Alright, this may be out of line, but there’s an elephant in the comically-undersized room and it’s high time we addressed it. Simply put, breed standards have become stringent to the point where inbreeding, and all the health issues that come with it, is rampant in the clown-showing circuit. Confused? Let me show you an example.
This is what a Belgian Spurthigh looked like in the late 1800s. Like most breeds in the Japing group, it was bred for function over form - those distinctive bony spurs on its hips, for example, protected the pelvis during particularly intense pratfalls. But over the last 100 years, we’ve exaggerated these features to a grotesque degree - take a look at the modern Belgian Spurthigh.
A single-minded focus on aesthetics has turned the breed into a warped caricature of its past self, and a veritable time bomb of health issues. Cataracts and hip dysplasia are so common that newly-hatched chucklets have to be tested for them, and the hip spurs are so pronounced in utero that they run the risk of puncturing the egg sac. Let me emphasize that again: in their current state, they cannot lay eggs naturally - to prevent the eggs from puncturing themselves, you have to give the mother a C-section and pull the strings of egg sacs out like a bunch of handkerchiefs tied together. This is not a state any living thing should exist in.
But how did it get this bad, you ask? Blame clown-showing authorities like the American Kook Club. The breed standards they set defining “ideal” clowns have gradually called for more and more pronounced features. When individuals win big events like Jokesminster, every breeder of that breed wants to to have the winner sire a litter with one of their clowns. When everyone is focused on a single, homogeneous ideal, inbreeding runs rampant and the breed’s gene pool shrinks dramatically.
So what do we do now? Unfortunately, there isn’t an easy solution. Preserving high-risk breeds may require crossing over with related breeds (in the case of the Belgian Spurthigh, we’ve seen some success with Andalusian Fool mixes). Clown breeders must continue to put pressure on the AKC and other authorities to prioritize health when defining breed standards. The clown breeds we know and love are in danger, but I believe that if we work together, we can continue to have happy and healthy clowns for generations to come.
OK so I wanted to write this because I love how Lance has been written so far, and I feel like a lot of the fandom have sort of missed the important themes of Lance’s character development. Warning, MASSIVE wall of text incoming, so I’ve put the bulk of this under the cut.
After watching and rewatching season 3, I’m convinced that Lance’s character arc has been handled very carefully and deliberately. I’ve seen a lot of people hoping for a big epic Lance moment where he becomes a badass in his own right and finally fits in etc. But in my opinion, that doesn’t fit Lance at all.
So far, there hasn’t been a direct focus on character growth for him, at least, not in an obvious ‘this episode is about Lance’ way. There were points in the season, such as the interactions with Allura in which he actually had a serious conversation with her, that show he has grown from the wannabe casanova he was in the earlier seasons, but no episode dedicated to his insecurities within the team and him overcoming those issues and finding his role.
That doesn’t mean his issues have been forgotten (see him believing he should step down from the team twice in s3), nor have they been ignored.
And now I’m gonna make you all feel bad for not trusting Shiro
And explain why new ugly hair Shiro is the Shiro we know and love.
First of all:
If this Shiro is a clone, operation “Kuron” would be fucking dumb.
Like real dumb.
And here’s why.
So like lets say they captured Shiro after the Zarkon fight and made a Shiro “clone” or whatever who’s goal is to infiltrate Voltron or something.
Atleast that’s what it seems like the goal is because this dude says
when Shiro escapes and they shoot his ship.
So like it seems like they let him escape on purpose.
Shiro nearly dies like 50 fucking times before he reaches Voltron (BY FUCKING MIRACLE)!!
I mean just think of ALL the coincidences that had to happen for Shiro to get to Voltron.
I dunno if he’s like the least lucky person in the universe or the most lucky, because of how he’s ALWAYS almost dying in some way and ALWAYS escapes death against all odds.
But that was one heck of an incredible journey there!
But seriously, if Keith wasn’t looking for Shiro non stop and Shiro didn’t connect to black in that very second, the Galra’s “clone” would have died. Their project “Kuron” would fucking FAIL.
I think if that really was the Galra’s goal to make a clone that would reach Voltron they would have made it a tiiiiny bit easier for him to survive somehow.
Just a tiiny bit.
They dun have to go THAT FAR to convince him he actually escaped and they didn’t just let him go. Just you kno, give him a bit of a push there when he’s starving in space or something (assuming they somehow keep track of him).
They dun have to go that far also for the viewers to fool em that Shiro escaped so him being a Clone would be a surprise later. I mean they just changed his hair a bit and no one in the fandom trusts him anymore haha.
So unless that ice planet and the universe is like filled with dead Shiro clones bodies who were eaten by monsters or froze to death or died of hunger or whatever, because of all times the clones didn’t make it, and the Galra were just waiting for that one special one that finally would, then I’m guessing that maybe something else is going on.
Because there’s no way that they’d just let him go like that and trust what? FATE to bring him to Voltron unharmed SOMEHOW???
Like that’s a dumb fucking plan.
So I dunno, unless the Galra know that no matter what happens Shiro and Keith always find eachother again and again like a pair of destined lovers.
I’m gonna say…
Complete bullshit. I dun buy it.
OK, Now how long has it actually been? Like how much time passed from their battle with Zarkon till they meet with Lotor? How much time passes until Haggar even summons Lotor?
What if it’s actually been longer than you thought?
What if it’s been like… I dunno, a year?
Thing is that when we go back to Team Voltron in season 3, they seems to think Shiro is gone, dead, like they act like they all moved on and Keith is the only one who’s still stuck there.
I doubt you get to that point after a day or two, or a week, or months even… (They love Shiro, I dun think they’d give up on looking for him after such a short time or get over his death this easily..)
It’s at a point where they all like “Ok Keith, that’s enough time to mourn, we all accepted it and you have to move on too”
I know they all look the same, and there’s not alot of indication of how much time exactly it’s been.
But it does seem like they’ve been doing
what they were doing (freeing planets, Pidge looking for her brother) for AWHILE.
This would explain Shiro’s long hair. It simply been long enough for it to grow that long since he disappeared.
(btw there’s a genetic thing that makes your hair grow really fast that also makes a flock of your hair white in the front, Shiro could totally have that)
Also the fact he can’t walk at first can be explained with him just not doing that for awhile.
Now when Shiro is finally free he SOMEHOW makes it to that Gas planet they were fighting Lotor at the first time.
Voltron is leaving the scene and Shiro appears and chases it here
I actually looked to see if we can see him but we don’t.
(I also didn’t realize it my first watch, and now every time I’ll see the 3rd episode I’ll be like “NoooOOOOOOOOOOOO you fools wait for hiiim!!!!”)
Shiro sees Voltron leaving him behind.
Besides the fact that he knows this is probably the end for him now, it also shows him two things:
They moved on.
And they are doing well without him.
Anyway, 7 days later, Shiro is dying, thinks of his Voltron days and connects to the Black lion in the last minute.
And Keith (who hasn’t stopped searching for him, now with black lion)
finally finds him.
Now besides the headache, I actually dun particularly see anything really strange about Shiro’s behavior when he goes back.
Watching it again I just got the feeling he just has a really hard time accepting what happened with Black.
I dun see a reason to not believe what Keith suggests there, that Zarkon teleported him to captivity using the Black lion.
Shiro seems upset about it because
What does it tells Shiro?
That his bond with black was still not strong enough.
Like, he had so much fighting spirit when he escaped before, and suddenly when he finally reaches Voltron he’s depressed in bed and seems like he doesn’t want to see anyone?
Like yeah he wanted Keith to lead Voltron, but I think maybe then seeing the team actually function without him and forming Voltron and fighting the Galra, and considering how much Voltron means to him and his struggle with his PTSD and how Voltron literally been the only thing on his mind when he was dying.
I think it’s a bit hard for him to accept what he sees when he comes back..
He sounds fake here
Because he’s not being honest.
Deep inside it hurts him to see they did fine without him.
When Keith goes “They need you”, he lies.
He’s the only one that needs him. The team has moved on. Maybe he says it because he can’t say “I” or feels like he’s not enough, maybe he’s trying to encourage Shiro, because he understands how Shiro feels, without Shiro needing to say anything. He always did. From the very beginning.
So maybe it’s like “Hey Shiro, I know how much this means to you and you’re still a valuable part of this team”
Shiro obviously doesn’t want to go back on his word and be all “Ok Keith, so give me back my lion now!”
But Keith does it for him, and I think you can see Shiro is very happy about it.
Only the lion won’t accept him anymore.
And before this you also have that scene with Lance doing math that I think connects the two
Shiro feels like Lance, he feels like he has no place on the team anymore.
But he doesn’t deal with it in the open, honest and good way Lance does. (which is the reason Black won’t accept him anymore, he’s not thinking of the team)
That’s why he butts heads with Keith over leadership in this episode, and we can see even in the season 4 trailer that it goes on.
I think his position as a paladin and leader of Voltron gave him control over his life back after what he’s been through. In a way that was how he coped with his captivity and his PTSD.
He’s obviously proud of Keith, but I think he’s also jealous and hurt.
I dun think he’s ready to accept he’s no longer leader or a part of Voltron.
(Like he’s proud of Keith, but he still puts him down saying “You’ll get there someday”)
And I think Keith understand where it’s coming from and he doesn’t buy it.
He puts himself down and says he can’t do this because he wants Shiro to feel needed and important.
And Shiro is doing what ya’ll Shiro stans have been doing for months haha, crying about him not being the black paladin anymore and how all his work on his bond with black was meaningless now that Keith is in it.
Shiro’s bond with his lion meant the most, he was the one who had to put the most effort into it. And suddenly, it gives him up. I think Shiro feels betrayed even.
And he’s not ready to do what Lance did with his lion yet and give it up for the sake of the team (maybe some Lance and Shiro bonding in the future??)
That’s why it seems like they are heading for a leadership conflict there. That Shiro would try to make Keith feel like he’s not ready for this. Unintentionally.
And Keith would continue to play along with it, (though being the more fitting person for the position of leader) because maybe that’s what he’s been doing all along from episode one. Trying to gently give Shiro the power and the control he lost when he was captured by the Galra, back. (Without directly confronting Shiro about his PTSD.) (would explain their odd dynamics)
Thing is Shiro is just not as good as Keith with leading Voltron. And I think he’s gonna mess up AGAIN.
It’s like we are back in square one, where Keith is the one that has the right idea in mind and no one listens and they all listen to Shiro who makes BAD decisions.
Feeling bad about racism or white privilege can function as a form of self-centeredness, which returns the white subject ‘back to’ itself as the one whose feelings matter. Guilt can be a way of performing of rather than undoing of whiteness.
The jewelry is very very relevant in this here Paradise AU. The Striders (really all of the desert dwellers) wear a lot of thin gold pieces, light and loose, form and function. They don’t always have it on tho, that would be bonkers. The colored stones are vivid and soft, think a variety of topaz and quartz, with wire wrappings around blown glass in similar hues.
Jake, however, mister rough and rowdy gentleman himself, wears a mix of vine/leather strung fangs and vertebrae (ie his bracelet). His jewelry tends to run heavier, but less in number. Think Aztec with deep colored gems like Emerald, Cobalt, or Serpentine. He also carves bone into things like knives and little figures, but that’s a later conversation.
Phew long winded post. Anyways Jake’s tattoos are still on the mend, but there’s gonna be foliage and skulls I can guarantee you that.
This aspect is form when two or more planets are within 3 degrees of one another (the tighter the degree is to 0, the more powerful and profound the integration of the two planetary energies into one another).
Each planet has their own individual energy, however in a conjunction, the planetary energy is expressed simultaneously in the style of the sign they are both placed. These planets will act together, not individualistically.
This aspect is considered a ‘hard’ aspect due to the fact they can express more positive or negative qualities depending on the style of drive of a planet.
Conjunctions to other planets can give that planet a style of expression as the conducting planet rules (Example: Sun conjunct Jupiter will give the native a Sagittarian style of expression to their self identity, regardless of sign. Conjuncting Jupiter will also greatly enhance the sign of the sun, making them far more prominent than without the conjunction).
Easy - Moon conjunct Venus: Love and affection is also integrated into the natives style of nurturing and what they need to be emotionally satisfied. This is an extremely gentle, and affectionate conjunction.
Hard - Sun conjunct Saturn: This can be a very self limiting aspect, as Saturn puts blocks on the natives drive for self expression, making the native rather quiet and shy. This can also be an indication of someone who is prone to depression and self doubt.
This aspect if formed 177 - 183 degrees from one another (the closer to 180 degrees, the more prominent this aspect is felt).
This aspect show two conflicting energies within the self, that are contradicting and conflicting.
These planetary energies will make a ‘swinging’ motion, going back and forth as they try to gain dominance of expression.
This aspect feels internally tense, irritating and uncomfortable, as if no matter what you do, you can’t get exactly what you want.
Though this is another hard aspect, like the conjcuntion, it does carry benefits and can be balanced.
The first step to balancing this aspect lies in the realisation that you need BOTH energies to be expressed, not just one.
This aspect is easier to resolve if a trine to one or both planets is involved or is part of a T-Square.
The opposing planet, like the opposition, will integrate the style of the sign it rules (Example: Mars in pisces opposite Pluto in Virgo would indicate someone who acts passive in times of confrontation one time, than becomes explosive and aggressive - much like a mars in scorpio - another time).
This aspect can also be balanced as planets will more often than not share the same modality and be a in compatible element (apart from the cases where this aspect is formed by out of sign planets).
Venus opposite Uranus: To balance this opposition, the native would need a sense of personal freedom in relationships in oder to form a functional relationship. This person may also fluctuate from being affection to passive, and in these time, some personal space will be needed, and they are ready, can return to the partner - unconventional relationships tend to manifest from people with this aspect.
This aspect is formed when two planets are 117-123 degrees from one another (the closer to 120 degrees, the more prominent this aspect is expressed).
Training planets are often in the same element.
It is a easy, flowing aspect whereby planets interact with ease, often providing the native with a ‘talent’ or strength in and between characteristics and energies.
This aspect is so easy, the native will not notice this aspect in their own personality, and are often puzzled by others who can not express the planets training in the same way they do.
This aspect holds a lot of potential, though because the nature of the aspect is so natural and laid back, a transit or interaction with another who activates the trine in synastry may be needed for the potential to be manifested.
Acknowledging this aspect in your chart will help you better understand and utilise this talent/gift.
Sun trine Mars: This will show a native who’s self-expression and self-drive flow together with ease. This person will have no problem expressing who they are and what they want, and have a great amount of personal drive to achieve goals. This can also give the native an aura of sexual magnetism and a heroic and stand-out presence.
This aspect is formed when two planets are 88-92 degrees apart (the closer to 90 degrees, the more prominent this aspect is expressed and felt).
Planets squaring one another will often be a planet with the same modality but with an incompatible element.
The tension caused by this aspect is described as a type of ‘friction’ - two planets having the same aim (modality) with a different style/method (element).
This aspect can force and issue/compose a challenge externally as the aspect is projected outside the self onto the outside world to be dealt and resolved with.
This aspect can pressure to to find a resolution based on the lessons of the planets (in signs) that are involved.
A lot of effort is required to resolve the issues proposed by this aspect.
Mercury square Neptune: This native may have difficulty in differentiating facts from reality. There may be a lot of mental confusion with this aspect and a tendency to get lost in conversation, being spoken to and to transverse into a world of daydreaming and fantasy. Their concentration may be short, and may also be delusional in their thought. This aspect could also manifest a lair, or through a more positive manifestation, someone who can express their mental confusion through creative writing and materialising their fantasies into words/poetry.
This aspect is formed when two planets are 58 - 62 degrees from one another (the closer to 60 degrees, the more prominent this aspect is expressed and felt).
This aspect links planets of different modalities and elements, though the elements will be compatible (Earth/Water - Air/Fire)
These planets have compatible styles of expression and will ‘encourage’ one another in their form of expression
They can excite/stimulate one another, feeding each other productive energies
This aspect can manifest opportunities, but it is up to the native to decide whether or not they chose to use them. More to gain if taken, and if ignored or declined, nothing is lost.
This aspect is also another indicator for talents, possibly more active than the trine. You are more likely to notice and work on these talents.
Mars sextile Pluto: This aspect would give the native formidable ability to incorporate raw plutonic power into their will power and drive. This can give great ability to put a lot off personal power into tasks and to achieve goals. This natives drive would be persistent and they would possess tremendous durability. This native may posses great physical power and have a large sex drive, not to mention quite sexually skilled and magnetic.
Inconjunct/Quincunx (Hard - often debated as a major or minor aspect.)
This aspect is formed when two planets are 148-152 degrees apart (the closer to 150 degrees, the more prominent this aspect is expressed and felt).
This is a point of major confection between planets. Two planets that have no compatibility by sign or modality, yet are forced to interact with each other.
This aspect must be balanced and adjusted (either by escape rout evil sextile or trine to one of the planets involved).
Those who poses this aspect in a tight orb between planets often tend to compartmentalise the two areas of life indicated by the planets and points involved, acting out one planet at a time until the other planet becomes frustrated and takes over and is expressed.
Through the inflexibility of this aspect, it can manifest as an either ‘make or break’ situation.
A new, inventive and personal outcome can be created with this aspect.
Venus inconjunct Saturn: This aspect can indicate a native who’s ability to express love and tender affection clashes with their sense of authority, structure and patriarchal nature. This person may give excessive amounts of affection and love and may begin to feel like they aren’t getting the same amount in return, thus resorting to becoming cold and rejecting any affection that the partner tries to give. This person may also try to be patriarchal and directing in a situation that really requires gentle affection and care.
As I’ve talked about on my blog several times, an important part of
growing as a writer is learning about writing. For years I’ve wanted to
compile a list of writing books I’ve read, liked, and recommend. Today
I’m happy to say I now have that list to add to my blog (perfect timing
for anyone who likes summer reading). I’m sure over time, this list will
be added to.
Many writers I’ve talked to have read
quite a few of these books. How many have you read? And is there one I
need to look into? (You can comment at the bottom).
If you haven’t read any of them, cool. Now you have a list to chose from should you ever want to.
of books have been written on the art of writing. Here at last is a
book by two professional editors to teach writers the techniques of the
editing trade that turn promising manuscripts into published novels and
In this completely revised and updated second
edition, Renni Browne and Dave King teach you, the writer, how to apply
the editing techniques they have developed to your own work. Chapters on
dialogue, exposition, point of view, interior monologue, and other
techniques take you through the same processes an expert editor would go
through to perfect your manuscript. Each point is illustrated with
examples, many drawn from the hundreds of books Browne and King have
vast majority of writers begin the storytelling process with only a
partial understanding where to begin. Some labor their entire lives
without ever learning that successful stories are as dependent upon good
engineering as they are artistry. But the truth is, unless you are
master of the form, function and criteria of successful storytelling,
sitting down and pounding out a first draft without planning is an
ineffective way to begin.
Story Engineering starts with the
criteria and the architecture of storytelling, the engineering and
design of a story–and uses it as the basis for narrative. The greatest
potential of any story is found in the way six specific aspects of
storytelling combine and empower each other on the page. When rendered
artfully, they become a sum in excess of their parts.
author David Farland has taught dozens of writers who have gone on to
staggering literary success, including such #1 New York Times
Bestsellers as Brandon Mull (Fablehaven), Brandon Sanderson (Wheel of
Time), James Dashner (The Maze Runner) and Stephenie Meyer (Twilight).
this book, Dave teaches how to analyze an audience and outline a novel
so that it can appeal to a wide readership, giving it the potential to
become a bestseller. The secrets found in his unconventional approach
will help you understand why so many of his authors go on to prominence.
do you create a main character readers won’t forget? How do you write a
book in multiple-third-person point of view without confusing your
readers (or yourself)? How do you plant essential information about a
character’s past into a story?
Write Great Fiction: Characters,
Emotion & Viewpoint by award-winning author Nancy Kress answers all
of these questions and more! This accessible book is filled with
interactive exercises and valuable advice that teaches you how to:
Choose and execute the best point of view for your story Create three-dimensional and believable characters Develop your characters’ emotions Create realistic love, fight, and death scenes Use frustration to motivate your characters and drive your story.
road to rejection is paved with bad beginnings. Agents and editors
agree: Improper story beginnings are the single biggest barrier to
publication. Why? If a novel or short story has a bad beginning, then no
one will keep reading. It’s just that simple.
In Hooked, author
Les Edgerton draws on his experience as a successful fiction writer and
teacher to help you overcome the weak openings that lead to instant
rejection by showing you how to successfully use the ten core components
inherent to any great beginning.
Plus, you’ll discover exclusive
insider advice from agents and acquiring editors on what they look for
in a strong opening. With Hooked, you’ll have all the information you
need to craft a compelling beginning that lays the foundation for an
A key piece from 3x17 that I think we have all overlooked. Somewhat brought up in blog post. I’m VERY EXCITED about this development:
Nursey is a good copy editor!
Being a good writer or interested in literature does not automatically make you a good copy editor. Even having an eye for typos does not automatically make you a good copy editor. Being a good copy editor involves adherence to strict and sometimes arbitrary rules, a grasp of the fine line between accuracy and pedantry, and a devotion to efficiencies and standards of communication. And it reveals SO MUCH about Nursey’s character.
I’ve often wondered what Nursey really cares about, what gets his goat and what gets him excited. This is the first insight I’ve really had into that. Nursey cares not just about the art of language but also its mechanics. He cares about precision and accuracy. He’s the sort of guy who notices if you hyphenated “free-standing” on page 2 but left it “freestanding”on page 7. Nursey’s an observant guy. He notices things, and he remembers.
The blog post gave us even more. Nursey will help you make decisions abut which stylebook to use in which context. He’s aware of the different registers and modes of written language. He has feelings about tone. Politeness. Social mores.
Nursey is a guy who’s deliberate, and thoughtful, and can choose in which way he wants to present himself.
If he writes poetry, he recognizes when and how to use the conventions of it – if he’s writing free verse, he knows exactly what he’s freeing it from. Nursey’s the kind of guy who uses an anapest on purpose, and knows its name. He doesn’t let the words flow - he crafts them, carefully, with an eye toward matching form and function. If he has tendencies toward excess, he tries to tame them, as best he can. He’s aware that he, as a writer, needs an editor.
He cares about things being effective. Efficiency is a value to him.
Saying or doing things with the minimum amount of fuss, being able to deliver on a promise made (in a thesis or with a handshake) - these are things that matter. Having the practical tools to get the job done matters to him.
Now think about Dex. And what kind of a person Dex is by nature.
This is a gorgeous and highly wearable twisted silver bracelet, made to be worn by either a man or woman, and probably ultimately deposited in a hoard. Vikings hoarded precious metals, especially silver, to a great degree; for example, in Viking Scotland alone, we know of thirty-one Viking age hoards containing silver - and those are just the ones we know about - while Viking Ireland has nearly double that! Silver bracelets of all sizes were a huge component of hoards, and functioned as a wearable form of currency. This example is emblematic of the type.
How about the lions becoming human or whatever race with a side of langst?
Fuck yes!!!!!! Mama Blue to the rescue!!!!!! :D
The new ability had come out of nowhere. One minute Pidge was frustrated with a new upgrade, and the next a human version of her Lion was pointing out what was wrong with the programming.
After that, a human form became available to Black, Yellow, and even Red. Green looked quite similar to Pidge’s mother, Colleen. Black explained that they chose their form based on an important female figure in their Paladin’s life, with a few differences. Like Green having bright lime colored hair and golden eyes.
The hair color matched the Lion’s metal, and all of their eyes were golden. They were a physical manifestation of their own Quintessence, while their metal bodies stayed put.
And yet, Blue still didn’t have her human form. That function was damaged, and she’d had no time to repair it since she’d been reactivated.
Lance didn’t blame her one bit, but he did feel slightly jealous every time he saw Hunk and Yellow, a bubbly yet bulky blonde reminiscent of Hunk’s mother, chatting away and baking in the kitchen or Keith actually laughing while training with Red, who may have been short and slim figured but was fast on her feet.
What really hurt, was that nobody seemed to care about it. Their Lions took his place as the friendly guy to the team. Pidge had Green to keep her active, Hunk had Yellow to soothe his anxiety, Shiro had Black to calm his flashbacks or nightmares, Keith had Red to tell him when to stop training for the day. Nobody needed him around anymore.
Most of his time was spent in Blue’s cockpit, blurting out his frustrations and worries and fears while she hummed to him to calm him, upset she couldn’t assure his worth with words like she wished to do. He didn’t know if anybody even noticed that he was hardly around anymore, aside from missions. He kept it to himself, knowing that the Lions made his team happy, he couldn’t be selfish and beg for attention. He was raised better than that.
The tipping point was during a mission to destroy a Galran main support ship. They had formed Voltron to fight back, but that’s where everything went to Hell. An overcharged laser cannon hit Blue, inflicting horrifying damage and actually snapping the leg off of the main body. They were forced to split up, Blue returning to her previous Lion form but unable to move as her pilot wasn’t responsive.
Blue was sent flying at high speeds into a planet so very very far away from her sisters, crashing into a black ocean that felt thick and heavy against her metal skin as they sunk to the planet’s ice cold core.
Her Lance was bleeding, badly. He was burnt and sliced up from the electricity of the laser. She drew in power from the sludgy ocean and forced herself to form a human body inside her own cockpit. Fluffy, curly blue hair bounced around her tan shoulders as her slim, twiggy body smoothed out her blue t-shirt and jean shorts, grimacing at the sticky dark red liquid staining her bare feet.
Wasting no time, she hurried to where her first aid kit was stored and pulled out everything, more than a little frantic. She almost slid on the bloody floor while dashing back, but she caught herself and pulled away his armor, leaving him in his black undersuit. She’d left a working light on before she’d shifted, as it was pitch dark outside her windows, and proceeded to tend to the burns and slashes carefully.
She pulled him onto the floor with her, and tucked his head onto her chest, purring soothingly, light glinting off of her golden eyes. She tilted her head back to look at the ceiling.
She hoped her sisters found them soon.
If you want a part two, let me know! Instead, have this Mama Blue and langst ;)
I’ve gotta go cook dinner right now, but I’ll be back in a bit!