Erisol’s self-loathing, sure, but also Fefeta’s cheerfulness. Davepeta seems to be a way of bringing out the best in their players, a way of getting Davesprite past his angst and Nepeta past her fear. Honestly, I know a lot of people don’t like Davepeta as the ending of these two characters’ arcs, but I can’t help but love it. They’re the ultimate coolkid. Cool enough to know they don’t have to be cool. Regular Dave got there, too, of course. But was his retcon assist from John ultimately any different?

Then, of course, we come to Davepeta’s speech to Jade in one of the last few updates before Collide. Davepeta suggests that there is such a thing as an ultimate self beyond the many different selves one piles up throughout the cosmos. A set of principles that describes who you are that’s larger than any individual instance of you. Your inherent Mariohood. (Maybe this is comparable to your Classpect identity, which attempts to describe who you are?) Davepeta even tells Jade, strikingly, that one might learn to see beyond the barriers between selves. Be the ur-self, in practice, rather than theory. This would be incredible news for Jade, who wrestles with the issue of different selves perhaps more than any other character. (There’s a lot to say about Jade.)

Honestly, I wish this ur-self idea had been developed more, and I honestly expected it to be. It doesn’t fully come to fruition, I feel. (Same goes for Davepeta’s character. Ohhhh, ZING!) I’m not sure it entirely makes philosophical sense, especially with fusion—I mean, doesn’t Davepeta themself disprove it? Or at least complicate it? Like, are they part of the ur-Dave or the ur-Nepeta? They seem to imply they’re BOTH? Does that even work? Does that mean that Marieach is all the Peaches and Marios at once?

(In fact, Bowser/Peach/Mario are but the three manifestations of one eternal principle. Also, Bowser/Peach are the true power couple. Read my fanfiction plz.)

And what, say, of Dirk, who ultimately ends up rejecting aspects of his other selves? It feels like there’s a lot more you could say here, and I wonder if Hussie would have said more, if he’d had time. What’s weird is, none of our victorious kids never reach an ur-self (though to their descendants, they become archetypal to some degree), which one might have expected. They’re just individual selves who happened to get lucky. Does that make them representative of the whole? It feels like something’s missing here, or like something got dropped at the last minute.

Same goes for the idea of the Ultimate Riddle. You’d be forgiven for missing it, but there’s been this riddle in the background lore of SBURB that seems to have something to do with personal agency in this overwhelming, overarching system. Karkat called it predestination, saying something like “ANY HOPE YOU HAD OF DOING THINGS OTHERWISE WAS JUST A RUSE.” But others have interpreted it more positively. My favorite interpretation, from bladekindeyewear: the answer to the Riddle is that YOU shape the timeline through your existence, personality, and choices, even when it looks like it’s all predestination. Ultimately it’s your predestination, your set of events, based deeply on your nature, that you are creating. Someone like Caliborn can use his innate personality to achieve power; someone like John might be able to use it to achieve freedom.

I definitely expected something like that to be expressed more explicitly. Like, a big ah-ha moment that helps John or Jade or whoever understand how to escape Caliborn’s system. Something like that would have been very helpful for a lot of our heroes, actually, who’ve been pushed around by Skaia and SBURB together, in finding a cathartic ending.  Once again, I wonder if something was dropped or rushed because there wasn’t time to put it all in. There’s places where you can see hints of that Answer being implied, maybe? But it’s kind of ambiguous.

You can see how the Answer to the Ultimate Riddle ties into some of Davepeta’s ideas. If your personality, the rules of your behavior are a fundamental archetype that goes beyond each individual self, then the answer to whether it matters if one self of yours makes it through to victory is an emphatic YES. You are all of those people, and by winning one round with Skaia, you’ve won the whole game, despite all the arbitrary challenges and deaths it heaps upon you along the way.

This may strike some as too positive for Skaia’s brutality, or again, some way of excusing flaws in many characters’ arcs, or unfair things that happen to them. To be fair, I don’t know that Davepeta’s necessarily meant to be taken as authoritative or the voice of Hussie. They may simply be offering a purrspective.

Hussie not choosing to come right out and engage with the Ultimate Riddle leaves the question of Dead Marios and what they mean for the victorious versions of our cast very open. I like that in some ways—let the reader decide—but I can’t help but wish we had more to work with in making that decision. Plus, it might have brought the thematic messages of Homestuck all the way home to tie them more closely to our characters and their experiences—character development being one of the things most people found most lacking in the ending.

NEXT TIME: All that wacky gnostic stuff probably

anonymous asked:

Ok so question for your lost lance au : would atleast one person suspect that Lance is someone else at first bc like the whole team (minus Keith) believes he's dead then all the sudden Keith bursts through the door claiming he found someone who has been assumed dead for two years

okay so … let me finally explain what happened bc I think i have to to answer this question

((Long explanation/ MAJOR spoilers under the cut))

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$Qers: Emma will die & your ship (aka CS) dies with her

well if my ship dies then yours lost any chance at even being born to begin with?!

this honestly cracks me up, like hysterical laugh

to all the people out there in this world that are feeling the same feelings that I am feeling there is hope for you just stay strong with who you are ,one day someone will come along and love you for who you are ,there is someone out there for you
—  carter
2

Something fun and simple, inspired by what I wish I had in my own closet. Here’s an edit of the base game wedge heels with two versions: a strappy sandal and a peeptoe sandal. Chances are these already exist somewhere but I looked for something similar and couldn’t find any, so hopefully I’m not offending anyone by sharing these.

DOWNLOAD ON SFS

Framework Theory

Okay, I’ll explain my theory as I explained it on Twitter. The Framework from 4x15 of Agents of Shield showed some gnarly things for our agents, and some of which people don’t understand, so let me break it down in a way that I processed it via characters.

The framework works in the way that it resorts people to not their “happy” places but a state of their “ideal” places. Where things are simplified to a fault and nothing is at all causing them “pain” because it’s baseline stuff. As we know, any relationship causes pain on any level. None is completely perfect. The framework doesn’t cut pain from the emotions, it just puts them somewhere it won’t have a chance to exist, meaning this: Shield does not exist in the framework because it is the source of their strife.

Now, to explain.

Daisy Johnson: Skye was founded by Shield, only because she was part of the rising tide, a hacker group that was commuted to uncovering the secrets of Shield. Since Shield doesn’t exist here, it means that Hydra was the one Skye hacked into. In the same way she joined Shield, Ward recruited her into Hydra. And because of that, Skye never felt the pain of Ward’s betrayal. He never had to change to Hydra because he always was. The world was simplified for her, cutting out the middle man and /that/ is why she’s with Ward and not Lincoln, someone who made her genuinely happy. Ward never hurt her, so she remained happy with him.

Phil Coulson: Coulson has told us before that he got recruited into Shield because in College, as a history major, he started to uncover just how much history was made by Shield. Since Shield doesn’t exist, Coulson never found any of that out, leaving no recruitment into Shield and having him choose the path of School Teacher instead. He teaches people to fear inhumans because without Shield he didn’t have the experience with them, or Daisy in general, that led him to know they aren’t bad guys.

Alphonso Mackenzie: His story is relatively simple. He recently explained to us, or Yoyo, that he lost a child before. In this framework, his life was already fine before. So it just cut out that pain for him. He has his ex wife and a daughter that grew up with him this time. Without any Shield to get entranced by and no reason to turn to Hydra, he lives a peaceful Suburban life.

Melinda May: May’s mother was a spy, something we knew from before and we’re led to believe she followed her mother’s footsteps. Since most of their before-mentioned stories stated the same, I have no real reason to believe May’s changed at all, other than instead of joining Shield’s spy organization, she turned to Hydra since Shield doesn’t exist. She never meets Coulson and lives a stoic life as a Hydra agent.

Fitz&Simmons: To do this separately, I must first do them together and say this. Without Shield, these two never got recruited into the academy and never met. As much as all of us Fitzsimmons fans hate to admit, Fitz and Jemma really cause each other a lot of pain. Even so, we understand that life’s relationships should be that way. Uphill battles for large payouts with people we love. The framework, it doesn’t compute that.

Jemma Simmons: I have many reasons to believe that framework Jemma isn’t dead. For one, she located her avatar. It was explained to us that the only reason so many people could exist in the framework was because of the Darkhold which was able to help obtain all of that information. But when Jemma explains that if you die in the framework, you die in the real world it’s because the collective consciousness that was delivered into the framework ceases to exist. If Jemma was able to locate her avatar it means that her AI consciousness was able to keep her place, which means she still lives. Her death could’ve been staged for many reasons, but that’s up to speculation.

Leopold Fitz: Fitz lives in a world now where he’s literally on top of it. He was told as a child by his father he wasn’t smart enough and wouldn’t be anything. Now, Fitz is everything. He never meets Jemma Simmons, never falls for her, and never goes through any emotional trauma to get her back or live on. He’s content with his life as it is then.

I honestly believe this is what’s going on, and I really don’t think that Hydra and Shield “swapped places” or that Shield had fallen. If that were the case, May and Daisy would’ve stayed loyal to Shield and Coulson wouldn’t very well be alive.

So fear not, my fellow agents.

this just in!

bisexuals exist. we are not slutty. we are not attention seekers. we are not a taint in the lgbt community. we are not invalid. we are not trying to gain things for selfish purposes. we are not using sex to manipulate. we are not lying. we are not going through a phase. we are not being the stereotyped college girl. we are not stealing your chances. we exist. we have always existed. we will continue to exist. i exist.

Já parou pra pensar em como a gente sofre por coisas superficiais e dá uma atenção absurda à pessoas que muitas vezes não nos valorizam? São essas pessoas que nos fazem desacreditar de que vale a pena nos expormos emocionalmente, elas nos fazem murchar nossos sentimentos até que em determinado momento secamos, nos tornamos rosas secas em um jardim de possibilidades. E é impossível voltar a florescer em um terreno de inseguranças. A gente se perde no caminho e não consegue voltar. Mas quando menos se espera, encontramos alguém que nos regue, que cuide, até que perdemos o medo e só nos deixamos crescer. Por fim descobrimos que onde se enterra coração partido, o solo se torna infértil, por isso não floresce nada. Aprendemos que é necessário ampliar nossos horizontes para enxergarmos que sempre existe outra chance, outro alguém para se reerguer e voltar a florir.
—  Bella Palova em companhia de Cartas de Capitu e Amor-eco!

Friendly reminder to all working artists or (especially) aspiring artists.

If a client says they can’t afford to pay you but you’ll get good exposure, one of two things is happening:

1. They are lying. They can afford to pay you, but they are choosing not to. They will pay the printer to print the books, they will pay the mail service to deliver them, and you’d better believe they’re going to pay themselves for sending you an email explaining that they can’t afford to pay you. They think you are a sucker, and if you take the job you’ll be telling them they are right.

2. They are not lying. They have zero budget, no audience and no real distribution system. They’ll still be paying the printer and mail service because people who work in those professions don’t work for free just because someone promises them a recommendation. But they aren’t paying themselves, they’re running on an incredibly small margin, and there’s a good chance they won’t exist as a corporate entity in a few years. Publishing your work with them will give you less exposure than putting it on tumblr or Instagram for free would. It will never lead to a paying job. 

If a client starts ranting about the “short-sightedness” of artists, or otherwise complains about artists in general in their opening offer to you, run. Run as fast as you would run if a blind date spent the whole of dinner ranting about how horrible your entire gender is. Yes, there are doubtlessly clients who’ve been screwed over by artists in the past, but the ones who complain about artists in general will not respect you, they will not treat you well. 

Working for free does not prove that you are passionate about something. It proves that you do not need to be paid for your work. How many doctors went into medicine because they are passionate about saving lives? Do you think any of them are asked to perform heart surgery for free?

No one will ever pay $50 for something if they can get something similar for $5. When you charge next to nothing for art that you’ve worked for hours on, art that required years of training to create, you are telling your client that it is worth next to nothing. They will remember that the next time they want to hire an artist.

People who are looking to exploit artists know that artists are hard on themselves. They know that most artists don’t think their work is good enough to charge top dollar. They know that artists have been told from the first day they started taking their art seriously as a career that they’ll never make any money off it, that it’s not a real job, that it has no value to society. They know how to push artists’ insecurities about their profession in order to convince them that that demanding fair compensation is unrealistic and uncooperative.

If you’re just desperate for a job in the arts, any job in the arts, give yourself a job. Start a webcomic, or give yourself illustration assignments that you post on social media regularly, create work for a gallery show even if you don’t have one yet, or make a book. Give yourself a job. If you’re going to work for free, you may as well be working for yourself, setting your own hours and following your own interests. Having original art with original characters and ideas in your portfolio, and making sure your art is visible online will get the attention of publishers who are actually looking to hire people for good jobs. Drawing a shitty comic for a defunct publisher based on someone else’s shitty ideas will not.

Protect yourself, because no one else will. Protect yourself, because no one else will. There are people lining up around the block to exploit you. Protect yourself because no one else will.

maburito  asked:

"Fuck you, fuck them and fuck everything" for monochrome maybe ?

Changed the quote a little to make it fit better. Part two from yesterday’s fill.


Weiss sat on the bench, checking her scroll for the umpteenth time since she sat down. She’d already made reservations at a hotel- a three star one just a few blocks away, which she guessed would be the last place anyone would think to look for her- but hadn’t checked in yet, a rare sort of nervous excitement scattering her normal priorities. Talking to Winter helped, both to pass the time and to shake off some of the residual energy from being finally freed of the weight her father imposed upon her. They’d made plans to meet up in a few weeks, when next the woman’s work brought her to town. Weiss was happy to hear that she’d be bringing someone else along, too. Winter wasn’t very specific on the details, though.

“Believe me, Weiss, it’s an experience I’d rather not have sullied by prior knowledge.” Despite not hearing her voice in months, their private calls kept secret from the rest of the family, she could hear the smile in her sister’s voice, and it made her own grow a little wider. “You’ll just have to wait until you meet her.”

She checked her scroll again. A full minute had passed since the last time she’d looked, which at least was progress. Weiss mentally kicked herself for making this decision; she should’ve had the taxi drop her off at the hotel instead. Taking any of the cars- even the ones in her name- would likely end with a repossession service hunting her down, so she’d left with just the two suitcases sitting by her feet and the backpack on the other side, plus her favorite skirt and jacket combo. If nothing else, she could at least honor her mother’s only request of her.

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