Wander’s Kindness To Children (and One He Thought Was A Child) Always Touches My Soul. It’s Always

Some roleplay art cuz I got bored

Cw: Minor injury, blood

forgot to post a christmas special

some stuff

To Squidward: what would your ideal home be like and how far away from SpongeBob would you want it lol

btw, ive seen comments praising wander for correcting hater about intrusive thoughts

i just like to imagine wander has some mild OCD, since a lot of his behaviors are exactly like mine. glad everyone appreciates it 😂

Wander Over Yonder but I make up the episodes

i have had a fever for the past three days

pivotal moment where wander "has to" integrate sylvia into the hivemind and it EATS at him and it's the catalyst for a great deal of his redemption arc

GOOD PROMPT!!!! VERY GOOD PROMPT!!! i'm sorry the captions and timing are a little fuckedup but i could not REST until i finished this. i do recommend pausing to read some of this, and if that ends up being tedious, i'll put the thumbnails with a transcript under the cut!!

TRANSCRIPT:

[interior, planet yonder. wander growls in distress, green lightning sparking around him]

MR. METEOR: peepers, we gotta get outta here! [he grabs peepers by the hand and takes off]

WANDER: N-N-N-NO! YOU WILL NOT UNDO ALL MY HARD WORK!!

[wander growls again. sylvia covers her head to protect from falling objects]

SYLVIA: WANDER! are you okay??

WANDER: I'M FINE!!!

SYLVIA: really?? cuz this place is lookin' like it might not hold up much longer!!

WANDER: NO!!!

[wander rubs his forehead with his fingers, grimacing with effort. the lightning dissipates. cut to mr. meteor and sir peepers, at a crossroads. mr. meteor is looking up and around the ceiling as peepers scampers around him, looking for the way out]

SIR PEEPERS: ohhhh where'd we park?? which way is out??? ohhh grop it all looks the same!!! we're trapped!!!

MR. METEOR: it stopped...

SIR PEEPERS: [glances upward] ...huh.

[cut back to sylvia and wander]

SYLVIA: that's some willpower you got there, buddy...

WANDER: sylvia?

SYLVIA: hm?

WANDER: i want you to go after them. and i want you... to hurt them.

SYLVIA: wh...what...?

WANDER: i believe i've made myself clear.

SYLVIA: [shakes her head] no. i'm not doing that. you don't want me to do that.

WANDER: AND WHO ARE YOU TO ARGUE??? FOR THE GOOD OF THE COLONY, SISTER, I ORDER YOU TO GET THEM!!!

[wander breathes heavily from the effort of screaming. sylvia looks disgusted.]

SYLVIA: [removing her cloak] alright.

WANDER: w-w-wait, what're you doing?

SYLVIA: i'm leaving. [she wads up her cloak into a ball] if this is the kinda operation you're running now, i don't wanna be part of it. have fun spreading kindness across the galaxy.

[wander stares at her, wide-eyed and baring his teeth in an intense frown, as she walks away]

WANDER: [reaching out to grab her with several arms] YOU GET BACK HERE RIGHT NOW!!!!!

[cut to mr. meteor and peepers, who are running down a tunnel]

MR. METEOR: are you sure we're going the right way??

SIR PEEPERS: i have NO IDEA sir

MR. METEOR: it opens up ahead! this might be the way out!

[camera zooms in and focuses on the end of the tunnel. something drops from the ceiling right in front of the exit, unfolding itself to take the form of sylvia. she has two mushroom arms sticking out of the sides of her head, connected to the ceiling, and her cloak is on again.]

MR. METEOR: UH-OH!

SIR PEEPERS: OH GROP

[closeup on sylvia's face. she snorts]

MR. METEOR: she doesn't look too happy, peepers!

SIR PEEPERS: why are you saying that like it's MY fault??

[sylvia mimics rolling up the sleeve she doesn't have and crouches, preparing to leap. peepers reaches for his sword.]

SYLVIA: GRRH!

[sylvia leaps into the air, screaming, aiming for peepers]

SYLVIA: YAAAAAAAAH!!!

SIR PEEPERS: ENGARDE, SHE-BEAST!

[shot changes to a flat shot from the side, and sylvia sails over peeper's head, crash-landing on the floor with a smack. she slides forward until she arrives at mr. meteor's feet.]

MR. METEOR: uhh...?

[sylvia shoots back to her feet, grabbing mr. meteor by the collar and winding back to punch him in the face}

MR. METEOR: WHOAWHOAWHOAWHOA WAIT!! NOOOOOO NOT THE FAAAAAAACE!

[sylvia's fist makes surprisingly gentle contact with hater's jaw. he looks at her in confusion, and sees her crying]

MR. METEOR: uhh. okay. um.

[he begins to scoot past her and away. sylvia crumples to the ground, shaking]

MR. METEOR: seems like you're goin' through a lot right now, and...if you're done, y'know, trying to kill us, or whatever that was...

[he trails off and makes eye contact with Sir Peepers. They dash off down the tunnel and disappear.]

Thinking about robots exchanging parts as intimacy.

Robot partners who are compatible enough they can swap out parts at will. It starts with just a few smaller spare internals, and theres just something... comfortable about having a piece of their lover inside them.

Then it's an optic, so they can see the world- and each other, through their partner's eyes. They look in the mirror and their new optic notes all of the things their partner finds wonderful about them.

Then they're exchanging plates, patches of false skin and sensors and even limbs, melding together, growing more and more familiar, until eventually they decide to take the final possible step.

Two machines sitting across from each other, outer plating shed around them in small piles, revealing their complex inner machinery, wires patched together in slightly different colors, lit by the gentle orange glow of a power core. Trey stare into their partner's mismatched eyes, mirroring theirs as they inch closer.

A familiar hand reaches into their chest, and they feel cool metal enclose around their power core.

Click.

They shake slightly as their senses begin to go dark, and warning lights flash inside their mind. Counting down the time until their reserve power runs out.

Ten, nine, eight, seven, six...

they stare into their partner's dimming eyes as their other hand reaches back until their chest, feeling around to find the right place..

five, four, three, two...

Click.

Two machines sit in each other's arms, overwhelmed by what they've just done, kept alive by each other's humming artificial hearts.

"In bringing together Kurt Cobain's 'most poignant lyrics and journal fragments' to demonstrate the ways in which both writing and reading about melancholy can be life-affirming, Saint-Aubin has created a wonderful memorial not only to Cobain's troubled genius but especially to his profound humaneness."

Neil Nehring, author of Popular Music, Gender, and Postmodernism: Anger Is an Energy

The year 2019 marked the twenty-fifth anniversary of the death of Kurt Cobain, an artist whose music, words, and images continue to move millions of fans worldwide. As the first academic study that provides a literary analysis of Cobain's creative writings, Arthur Flannigan Saint-Aubin's The Pleasures of Death: Kurt Cobain's Masochistic and Melancholic Persona approaches the journals and songs crafted by Nirvana's iconic front man from the perspective of cultural theory and psychoanalytic aesthetics.

Saint-Aubin discusses Cobain's writings independently of the artist's biography, positioning these texts within the tradition of postmodern representations of masculinity in twentieth-century American fiction, while also suggesting connections to European Romantic traditions from the nineteenth century that postulate a relation between melancholy (or depression) and creativity. In turn, through Saint-Aubin's elegant analysis, Cobain's creative writings illuminate contradictions and inconsistencies within psychoanalytic theory itself concerning the intersection of masculin-ity, masochism, melancholy, and the death drive.

By foregrounding Cobain's ability to challenge coextensive links between gender, sexuality, and race, The Pleasures of Death reveals how the cultural politics and aesthetics of this tragic icon's works align with feminist strategies, invite queer readings, and perform antiracist critiques of American culture.

Arthur Flannigan Saint-Aubin is professor of French at Occidental College, where he teaches courses in Francophone literatures and seminars on the theory and practice of translation. His books include The Memoirs of Toussaint and Isaac Louverture:

Representing the Black Masculine Subject in Narratives of Mourning and Loss.

(This can be for any of the characters) What do you NOT miss about Bikini Bottom?