#..i see you. i see right through you. this isn't meta this is talking about what a poor little meow meow your favorite is

[lighthausen]

I think there's something to be said about actual character and text analysis and how it intersects and influences with "fluffy fandom fun" interpretations of a character and text. One has to be self-aware, know what their fluffy fandom biases are when trying to write a meta-type post.

[evilminji]

Ooooh~ Drink mix up? >.>

Because! Wes DID, in fact, get that dream job. HAS learned... after many, many hours of "beat about the head and shoulders with an ethics pamphlet by his great aunt", to keep his mouth shut! Family curse of Sight? WHAT family curse?

He doesn't see shit! Mind your business.

What're you? A cop?

Look, he sent Fenton a gift basket. He was a shitty, shitty "I have to be RIGHT and nothing else matters!" Stubborn lil asshole of a kid. He got better. Grew up. No one is there best Self during puberty. He DOES, in fact, regret it.

Which is WHY, he is deliberately ignoring Kent's terrible, awful, paper-thin, "who meee~?" Aw shucks BULLSHIT excuse of a disguise, like it isn't blatantly obvious he's Superman. Yep. Nothing to see here! Nothing but us chickens! Mmmmm, morning coffee! Delicious.

But see, here's the THING.

The Itty, bitty, teeny lil PROBLEM...

Wes grew up in Amity "Totally Not Supernatural Hotspot For Centuries" Park. He is... to put it mildly, genetically? A freak. His biology is ALL fucked up. Everyone's is. And it WAS NOT made better by the Fenton's playing fast and loose with their hell basement. The Ectoplasmic NUKE that was that portal.

There is a REASON his morning coffee? Is COVERED. Contained. Fenton brand, LEAD LINED, specialty cups. The sort that can't be EATEN from the inside out. Eroded after a few uses. They're ugly as sin, but they work. He even ordered a few covers from Star's etsy shop. (Apparently he wasn't the only one who hated how ugly they looked. Good for her though, he heard it was doing well.)

He SAYS this? 'Cause his morning brew is less... straight COFFEE... and more... how to put this? A blend? Brew? Potion, really. Like an energy drink. From hell. Or, partially at least, the Zone. It's the combination of roots, seeds, and a few dried berries. Kinda like a tea, actually!

Tasty. Adds this nice fruity, warmth. A zing. Goes GREAT with the coffee. And it really perks you up... if you are Limnal. If you AREN'T? It'll desolve your esophagus like swallowing straight acid. And that's not TOUCHING the... witch-y, more Seer specific bit of the blend.

That stuff is medicinal. You know, "calm the mind" and "mental clarity". That sorta thing. With a good ol helping of "don't blurt out everyone's secrets, you spacey bitch! For the love of God, those are our INSIDE THOUGHTS!". Which? Really helpful! Infinitely less likely to get decked. It's a family staple.

Poisonous, though.

They're fine cause they've basically developed an immunity to that part, but like? Wouldn't recommend. It's why he NEVER shares his drinks. Food? On occasion. If he PLANS it and knows not to add and interesting spices. But DRINKS? Never. Weston family brews are basically NEVER safe.

Which? Begs the Very Important Question ™!

Who's Coffee Is This?

Cause it SURE AS FUCK AINT HIS!

You never realize quite how fast you can go from "completely calm and kinda sleepy" to "bomb strapped to my chest, primal panic AWAKE" until it happens to you. His coffee was ON HIS DESK. People have passed by. He talked to them. Cups put down and picked up. Lazy early morning. He doesn't even register, really, as his chair crashes to the ground.

He's shouting.

People confused. They don't realize yet. His head whips around, looking for that distinct cover. Before it's too late. Before someone takes that fatal sip. He spots it. Bolting from his desk. Crashing through coworkers, over desks. Chaos and outrage. "It's 'just' coffee!" They cry.

Kent turns, confused. Pretending. Raises his (HIS! Oh god!) cup to his lips, unknowing. Wes SCREAMS a warning. But he doesn't listen. "It's 'just' coffee" They never listen. Curse of Cassandra. God's damn it. This is why his family fucking CONVERTED!

He TACKLES the man of steel.

RIPS his cup away from him, knows his eyes are frantic. How much have you had?! Spit it out! Wes voice ECHOES in the sudden silence. I'm a META, Kent! It could KILL YOU!

And oh, Oh NOW they get it. Or perhaps it is the burn in his mouth that finally registers. He rolls, spits oil slick nebulae that eat away the floor. There is blood mixed within it. It took mere moments. Superman stares, transfixed and horrified, as Wes shakes. He... he should probably get off of him.

He'll move in a moment.

When his legs no longer feel weak from terror.

The news room is in chaos. Lane kneeling by her husband, Perry trying to do damage control. He... he's probably gonna lose his job, isn't he? Wes wants to cry. Protection laws only go so far, after all. And warning his boss about his dietary needs means jack shit, after an incident like this. Beloved as Kent is. Not that anyone likely believed him.

They never do.

And now he's nearly killed Superman.

@hypewinter @hdgnj @legitimatesatanspawn @nerdpoe @lolottes @babbling-babull @mutable-manifestation @dcxdpdabbles

[dalishious]

About Davrin's little blurb on the official website for Dragon Age: The Veilguard...

"Though he was raised in a Dalish clan, he craved excitement and adventure. He'd rather make history than reflect on it."

There's actually a lot to unpack about these two sentences.

First off, placing the word "though" in front of being "raised in a Dalish clan", gives such a thing a negative connotation. The word "though" is used in a way that sounds like "despite", as in, somehow wanting excitement and adventure must go against being Dalish. This correlates with sentence that follows. "He'd rather make history than reflect on it." The word "rather" is yet again used to separate Davrin from his Dalish origin. All together, this promotional description of Davrin is insisting that he is "not like other Dalish".

Now, obviously the game is not out yet, so we do not have total confirmation on what the nature of Davrin's relationship to his culture is really like. But there is absolutely something to be said about promoting the character this way, regardless of however he actually turns out in game. There is absolutely something to be said about how, as @/the-eldritch-it-gay put in their tags here, why do writers feel the need to make fantasy minorities hate or distance themselves from their culture? As a selling point?

Maybe this is completely misleading bullshit, maybe it isn't. All we have to go by, is what BioWare chose to say here, and their past track record with elves:

Zevran may talk about his mother in a font way, but he still has the line, "Too many of our kind think we deserve pity simply because we have failed to defend ourselves."

Velanna is one of the two elves we've had who is overtly proud of her culture, yet she is treated like she is unreasonable and too angry because of it.

Merrill too, is proud of being an elf, and of being Dalish. The story punishes her left and right for this, treats her like a child, and in the end she is either ostracized from her clan or they end up dead because... she cared too much?

Fenris has pretty much zero engagement with elven cultures, and spends his time ridiculing Merrill for being proud of hers.

Solas complains about the Dalish from the start, and says plainly that he does not see himself as having anything in common with elves of current time. "Oh, you mean elves" he says, when the Inquisitor asks how he feels about his people; the thought does not even occur to him.

Sera is... Sera is a character who could have been a really interesting examination of overcoming internalized racism, if she was written by someone competent with the subject. Instead, she just cringes at everything "too elfy" through the entire main game, and only has a single line in Trespasser that hints that she may have a personal struggle going on. But it's still left unresolved.

That's a lot a lot of negativity. So of course seeing a suggestion that more is to come with Davrin has people wary and tired.

Let us also consider the fact that Davrin is overtly Black as well, and what that means. Acting as if one must disregard history in order to make it, as his description so claims, is bullshit. It sounds too much like promoting gentrification/assimilation in my opinion; the idea that you cannot keep your culture if you want to be successful.

I also think that it goes even deeper, on a meta level - I think that BioWare is afraid people will not be able to like or relate to Davrin, if he is "too ethnic". I think that BioWare is taking this Black character and instead of questioning how he can best represent marginalized fans - particularly Black fans - they are questioning how to make him more relatable to white fans. And the only answer to that is to, of course, make him seem like he is an exception to marginalization through separating him from his people.

I am still holding onto hope that Davrin will overall be an interesting, well-written character. And I sure as hell will still be defending him from the people who are already hating on him or ignoring him completely because of their racialized biases. But that does not exempt BioWare, and specifically his writer, John Dombrow, from any criticism. This is not about Davrin the character, this is about BioWare the company's handling of Davrin the character. And in that regard, they're not off to a great start with this.

[hoodielord]

Green eyes in the fear fog.

For half a second, Steph thought today would be a decent day. But no, not in Gotham.

Steph's current events professor, who was also the head of student affairs, had offered extra credit to help give college tours. Look, she had to take the extra credit she had to, even if it meant that she had to be a tour guide. It wasn't hard, just annoying.

The group was small, only five people, but two of them stuck out. A brother and sister. The brother was the definition of adoption bait blue eyes, black hair, vigilante tendencies withholding. The sister was at least as tall as Jason. She had orange hair just like Babs, you'd think they were related.

Anyways, Steph's new mission was to make sure the kid and Dick never met. The kid would not stop making puns. Some of them earned him a laugh but some earned him a smack from his sister.

"Aw, come on, Jazz, it was funny."

"You can do better." she shrugged.

" Sounds like a challenge." A wicked smirk appeared on his face.

" Danny, please don't."

"Challenge accepted."

Yep, I'm definitely keeping him away from Dick.

But something was off about them other than looking at the crime capital's university. They could probably be metahumans. Their eyes seemed to slightly glow blue. They carried themselves as they had already expected danger. I mean, it pays to be prepared, especially in Gotham, but they aren't from here.

If the siblings weren't already on a list B has they should be now. Jazz had been almost ecstatic when we were moving through the psychology department. Danny was practically bouncing off the walls when it was time to go through the engineering and physics departments. Definitely should keep an eye on them.

It was reaching the end of the tour in the cafeteria. Another weird thing about the siblings was their reaction to food. They seemed to have this sort of optimistic curiosity like they were happy to have food to eat, but at the same time, they were poking to make sure it wouldn't attack or something.

Talking with the siblings was interesting too. Danny was buzzing about the engineering department. He went into a great rant about a project that Wayne Enterprises was working on in the aerospace engineering division. Maybe she should keep him away from Tim, too.

The conversation died quickly when a shriek rang out from down the hall. Steph turned quickly to see green fear toxin fill the cafeteria. Swarms of people ran for the exits knocking each over. She quickly dug through her bag and pulled out her gas masks, one for her and her backup.

"Jazz? Jazz, where did you go?" Danny called. They must have gotten separated.

Damn, she needed another one for the siblings. She shoved her spare into Danny's hands.

" Put the mask on and head for the exit."

"But I need to find Jazz."

"I'll find her. Put the mask on and go." Steph yelled as she went further into the fog. Quickly, she sent an alert to Oracle. Signal is on patrol right now, but more bats might show up.

It was dense she could barely see in front of her. There was some noise up ahead. Someone was screaming. The yelling grew louder as she rounded the corner.

"Stop! Get away!"

It was Jazz. She was practically growling. Her fist slammed into the concrete wall, leaving a deep impact. She was clearly affected by the Fear gas. A meta affected with fear gas, not good.

"Stop! Don't hurt him. He's not a monster! He's my little brother!" Jazz had gone from fury to sadness as she practically begged for her hallucination to stop haunting her.

If it wasn’t the meta thing it was whatever she was hallucinating that caught Steph’s attention. Definitely on B's list now.

"Isn't it interesting what fear does to the mind?"

Steph saw Scarecrow emerge from the fog.

"I saw you in the psychology department. Your eyes lit up like a fire. But now they are clouded with fear."

A chill went up Steph's spine. She quickly checked her mask for leaks but didn't have any. Turning her attention back to Jazz and Scarecrow, she saw something. Green eyes shifted inside the fog. They looked like a predator hunting its prey. For a second, they look like Jason's.

From behind Scarecrow, the eyes stopped, and a figure emerged. A baseball bat slammed into Scarecrow's face, knocking him to the floor. The figure came into full view now. It was Danny his eyes were glowing green.

He knelt down to Scarecrow.

"You really don't have any brains. Do you Scarecrow? If you did, you wouldn't have hurt my sister." His voice was downright, frigid.

He turned and rushed over to Jazz who was still trying to convince her hallucinations to stop.

"Jazz, it's okay. Come on, I'm fine. It's okay." His voice was soft and gentle as he helped her up. Jazz mumbled a little as she stumbled down the hall.

Steph quickly caught up to the siblings slinging Jazz's arm over her shoulder.

"Sorry, I couldn't help earlier," Steph spoke quietly.

"It's fine. Not everybody can be a hero."

Steph wanted to laugh at the irony of that statement, but she just nodded.

"Sorry about the tour too."

"It wasn't all bad."

" Oh, the rouge attack and poisoning wasn’t bad?" Steph asked sarcastically.

" Our hometown is haunted and our community college is funded by my godfather. And he is a rich fruit loop.”

‘Ghosts?’

“You know Gotham University is funded by Wayne Enterprises right?”

“Annoying crazy fruit loop or weird himbo? Hmmm. Yeah, I’m going to have to go with the himbo on this one.”

Steph laughed at that one. Bruce is going to want to hear about this but she’ll keep him away from these siblings for a little while.

[nohoperadio]

That cool bee book I was talking about a while ago mostly refrains from philosophical digressions (which I think is a strength, I appreciated how the author had total confidence that just clearly presenting the facts about his subject would be enough to make a fascinating book without the need for any "...and here's why that should blow your mind" editorializing, and he's totally right), but there was one towards the end I've found myself thinking about a lot, which is: he wants people to stop using "self-consciousness" (i.e. the concept exemplified by the mirror test but used implicitly or explicitly in tons of other contexts) as a criterion for which animals can be considered sentient/morally relevant/having significant inner lives/however you want to describe it. Not, as you might expect, because he thinks it's an unreasonably high bar to meet, but because it's such a low bar that it produces no distinctions: he argues that basically any animal with any kind of developed central nervous system has to have some kind of self-consciousness almost by definition.

The example I remember best is: imagine you can see an object in your visual field getting closer to you. No matter the specifics, it's obviously always going to make a huge difference to how you evaluate this situation whether the cause of the object getting closer is a] the object is moving towards you, or b] you are moving towards the object. If a, then something might be pursuing you or falling on you or a thousand other things that are just not even worth considering in the case of b. But visually the two cases are indistinguishable; if you're going to be able to track the difference, your brain has to be putting at least some work into keeping tabs on what your own intentions are and what choices you're making as you move through the world, predicting the expected consequences of those choices, and maintaining a fairly tidy mental separation between stuff in the world that you're making happen and stuff in the world that's just happening of its own volition. Otherwise, every time you walk towards a rock you'll freak out and think the rock is rolling into you, or vice versa.

And it's not hard to see how this applies to your entire sensory world right, it applies to sounds and tactile sensations and even feelings internal to your body to some extent, if you're going to both perceive the world and take actions in the world then it's mandatory to mentally separate yourself and the world before that's going to yield even an ounce of helpful information, you just can't function successfully on the most basic level if you're processing stuff that you're doing on the same level as stuff that's happening, if you're in that state then you simply don't have a usable model of the world at all, you just have chaos.

So you can very easily eliminate a certain seductive narrative about the evolution of consciousness, which starts with very primitive animals who are mentally processing nothing but basic sensory inputs, then as you rise up the chain more complex animals are forming concepts of objects and building up a more nuanced understanding of the world, until finally you approach humans and the mind becomes so subtle and sophisticated that it gains access to this special advanced meta-level of thought where it can even understand itself! No, the self is precisely the one idea that has to be in place from the very beginning, before any of it has even the most rudimentary practical value. Self-consciousness isn't the pinnacle of the mind's evolution, it's one of the lowest, most basic foundations that everything else builds off of.

I think this is really cool stuff! I don't know enough about the relevant academic philosophy of mind debates to say how far all this does or doesn't speak to that, maybe someone will tell me the "self-consciousness" concept being attacked here is a strawman somehow, I don't know. But it's definitely impacted the way I (just a dumb guy who likes creatures) think about our small small cousins and what their lives might be like and I think it's super interesting. If you think it's interesting too then maybe you wanna buy The Mind of a Bee by Lars Chittka and read it. It's mostly not about this stuff, as I say it's light on philosophy and heavy on bee-life immersion, but if you actually read this whole post then you're probably in the market for that I feel like.

[cuubism]

thinking about that meta about the endless not really transforming into different forms but rather being all forms simultaneously and just being perceived differently from different points of view. and yeah

--

"So, Death was telling me something interesting about you yesterday," Hob says, sipping on his coffee.

Dream pouts, though he would probably deny that that's what it is. "You are gossiping with my sister behind my back?"

"You know we talk."

"Gossip," Dream mutters again, steps taking on a pace adjacent to an irritable trudge. "What unseemly things does she say about me?"

"Why do you think she says mean things about you?"

"Every time we speak, she calls me an idiot," Dream says, and Hob lets out a startled laugh.

"That's what siblings do," Hob reminds him. "You know she loves you."

"Hmm." Dream plucks Hob's coffee from his hand, taking a ponderous sip. "What praises does she heap upon me, then?"

Hob shakes his head in fond exasperation. "She says that you -- Endless, that is -- can like... change your appearance for different people? Or creatures? Like. If you met a cat you would appear as a cat to them?"

"You do not quite have the right of it," Dream says. He hasn't returned Hob's coffee, despite having insisted that he 'did not require mortal sustenance' when Hob had offered to get him his own.

"What's the right of it, then?"

"It is not for human minds to comprehend."

Hob groans. "At least humor me and try to explain? Do you turn into a cat or not?"

"I do not turn into anything," Dream says, offended. "How base and common."

"Shapeshifting is base and common, I'll make sure to tell all the shapeshifters I know," Hob tells him seriously.

Dream lets out a sigh that Hob recognizes as meaning fine, I will answer your inane questioning about the nature of my existence. The funny thing is, now that they've gotten over the six hundred year barrier of what's your name and what do you do for work, Dream delights in talking about his creations. He will speak at length about his work given half a chance.

It's the personal -- whether that's something as mundane as how he takes his tea or as fundamental as what an Endless even is, exactly -- that's been hard to get at.

"I am a cat," Dream explains.

Hob stares at him, looking up and down at the very man-shaped figure walking beside him as if he needs to double-check. "You're definitely not a cat."

"Yes, I am," Dream says. He does not appear to be joking.

And apparently Hob is still thirteen years old all these centuries later, because he says, "Prove it."

"You cannot see it because you are not a cat," Dream sighs, as if this is truly a tragic occurrence.

"Maybe I am a cat," Hob suggests, tucking his hands in his pockets, all casual. "How would you know?"

Dream gives him a sidelong look. "You are not a cat. Though perhaps you would be more peaceful as one."

"Doubt it. But wait, so, if I was a cat I would be able to see your cat form?"

"In essence, yes. But. You speak as if I would be donning a coat. These are not forms. Merely fragments. Simultaneous angles on a whole."

"Fragments," Hob repeats. He works it through like a particularly hard math problem. "Hang on. So. You're also a cat now. If we met a cat they would see a cat."

Fuck, this is getting weird.

Dream looks proud of Hob for getting it. "Yes."

"Could have attempted to explain that instead of just saying I am a cat," Hob tells him. "I also still maintain that you are not actually a cat."

"I am as much a cat as I am a human," Dream says.

"So, not," Hob says.

"No," Dream agrees. "Because I am Dream."

"You're a nightmare, is what you are," Hob mutters, and Dream smirks.

"That, too."

They've been walking in silence for another few minutes when Hob asks, "What's your real form?"

Dream frowns. "All of my forms are real, Hob."

"Sure, you look like this or that to different people. What do you look like to yourself?"

"All of my forms are real," Dream insists.

"So what I'm seeing now isn't some kind of default? Are you just always different? Is this like that we don't know how other people see colors 'cuz everyone's eyes could be different thing? Or is there any internal consistency to you?"

"I don't know what thing you're referring to."

"What I'm trying to find out is did I invent this version of you in my head?" Hob asks, getting stressed about it now. Did his subconscious somehow decide this was what Dream should look like? Presumably Dream knows what he looks like to Hob. What if he doesn't like it? "Did I just decide yep that's what dreams should look like in 1389 and you've been stuck wearing black ever since?"

Dream chuckles. Probably amused Hob would ever think he had that much power. "No. There is what you call internal consistency in my appearance. Different creatures, cultures, and so on will see different aspects of me, but there is not a different aspect for each person. It is not infinite."

Oh, thank god. "So, you want to look this way."

"I suppose."

Never a straight answer with him.

"Well, just for the record," Hob says, "I fell in love with the entity but I happen to quite like the shape as well."

"The shape," Dream repeats, with a smile.

"Here's where you're going to tell me you're also a triangle or something."

Dream is silent.

Fucking hell.

"I'm not even going to ask," Hob decides, forcibly moving on. "I have another question."

"You have many," Dream observes.

"That's what you love about me," Hob says, and Dream tilts his head as if conceding the point.

"If there was a human culture that thought of dreams as represented by cats," Hob starts, "they might see you as a cat?"

Dream sips at Hob's coffee, considering. "I suppose."

"And was there ever one?"

"No."

Hob lets out a long breath. Dream is frustrating as hell to talk to sometimes, but Hob can't say he doesn't enjoy it anyway, doesn't enjoy the puzzle. "Was there ever any culture like that, though? That saw their dream representation as something other than a person?"

"There was one that thought dreams lived in bubbles, therefore I was the reflection of light along a bubble's curve," Dream says, expressionlessly. As if that isn't wild and fascinating. "However, that civilization has since disbanded and morphed into different forms."

"Which civilization was that?"

"You would not know it," Dream says.

Hob tips his head back and groans. "God, you're like an edgy teenager who knew that indie band before they were cool. Oh, which band? No, you wouldn't know them, they're too niche, too underground."

"Underwater," says Dream. "It was a civilization of dolphins."

Hob trips over a crack in the road and just manages to catch himself. Dream stops by his side, watching him with some concern, like he worries Hob might break himself in his clumsiness.

"The way the world looks to you must be insane," Hob says, staring at Dream.

Dream's lips tip up in the faintest smile. "Human perspective is narrow."

"Clearly. I wish I could see all your other forms. Must be amazing."

"You wish to see them?" Dream sounds surprised.

Hob scoffs. "Of course. But it's not sounding very possible."

Dream inclines his head in agreement.

Then a thought occurs. "Wait." And god, Hob has said a lot of stupid-sounding things in his life but this is about to be one of the worst. "If I pretend to be a cat, can I see your cat form?"

Dream can never answer a simple question directly, but apparently this absurd query is fine. "I suppose it is possible in theory for you to see it. But pretending is not enough. You would have to wholly assume the perspective of a cat. I do not know if it would be possible in practice."

Hob's never needed much more encouragement than that to try something. "Alright. Hold my coffee."

"I am already holding it," Dream points out.

"Hush. I'm being a cat."

How he's supposed to do that, Hob doesn't know. He paces back and forth before Dream, squinting in the sunlight. He looks at him from every angle. He tries to imagine what cats might dream of. Mice? Freedom? Sleeping in warm places? Their dreams must be feeling and instinct-driven, not intellectual.

Hob crouches down, looking up at Dream from as close to a cat's height as he can manage. Dream merely raises an eyebrow.

"Are you going to meow at me?" he asks mildly.

"Meow," Hob says, and Dream's mouth pops open in a round o of surprise that is one hundred percent worth the indignity of kneeling on a public street and meowing. "What do cats dream about, anyway?"

"World domination," Dream says solemnly.

"Haha," Hob says, but Dream doesn't take it back.

"Alright, I'm channeling megalomania," Hob tells him, shutting his eyes. "I'm channeling my inner despot."

"And an imposing one at that," Dream observes, looking down at him.

"Quiet, subject, can't you see I'm in the middle of ruling with an iron fist? Or paw?"

"I am quaking in my boots," Dream says. "Please, show mercy."

Hob squints back up at him. God, he's really trying, but it's hard. Cats live close to humans, but they are still so alien. Off in their own worlds, their own battles and hierarchies.

"Will it work if I lick you?" he asks. "Like how cats groom each other."

Dream blinks at him, once, twice, slowly, catlike, which he must be doing intentionally, because he's a bastard like that. "This is, as I believe you would say, getting odd."

Yeah, it is getting fucking odd.

"Perhaps you should try imagining my female form," Dream suggests, and if Hob weren't already on all fours on the sidewalk he'd have fallen over. "It is human, and may be easier."

"You have that?" Hob squeaks, scrambling back to his feet. "But I thought it was like, a species perspective thing? Do women just see you as a woman, then?" Then he shakes his head. "No, that's way too simplistic."

"Women can see me like this as well," Dream says. "Or however their culture dictates."

"So why would someone see you as one gender or another, then? Just a culture thing? Preference?"

"Why do some people see God as a woman?" Dream asks the air.

Hob groans. "You are impossible."

Dream smirks.

"Or maybe you just like being unknowable," Hob guesses.

"Perhaps."

"Perhaps. Yeah, perhaps. I'm sure." Hob cracks his knuckles. "Alright, my unknowable cosmic entity of a significant other, let's see if I can turn you into a woman."

Dream stares at him flatly, but Hob can see the slightest uptick at the corner of his mouth.

Hob still doesn't know what exact perspective he needs to see Dream as a woman. Maybe if he just believes really really hard he can make it happen. Force of will. It's how he'd always planned to make himself immortal, anyway, absent a fortunate encounter with one prickly dream entity.

He stops looking at Dream, and tries to look through Dream. Tries to imagine how it feels to see the true depths of his eyes, how the cosmos in them go straight to infinity. He tries to see around the way the light reflects off of and shapes Dream's form to the shape within, like a sculptor seeing the body in the marble before it's carved. Hob is no artist, but he tries.

And he knows Dream. He may not know all these angles on his form, but he knows Dream, the entity, the person. They have had a long friendship, Hob and the concept of dreaming.

And just like that, the perspective shifts. For a split second, Hob sees an infinity before him, the eternity of all existence condensed in all its brilliant, glowing facets--then his brain skids around it to avoid going mad, latches onto an angle, and slams back to earth.

Hob sways, rubs at his eyes, and then laughs hysterically. "Fuck!"

"Hob?" Dream sounds uncertain now. "Are you well?"

"I think I just glimpsed cosmic knowledge never meant for my mortal eyes, or whatever," Hob tells him, somewhat maniacally. His ears are kind of ringing, eyes swimming in the afterimages of a very bright light. "You're incredible, do you know that?"

"As you judge," Dream says.

Hob finally drops his hands from his eyes.

And immediately slaps them over his mouth, letting out a sound so high-pitched and manic he hadn't thought his vocal cords could manage it. "Holy shit."

Dream frowns. "Are you well?" he asks again. "Perhaps I should not have allowed--"

"I fucking did it," Hob whispers, mostly to himself. "Oh my God. You're a woman. I think? You look like one. I guess?"

Dream looks down at himself. Hob wonders what he sees--does he see what Hob sees? Or does he see the incomprehensible mass of everything that he truly is under the human trappings?

"Ah," he says, and presses a single fingertip to one of the breasts that he now has, prodding it curiously. "It appears that I am."

Okay, so he can see what Hob sees. Good to know.

"Yup," Hob says. He can't seem to steady himself whatsoever. "Yup, yup. You are."

"Impressive, Hob," Dream remarks, looking up at him again with a smirk. His jaw is narrower now, his lips plusher, but God, it's that same fucking smirk that drives Hob insane.

Hob wonders if Dream's female form is also bound by some limitations on appearance the way his usual form is. He hopes so, because it if turns out he managed to manifest Dream's tits to fit his own subconscious desires, he might just have to choose Death at last.

Hob still has his hands over his mouth. He makes himself drop them.

Dream frowns at his silence. "Are you not pleased?"

"I'm very shellshocked and reorienting my view of the universe," Hob tells him. "Also, you're very beautiful and it's just a lot all around."

That smirk again. Whatever minor amount of immunity Hob has developed over the centuries is obliterated by the new shape of him. "Ah."

"Ah," Hob echoes. "Can I kiss you?"

"You may."

Hob does so with his usual enthusiasm, perhaps more, as he does so love novelty. Dream tastes much the same, feels much the same to his hands, and yet not, like Hob's different perspective on him has altered the angle of his touch. Hob runs his hands indulgently over the softer curves of him, settling them on Dream's waist.

"Dear heart," he murmurs into Dream's mouth. "Most beautiful thing."

Dream makes a soft sound and rests his face against Hob's.

They stay there for a long moment, frozen in the middle of the sidewalk. Then Dream asks, "Would you have still kissed me if I was a cat?"

"On your little furry head, yes," Hob says, and pecks his cheek. "I thought you were a cat."

"I am," Dream says.

Hob groans. "Enough, I'm getting confused again. Let's stop with the metaphysics and go home and do something less headache-inducing."

"Like playing with the new toy you've found yourself?" Dream asks, raising an eyebrow, but obligingly lets Hob wrap an arm around his waist and tug him along down the sidewalk.

"Pretty much!" Hob agrees. "If you're amenable."

"I suppose I can bear it," Dream says solemnly, as though being kissed and coddled and worshiped is the greatest hardship of his eons-long existence.

Then he says, quietly, "You are singular, to perceive me thus."

"As..." Hob looks at him as they walk, looks at the elegant cut of Dream's cheekbone and the sweep of his eyelashes, the longer fall of his hair. "You mean, in more than one... facet?"

Dream nods. "You... see me. The truth of me. And still, you look upon me kindly."

"What other way is there to look at the one you've loved your whole life?" Hob asks, throat tight.

Dream leans into his side, and Hob presses a kiss to his temple, holding there for several steps. And he continues to hold him close as they go on, keeps his unfathomable boundless entity within the circle of his arms, where he can keep on fathoming him.

[wolfjackle-creates]

broski I beg of u to tell me about your Danny is Clark’s nephew wip im so intrigued

@hailsatanacab also asked about this one! I shared two snippets for them so check out Part 1 and Part 2. (about 900 words total between the two asks.)

This was inspired by the discussion on a prompt you made ages ago, actually! Here's the post. The main prompt isn't the inspiration, however. It was the comment about Danny joining the JL and [insert spiderman meme here].

Let's see if I have anything I can add. (I changed things enough when posting the first bits that everything else I have doesn't fit anymore.)

Eh, fine. Just went through and wrote another 600 words.

-----

Danny winced. “Yes, Uncle Cl— Kal. Uncle Kal.” Danny glanced next to him and realized Constantine had moved several feet away and was deliberately trying to not attract attention. He bit back a smile and pulled on the Prince Phantom persona Queen Dora had forced him to learn. “Thank you for your assistance, Laughing Magician. I now declare our deal complete and will make no further claims on you.” He waved his hand producing a piece of parchment which he handed over. “As promised, your payment.”

Constantine grabbed the paper and backed away quickly. “Great. Glad to do business with you, your highness. Hope your family reunion goes well. I’ll just—” he jerked a thumb over his shoulder, then changed something and disappeared through a portal even as several of the League members present tried to yell at him to stop.

Danny rolled his eyes as he fell back into his more relaxed demeanor. “Oh, please. What more did you want from him? I’ll talk to Uncle Kal and he can decide what is important to pass on. Magician Constantine already told you most of what he knows.”

“Just… come on, Danny,” said Uncle Clark. “We need to talk.”

---

Finding a place to talk to Danny wasn’t the problem, Clark quickly realized. Shaking off his coworkers, however… Bruce in particular did not want to be left out. And Wally was too curious to be put off.

“Danny?” called Clark when he realized the kid wasn’t with him.

“By the viewing window,” said Bruce. “He seems to enjoy the view.”

“Right. Should’ve guessed.” Clark cursed himself silently for forgetting how much the kid loved space. “Batman, please. I know you like to know everything. But can I just talk to my nephew alone? I’ll explain everything I can after, but I need to know how this situation could’ve happened in my own family without my knowledge first without you being there inserting Opinions.”

“Very well. I’ll collect Flash and we’ll leave the two of you alone. But I expect a full report after.”

“I’ll make a peach cobbler, Ma’s recipe, and head to the Manor tomorrow to tell you everything.”

“I’ll let Nightwing know.”

Clark sighed. “I’ll make two cobblers.”

Bruce’s lips twitched upward, but he turned without saying anything more. “Flash! Since this matter is going to be delayed, I believe you still have to file your report on the incident last week.”

Clark chuckled as Flash protested. But he didn’t listen to their discussion, instead joining Danny by the viewing window. He settled an arm around his nephew’s shoulders. “Beautiful, aren’t they?”

“I can’t believe you get to come up here and look out at the stars any time you want.”

“I don’t get up here as much as I’d like, I’m afraid. And when I am up here, it’s because something somewhere is going wrong so I don’t get to appreciate it as much as I’d like to.”

“So, if you’re an alien, does that mean Dad’s an alien, too? Is that why he is the way he is? Am I part alien?”

Clark laughed and ruffled Danny’s hair. Like this, it felt almost insubstantial, like passing his hand through mist. “Fraid not, kid. No one knows why your dad is the way he is. I can’t remember how often he was tested for the meta gene.”

“Once a year every year from the time he was six until he was twenty-two and graduated undergrad and started living on his own. Then he stopped for a few years. Until he started dating Mom. He accidentally broke her apartment door once and she insisted he get tested again.”

Clark wanted to laugh, but all he could remember was Danny’s earlier statement. “Danny… Are you…safe with your parents?”

-----

Again, anyone is free to continue this! If anyone wants, I can combine everything into one post to make it easier to do so.

[jemmo]

Making sense of love for love's sake: the game

Despite all the things i absolutely adore about how the plot unravels and expands in love by love's sake, upon first watch, there's some things i couldn't piece together, which @lurkingshan echoes in their post:

'The way the author was messing with Myungha and forcing cruel choices on him really does not track with a desire to help him find happiness.'

And to preface, this is not something i fully get yet either. I think i'll need a good month and a sizeable reading list of relevant resources to understand just what/who this author/sunbae is and what his role is and how he is associated with myungha. But as always with the best shows for meta (aka bad buddy), as a plot unfolds, you can always find a better understanding by looking backwards and re-contextualising what you've already seen. so i watched ep 1, specifically the scene between myungha and his sunbae at the bar. And i will talk about how everything said in this scene has a whole new meaning now we know the full story, but for now i wanna focus on that question that they keep coming back to; "Then... will you change it for him?".

When you watch the show for the first time, your brain follows the simplest, most obvious version of the story you're being told, one where myungha has been pulled into the world of his sunbae's novel that's being turned into a game and given the opportunity to fix the thing he didn't like about it; making yeowoon happy, and thus you just think the rules of the game are imposed by the author, and so when these cruel choices first come up, you see them as the difficult roadblocks that are nevertheless necessary to any kind of game, forcing the player to make an impossible choice so that the game can continue in a certain direction and its only after that you learn whether it was the right choice or not, or there is no right choice, it simply changes the game you are playing.

And when its revealed what this game actually is, at first i tried to interpret these cruel choices, namely the choice between yeonwoon and myungha's grandma, and at best i could come up with the concept of this being a choice between staying stuck to the past aka choosing his grandma, even though he knows that choice doesn't mean she's safe bc he knows the future where he loses here, its an inevitability, but thats the small happiness he knew before it was taken away and thus that happiness is known and safe, theres no risk, versus choosing to pursue a new happiness, a love of yeowoon and thus himself, which he doesn't know, he hasn't experienced yet, and could be risky. Its a happiness that isn't guaranteed like his grandma, but its a happiness that looks to the future and has hope in it that he can find a new happiness to pursue despite what has happened in his past.

And that fits nice, okayish. But then i watched ep 1 and heard that question "Then... will you change it for him?" And watching through the rest of the eps, we come back to this scene at the bar and each time we get a new run up to the author asking this question, either new dialogue is added or we hear a different piece of the conversation entirely. It starts at the beginning of ep 1 as:

"Because Cha Yeowoon is the only one who's miserable." "It can't be helped that some people's lives are like that" "The fact that some people are destined to live that kind of life is what's vile."

Then a bit later in ep 1 we go back and its expanded.

"It can't be helped that some people's lives are like that" "The fact that some people are destined to live that kind of life is what's vile." "Why? Do you think you'd write it differently?" "Yes, definately. Someone like Cha Yeowoon, or someone like me with an awful life, can also be happy."

And then all the way on in ep 6, we get this new dialogue.

"I don't like talking about destiny." "Why?" "Because it means everything is predestined." "Then do you not believe in fate?" "Fate and destiny are the same. My grandma likes to say that. She said life is like a written book, and how you'll live and die are written in it. (...)I don't like things like this. Even if fate is already destined, I think it can still be changed. Otherwise, there's no point in trying." "Really? Then Myungha..."

And while we don't hear the author ask the same question, I feel like him getting cut off like that insinuates that the conversation leads to that same ending point. All that is to say, every time we hear this question being asked, its like we learn more and more about what this whole thing is, what the game is, what myungha is saying he will do by agreeing to do what the author asks. And every time, we see myungha being more defiant against the idea of yeowoon being resigned to his miserable ending. He starts off thinking that kind of life is destined, and while it's miserable, its not something he can fight. Then he says he'd want to write the story differently, bc yeowoon, or even him, could be happy. He challenges the idea that yeowoon, and thus himself, is fated to be miserable, and opens up the possibility for happiness for them both, but doesn't yet have the means or resolve to do it, its like he knows its possible on a fundamental level, but doesn't see it as something he can actually achieve. But then we circle back to the idea of destiny and books, both of which came up in the previous quote, and seems incredibly pertinent seen as this whole thing is about a novel this author has written. Myungha talks about how he hates the idea that life is a book where everything written is predestined to happen, from the moment you live to the moment you die. He says "Even if fate is already destined, I think it can still be changed. Otherwise, there's no point in trying." That vile way of life he described before that he said was destined, he is now saying it can be changed, and that possibility is now something he's holding onto, its what he sees hope in so that he can keep trying, bc now he finally is trying, he has the resolve, he's trying to realise this thing, this impossibility of rewriting the life he thought was destined through the way he loves yeowoon.

And coming back to those cruel choices, given this fresh context, it made me think. bc this isn't actually a game that myungha has been put into where the rules are dictated by an author completely separate from him. He said himself, he'd rewrite it, he'd change things for yeowoon. And when you start to think of it less as him fighting against a rigid, removed system and more like him being a character in a story he is trying to rewrite himself, that has both the author and his own limitations, or just his own if you're in the school of thought that the author is some figment or part of myungha himself or his conciousness, then you can start to see where these cruel choices might come from. They could be myungha, the author making edits to this new story, imposing his own doubts and limitations on himself. When he says he has to pick between Yeowoon and his grandma, what if that's the new author myungha seeing this story unfold and thinking no this isn't right, he can't have it all, i'm not deserving of this much happiness.

And what makes me like this idea even more is that when we get that second choice between ending after 14 days or getting 100 days back at the cost of resetting Yeowoon's affection to 0, that whole conversation happens in what I think the bar actually is which is this frozen moment in time where myungha is in the water with this extension of a voice in his head that is talking through these things. That conversation in itself needs its own post, but when you look at it both as a decision to break up or not or a decision to hold onto life or not, you can see how the author is just this soundboard relaying the decisions myungha is going through in his head. The author's voice is his own, weighing up his decisions. And if he is the author here, it only reinforces that the person making the rules of this game is him. You can even extend it further to the idea of the debuffs, where he puts in place this thing that makes it so he causes harm to yeowoon when he's around, and its only by garnering affection that he can prevent it. He gives himself a reason from the get go to stay away from yeowoon and reason it as him doing it for yeowoon's safety, when in fact the only way to make yeowoon safe is to increase his affection, which he can only do by being near him. Its a system that at first gives myungha a reason to stay away aka not like himself, but ultimately says the only way you're going to make yeowoon like you, or the only way you can like yourself, is if you accept risk. And that in itself screams to me of a myungha writing in these game systems that are trying to encourage his own-self love while falling at the hurdle of his own lack of self-worth.

The idea is still messy in my head even for me, but i just really like the idea that myungha could be trying to fix this thing both as a character and game master, and that both these versions of him have these flaws that manifest in their different ways to cause the events we see. It kinda is the definition of being your own worst enemy, the idea that in order to work towards loving yourself, the biggest obstacle you have to encounter is yourself, bc we are the ones holding ourselves back, making all these rules that make it harder to like ourselves and pursue our own happiness. The voices in our head telling us that we aren't good enough and aren't deserving are our own, and while the things that happen to us can inform what they say, we're the one's reinforcing those words. And what this show teaches us is that, if we're the one holding that pen all along, we can choose to change what those words are. If we make the rules, you don't have to create a game with concrete ultimatums, you can create a game where rules don't control you. Instead, you make the decisions, and you can make the ones that make you happy.

[ilikepjo24]

On Octavian ruining Percy's panda pillow pet...

Now, I thought this wasn't even a serious thing that needs to be addressed but I just finished arguing with someone over this, so apparently it does need its own meta.

So, the take we're debunking today is "Octavian is mean/evil for ruining Percy's pillow pet".

The thing about this pillow pet is that Percy was homeless for six months, he had to steal to survive and fight off monsters every single day, a task that was getting harder and harder every day, all while he remembered nothing. He only had his name. He didn't have friends, a home, a family, a safe place, a purpose, something that can get people by so that they don't just give up when struggling every day for no known reason with no known end goal gets too much.

During those months, his panda pillow was the one single form of comfort and familiarity he was granted. A small mercy if you will, to help get him through this. Although many people downgrade, poke fun off, and affectionately ridicule his relationship with the panda pillow pet, it was definitely something meaningful. Like the first participation trophy you got for participating in a competition for fun, only to realize you really like that activity and get hooked on it. Sure, the trophy does not indicate any real talent or success in itself, but to you it's the starting line for something you genuinely love. And to Percy his pillow pet has value because of it's emotional worth.

Which is why it had to be sacrificed.

I'll explain why soon enough, but for now, hold that thought I put in your head just now while I add a second idea there too.

This isn't talked about in the books, but it's something Uncle Rick made sure to address in the show. As Chris Rodriguez worded it: The gods love the smell of beging.

In Camp Half-Blood, when meal time is over, demigods throw the remaining of their food into the fire as a sacrifice and pray to the gods. In the show it was specified that it's better to sacrifice a portion of your favourite food, because if the gods see that you're willing to sacrifice your own comfort (even if it's just in the form of your favourite food) just to please them, they are more likely to answer your prayer. Once again, as Chris said, they love the smell of begging. And the more you beg, the more you're willing to sacrifice, the further you're willing to go, the better.

So Greek gods like it when you pray by sacrificing your food, and to an extent, your comfort. And the Roman gods like it when you sacrifice a life.

Which is why auguries became a thing. Of course you're not gonna see the future in the guts of an animal just because. The gods will grant you spoilers for the next season if you kill the animal because it will make them feel flattered to see that you're so desperate for their help that you'd rip out the soul of a living being in their honor just to get their attention.

However, Rick is writing books for tweens and teens. He can't just have animals being slaughtered left and right, especially for the purpose of feeding the gods' narcissism. So what can he do to make the situation a bit more pg 13? Remove the slaughtering of animals. And how will auguries be performed then? By sacrificing something else that has value. Emotional value.

It's quite logical to assume that the stuffed toys Octavian uses in his auguries are really expensive or collector's edition or handmade or are someone's childhood companion that they donated. The gods wouldn't just let you have information about the feature when all you gave to them was a sacrifice worth 1$ that you could even fish out of the trash.

Now I want you to hold on to that too and knit it together with the other thought I told you to hold on to, got it? And if you do that part of the process properly you should get to the conclusion that the best sacrifice available at the moment to get the gods to tell you how they feel about Percy joined the legion was Percy's panda pillow pet that he is so deeply emotionally connected to.

Octavian did not ruin something Percy loved for kicks. He didn't even know him yet, there's no way he had any type of malicious feelings towards Percy yet. He was just doing his job. The job Reyna tasked him to and the job Hazel told him to do during their conversation. And that was to read Percy's augury (which wasn't an augury bc Octavian is a haruspex but that's irrelevant right now). He wasn't actively trying to soil Percy's mood and ruin his day just to be the evil villain. He was just doing his job.

Thus proven.

[findmeinthefallair]

Hunter's Experiences After Belos's Death

Oops, this got long. Aw well, it was really fun to write.

Special thanks to @ashanimus!

This is speculative at the end of the day, but since:

1. This is my fave animated show of all time

2. I grew up with Complex PTSD (CPTSD) like Hunter

3. I work as a therapist,

I thought to list down some things I can visualize happening in the duration of the finale's timeskip, before that beautiful epilogue we saw. And I want to dive in using whatever clues, leads and parallels I can find in canon: to analyze and see how he went from the Bad But Sad Boy to that peaceful-looking palisman carver in the epilogue.

A small reference I had for this meta is Cinema Therapy's episode on the Hunger Games movies (link), since the protagonist, Katniss Everdeen, from the book and also movie trilogy would have the same diagnosis as Hunter. Those books and movies explored how Katniss coped with the frightening and dramatically different landscape that was the calmness of her world post-victory.

Part 1: His Possible Experiences Leading Up to Seeking a Therapist

His disposition could possibly become like Luz's from early Season 3: a state of emotionally shutting down and numbing out. He appeared to nearly head in this direction right after he was revived by Flapjack, as he began to cry. There was that small window where he could have expressed more tears than he did, and have his body shut down under the weight of bereavement.

But the immediate physical threat, Belos, was still on the run. He got up, sprang into action and didn't catch a break from the time he followed Belos through the portal until he stood in The Collector's palace after Belos died (had he even received the news of his 'Uncle' dying yet??!).

Now that Belos isn't around anymore, the Isles will have a completely different feel and rebuilding the land would've taken grueling work after the dismantling of a damaging Coven System.

I was looking at Luz's behavior and gestures in Thanks to Them, which were indicative of her sinking into depression after 1. the horrible revelation in Hollow Mind that she unintentionally helped Philip. 2. witnessing Flapjack's death. I'm putting screenshots of her below in parallel with Hunter's own emotions in For the Future:

They have different mental health conditions if you talk symptoms, e.g. Luz doesn't show signs of CPTSD hypervigilance, while Hunter doesn't have that slowing down in his physical and mental activity which points to depression. But both have suffered from moral injury thanks to Belos's violence and manipulation.

However, a major comparison is that Hunter has had much more repressed emotion over a long period compared to Luz. The column with Hunter screencaps above, is what he may feel with a much higher intensity in the weeks and months after he first hears that his abuser has passed on.

Shown below, the few seconds of Hunter's big smile drooping when it was all over, was a big hint for me:

A hint that there is a deep undercurrent of emotions he'd much rather not feel, that he'd probably rather hide from himself. Even while smiling, we know how his heart-wrenching story has played out and the light in his eyes here doesn't match the brightness we see in his expressions in the epilogue, post-timeskip.

That is the face of a kid who has not cried out massive amounts of tears yet. He doesn't look like he's carrying a light load yet, compared to what we see in his future self. And it's certainly a heavier smile than the jollier one he makes here right after King's Tide when Flapjack was still around:

I can't imagine the amount of grief that his body has yet to dredge up and release, once he finally doesn't have to worry about his 'uncle' threatening his life anymore. Too many times to count, I've been in the situation where I cry intensely after being retraumatized and think "Huh? More tears? Where did it come from?? I thought I had cried it all out from my whole being the last time!". It kind of convinced me that anyone with CPTSD has so much grief stored up in their body that the number of times needed to have a good cry feels like a really endless expanse.

However: because I had 7 years of being in and out of therapy, what matters is that the durations between these episodes of mine, the durations of the episodes themselves, plus their intensity have reduced a lot. It was around a 4-year timeskip in the finale, so for Hunter to get as far as he did to heal, his own therapy sessions would've probably been rigorous and very consistent.

Anyway, he might now cycle through his own version of what Luz cycled through when she gradually shuts down from failing to build a new portal door in Thanks to Them, continually believes she's as bad as Belos, and when she alludes to her suicidal ideation in the classroom:

whereby there is a likely parallel between Luz wrestling with guilt from her own moral injury, and Hunter's own guilt from what he wished he could've done to prevent being possessed, to prevent Flapjack from dying. Both their situations are that of moral injuries.

The adrenaline rush would be over for everyone on the Isles.

I'm quite sure the therapists on the Isles will operate pretty soon after the news about Belos's death was out. They would conduct whatever version of mental health triage they have, that involves risk assessments and crisis counselling. Both of these based on what I've learnt are shorter in duration (30 minutes) and are one-off sessions, compared to regular talk therapy which is an hour minimum.

The therapists would be redirecting people to necessary resources e.g. where to find food or loved ones, and managing distress only related to people's immediate needs instead of forming a longer term plan for several weekly sessions.

I believe things are simpler when you are running away from an external threat, like the two Hunter scenarios below. In Hollow Mind there is no emotion on his face because in peak C-PTSD mode he has shut down his emotions to pour that energy into escaping Belos. In Thanks to Them, he appears quite obviously scared with widened eyes because he got comfortable with safety for months and Belos's return was a surprise attack (thanks ashanimus for pointing out to me how his expressions are animated!):

But what is there to run from now? Not an external threat for sure. The war zone is now the one in his mind, heart and soul and it would become front and center. I believe both these screenshots are two notches on a dial, and the missing third image - which would show him finding it difficult to stuff down the grief any longer, might look like a more exasperated version of when he told Willow "Please don't call yourself [a Half-a-Witch] ever again" in For the Future, and eventually a more depressed version of his vanishing smile in The Collector's Palace.

When can he really run from himself? Only while asleep, if he's spared nightmares on any given night, or while distracting himself with the main mission of rebuilding the Isles or continuing to bond with his friends and other people.

His anger in For the Future was a telling sign for me that he made sure his focus was still on an external threat: he still had the opportunity to do so back then, because Belos was still alive. But when we see him in The Collector's palace sending Willow off to her dads, there has realistically been a shift in what will threaten the more fragile shreds of inner peace he's still clinging on to. There are those scary trauma-related emotions to worry about, which wouldn't have just evaporated into thin air. They would be looking for a new outlet, and they'll find their way into flashbacks, nightmares, tension still stored in the body, an exaggerated startle response, etc.

We have seen a range of reactions he has to danger, triggers and emotional pain: some involve moving his body more, and fewer involve a short of shutting down:

Flinching during Belos's tantrums, being able to fight Kikimora calmly, freezing up in the throne room (Hunting Palismen)

Suicidal ideation and even a sort of suicide plan (Eclipse Lake)

Freezing up and expecting punishment from Darius (Any Sport in a Storm)

Being able to stay almost entirely calm as he learnt more and more of the truth about Belos, though his hand was shaking briefly, then a panic attack later on (Hollow Mind)

Lots of avoidance symptoms like numbing, combined with hypervigilance e.g. shivering and another panic attack (Labyrinth Runners)

Feeling fear with underlying shame and subconsciously expecting punishment, when he failed to save Luz (Clouds on the Horizon)

Freezing and recoiling, though he fought against this by asserting a boundary with Belos (King's Tide)

Panic attack when looking into the mirror and having an emotional flashback, hypervigilance e.g. stamping his foot and shivering (Thanks to Them)

Anger and rage to cope with bereavement, later being tearful (For the Future)

Most likely a sense of bereavement, deep exhaustion and possibly loneliness, during that briefly shown moment in The Collector's Palace (Watching and Dreaming)

The serious work he has to put in to heal from his trauma would begin once his whole body gives in to the exhaustion, catching up with the bereavement-related emotions that have also begun to settle in. It could be a massive emotional and physical collapse that he can't fight off, where his physical energy levels become tanked seemingly out of nowhere. And I think it would look like a worse version of him lying in his makeshift grave, where he is barely able to move around the house or anywhere for some time.

This happened to Katniss in the Hunger Games trilogy, and while the portrayal was done differently in the books and movies, both were good explorations of what it's like to shift from the default high alert (and long-term) mode of CPTSD to coping with the scary unknown world of newfound safety. Katniss spent her childhood in poverty and being constantly on edge that she might be chosen for the Hunger Games, being parentified, to provide for her family.

While participating in the games, she had to utilize battle skills and kill others to survive and sustained many injuries, still constantly on high alert whereby any respite would last for incredibly short durations. Towards the end of the story, after she loses the one she loved most (her sister Prim, who I think can be a parallel of Flapjack in this meta), Katniss shifts from peak physical activity into mostly sleeping and being actively suicidal for months, hardly moving and not leaving the house, until the shock of traumatic grief began to wear off. She absolutely crashed and went from one extreme to the other. In the movie Mockingjay Part 2, they added a non-book scene where her grief comes out in an outburst when she sees their pet cat hanging around on the kitchen counter. She flings an object in the cat's direction, then screams "[Prim] is gone!!" repeatedly before collapsing into heavy sobs, picking up the cat and holding it to her chest to soothe herself.

This kind of major collapse might happen very soon to Hunter after he leaves The Collector's Palace or only after some weeks. The timing of this, I can't predict. The reason why he didn't appear to have this issue in the early months being in the human realm is because there was still something external to concentrate on: help his friends get back to the Human Realm, help Luz reunite with Eda and King, while him and Flapjack hoped to go home too.

You could argue that even now, he still has something external to focus on i.e. helping the others rebuild the Isles. However I keep imagining that the people who love him are going to be quite adamant in getting him, Luz and the other kids to please rest. Since we saw Steve recommend his therapist to Lilith in O Titan Where Art Thou, I can picture the adults in particular monitoring how Hunter is doing without Flapjack.

But if this collapse I'm speculating about doesn't happen so soon, he would be pouring himself into helping others, referencing his character-centric line all the way back in Hunting Palismen about wanting to offer help, which he utters twice in that episode. There is an overlap between this expectation he has of himself and the old habit he's at risk of falling back into periodically: overworking.

Once his desire to help others is clearly comes across as an avoidance tactic on the outside - a maladaptive coping mechanism to run from the very difficult emotions that he should be processing - people around him are definitely going to set boundaries and say "No" to any attempts he makes to assist them. Someone is probably going to tell him that whatever desperation he is showing in wanting to help other people, needs to be redirected at himself. Making time and space for himself, taking time off to rest.

Him suffering from a major emotional and physical collapse is pretty likely because things are more complicated (though, physically much much safer) for him now than at the beginning of Thanks to Them when he had just fled from Belos to the human realm, and had Flapjack as his closest company. Fast forward to the victory won in Watching and Dreaming: both Flapjack and Belos are gone now.

It's telling that different thoughts are occupying Hunter's mind now, from how his expressions are drawn during his first days in the human realm vs. when peace is restored in the Isles.

1. See the sense of calmer urgency in his expression, putting the mission of building the portal door first, while experiencing a strong sense of togetherness with his friends, and learning to trust Camila who is treating him well:

compared to

2. the sheer exhaustion and feeling of "What now...?" (see his upper eyelids below?) that set in, once he helped Willow find her parents and there was no more task at hand that didn't involve himself. His bright smile from a split-second ago has drooped and disappeared:

I know that right after the above frame, Darius and Eberwolf reunited with him, but his emotions are going to cycle up and down in the hours, weeks and months ahead. The elation from seeing Darius and Eber - people who were there to greet him when he expected nobody to turn up - is not going to last, though it will certainly come and go, because high-running positive emotions like that don't last as long, especially in the context of the life he's had as a child soldier. It's totally possible that on the same night, hours after this reunion with their loved ones, their emotions will shift drastically.

The tired look in his eyes above and the sad face he then makes, is in between two moments of him having something external to focus on (Willow and then Darius). I'm inclined to think that the above depressed look reflects a lot of the complexity that is going on underneath the surface. What is his state of mind when alone with his thoughts, when he has zero tasks to perform? How is he handling those thoughts?

There will be a deep, sometimes mind-numbing sense of bereavement over two significant figures in his life. First Flapjack, now this:

He used to love Belos. But I'm really not sure he can just uproot that love from deep within and discard it. Hunter carries memories like the following ones around which will be confusing to navigate on tougher days, despite being able to tell Luz "That's what Belos does, he tricks people". Because these were his formative years:

and something tells me that Philip was cunning enough to strike a delicate balance between being 'nice' to Hunter like above, versus unleashing his violent temper to terrify and harm him. Making sure that balance was so close to 50/50 that it would leave a child very confused. So confused he would rather believe he's never good enough rather than the more frightening prospect that his so-called family does not actually love him at all.

Hunter will have a moment now and then of still missing the 'niceness' that his 'uncle' showed towards him (felt in his heart and subconscious), while still knowing (in his head, rationally) that Philip was not genuine when treating him that way.

To note though, he did not witness Belos's death which reduces the severity of intrusive images that the poor kid would see in his mind.

What I'm worried about is how he'll handle the news about the grimwalker graveyard, since I'm sure that location is going to be scoured and Darius would want to give his mentor a proper sending off. They'd want to give all the Golden Guards and Caleb a sending off and pay their respects. This might add to what I suspect will be the messed up depression he'll fall into.

It will be very confusing and emotionally disorienting, literally not needing to worry about anyone killing him anymore. He has had no point of reference for this in his life at all. It might possibly the furthest he ever goes from that primal survival instinct he had while living in the Castle for so long, which took up the majority of his life so far:

There will also be the added layer of how he feels about those first emotions. This is literally a concept called Feelings About Feelings and it's a key part of my work since I use the Satir Model in my style of counselling. We don't just feel emotions, we also tack on our own judgments and evaluations about them. E.g. shame about feeling anger, guilt about feeling sad because of burdening others, or even a combination like fear about feeling joy which can show up in healing from bereavement.

Depending on how we feel about whichever emotions got there first, it makes a difference because we could be adding or subtracting unnecessary suffering from the first emotion, especially if the first emotion is an already unpleasant one.

I have a feeling that we'd see Hunter look very very tired, till he makes breakthroughs in therapy. A tiredness that sleep, a healthy diet and exercise alone simply cannot fix. Because there's an entire upbringing in the Emperor's Coven to sort through in his head, this time not combined with the avoidance of having fled to the human realm and living under one roof with his friends.

The Hexsquad are not living under the same roof anymore, they are reunited with their own families with much to emotionally talk out, and the group no longer has a very urgent single collective mission. Sure, Hunter has an active role to play in rebuilding the Isles, but what about rebuilding his very self? He has the steepest climb, because we have seen the symptoms he exhibits.

Most of all, referencing a section of my Retraumatization and Self-Soothing (Part 1) meta (link), a memory as horrible as this:

will likely be the most intrusive image is going to be replaying again and again over the months to come, and it may flood his thoughts during moments of being triggered or even out of nowhere during quiet moments for no apparent reason. It will be just like a broken record, where the same small excerpt of a song loops endlessly until the needle of the gramophone is repositioned.

It was remarkably poignant that his final words to Belos were "And most of all, I'm going to make sure you never hurt anyone again", and I'm happy with the story keeping it this way and understand why the writers likely made this decision - not just because the season was shortened. Hunter did not need to directly see or hear more from Belos in close quarters, not after his abuser minimized his needs for years, gaslit him, possessed him and got him to murder his best friend with his own hands.

It's more straightforward to make sure someone else isn't hurting anyone. It's easier to think of what plans to implement, when it comes to him protecting others: which he has had plenty of practice with. Because those are practical methods that we can see in action on the outside.

But here's the kicker: what about applying that last grand statement from his TTT speech to himself, emotionally: making sure he isn't psychologically hurting himself with harmful unhelpful thoughts and beliefs, after Belos's death? "I'll make sure I don't hurt myself (and by extension, my loved ones) again".

This will be very new to him, and it is a theme that I handle in pretty much every client case in my therapy work. The client's self-dialogue, the self-compassion or lack thereof. Which, in real life, is often not a concept that our own families and schools introduce to us to be familiar with.

For Hunter, this may translate into him making the decision to get help and truly accepting the gift of life that Flapjack gave him.

Basically this on a much bigger scale:

whereby in Flapjack's absence, he can truly believe in this new and positive fundamental belief about himself. The evidence that he managed to make it to that heartbreaking but incredibly beautiful place is pretty strong:

But before his happy ending, the pressure on himself to be useful to others via helping and working is likely going to come back and be used as his way of coping, and there's a chance it will cross the line into becoming a form of self-harm that he's relying on to avoid the frightening, deeper emotional pain. People around him know him well enough that they'll be able to spot his behavioral changes and then sense he is not going in a helpful direction. They'll see that it's hurting him even though it's the most familiar territory for his mind to be in, and someone is going to tell him to change that.

He's going to be seeing his friends with their palismen. How will it be like being among them, even if they are pretty good at supporting him? How would he attempt to make sense of the void that is the absence of the incredible love he experienced from that first friend, the absence of that mental link between witch and palisman?

What emotions could be lurking beneath the surface? Believe it or not, there are some signs from Luz's nightmare even though yes, Hunter was being controlled by The Collector. I wouldn't quickly dismiss this dark Flapjack-related scene as 100% being about The Collector's goal to scare Luz in the nightmare.

I think there was a smaller subplot going on as well.

The Collector needed material to work with in the first place, to perform the puppet acts: the material was whatever fears and whatever pain was already there in their targets.

The Collector didn't create Hunter's emotions from scratch for the puppet act; instead he manipulated and redirected what existed at the base level. All this wouldn't work as analogies of mental illness vs. mental health if The Collector could just engineer emotions on their own and simply replace whatever his puppet targets were already feeling. Emotions never vanish and always take up space somewhere, they are redirected, transformed or channeled into outlets even if it means they become repressed or locked away. But they never stop existing.

I have a feeling that despite the nightmare being Luz's, despite Hunter being used as an instrument for The Collector to achieve their goals...the pre-existing emotions that Hunter himself felt in his body, not puppet!Hunter's verbal responses towards Luz, were true. He is a haunted boi.

This face he makes above might be a hint at the worst of his pain. It might be the furthest he has felt from when he said "I like who I am right now" to Flapjack. In the place of that confidence from before, there might now be his own version of Luz's "I'm as bad as Belos". I cannot be entirely certain, but the negative belief that may have taken root in him could be "I am not deserving of the life Flapjack gave me".

Interestingly, if this is the case, it could easily parallel his line from all the way back in Any Sport in A Storm: "I'm unfit to wear the sigil of the Golden Guard." It's definitely a possibility, since Hunter is now faced with having a lot of time and space now, and less urgency than he's ever had in his life, to think back on all those times he helped to further Belos's cause. Especially when it came to sending many palismen to their deaths.

With his own palisman now dead, the engraving we would eventually see on Flapjack's grave: "Thank you for finding me", would be the destination. But the journey needed to reach that destination of amazing gratitude in the first place...must have been a harrowing one. In the early months of the acute grief, it would've been more like "Why did you have to find me?! You shouldn't have. Then none of this would've happened". Not forgetting the number of times Hunter has replayed in his head what he could've done differently, trying so desperately to rewind the clock and make that better alternate timeline a reality.

If you remove The Collector and even Luz from the equation in the Luz nightmare scene, Hunter may well be having such responses - the ones that puppet!Hunter directed at Luz to blame Luz - as a dialogue with himself. He might direct those negative emotions towards himself since he's so careful about hurting others and has taken on unfair punishment for so much of his life.

Even when he was temporarily himself, smiling, expressing a positive emotion to encourage Luz with "What's the first thing you do when you wake up from a bad dream?", that was him conversing with another person, someone external. Not his own self. I am willing to bet he wasn't at a point in his arc where he would smile at himself like that and easily encourage himself in the same way.

While we can be certain he had already reached his breakthroughs by the time we saw him post-timeskip, he has not experienced them yet in the frame above. He has not felt (yet) what Luz felt onscreen when she had breakthroughs in relation to her moral injury:

Taking a leap of faith to accept the Titan's gift, to trust that he chose her because she has a good heart and will never be Belos.

Then later, being able to stand firm, believing she truly is good ("I am the Good Witch Luz!"), and not uttering a word to Belos as he died - which was post-traumatic growth beyond how she broke down under his threats and manipulation towards the end of Hollow Mind and later in King's Tide.

Recap time. In the (quite likely) long period that passes by before we meet his new palismen, he's likely going to want to jump into action and attend meetings with Darius, Eberwolf and co, help to physically rebuild things and organize people with his own Coven Head experience. Leaning back on the ingrained and familiar lifestyle of pouring himself into work and gearing towards burnout is certainly a risk to watch out for.

The Hexsquad, CATTs and the Clawthorne sisters are going to notice his behavior and likely urge him to get appropriate rest and seek help.

However, there is the other extreme: Belos isn't around anymore to torment him, and Hunter would know this in the rational sense (head knowledge). Which leads to the possibility that he may swing towards shutting down as opposed to overworking tendencies. He would feel allowed to do whatever he wants, in this new Boiling Isles, and he had months of opportunities to do that in the early part of Thanks to Them before Belos's return.

What I'm getting at is, if he didn't sleep enough before, he might swing towards sleeping too much after finally collapsing from the familiarity of survival mode into unknown but genuinely safe territory. If he cared too much about helping others before, he might swing towards a depressive state of apathy (the closest canon reference point would be him digging his grave: he was very disarmed in that scene to even think much about helping anyone including Belos). This is why the screenshot I used of his smile drooping in The Collector's Palace, feels like a big clue to me. This would be where Darius, Camila and other adults have to seriously keep watch over him.

In the Cinema Therapy episode I had as a small reference for this post, the licensed therapist who hosts the series mentions that "It takes a lot longer to put oneself back together than it took to fall apart." In Hunter's case, the "falling apart" period here refers to that collapsing I mentioned. It would be the time between:

1. the grief hitting him in full force: when he subconsciously understands and acknowledges that Flapjack isn't coming back (which...will involve hell of a lot of wailing and sobbing. Him having a full version cry of those first few tears he shed at the end of TTT),

and

2. the time when the painful shock from feeling the full force of the grief has decreased enough that it plateaus.

This falling apart stage may need to pass before he seeks therapy. If he tries going for sessions while still going through that shock and pain, it might be too much for him.

As terrible and sad as it sounds, a deep dark spiral like this might be necessary. It would be his body and mind wanting to compensate for several years' worth of unnatural hypervigilance which wasn't serving him in a advantageous way (i.e. surviving) any longer. His body and mind begging for rest at last, to try and make sense of everything that happened. This big collapse into depression would empty out the old and free up much room in him for new stories, beliefs and perspectives to take root. Depression is, after all, the body's attempt to (maladaptively) try and protect us by numbing us, or else we would be overwhelmed.

As someone whom we know keeps himself very busy, this could be the period where he is the furthest he has ever been from that old simpler life. Because his CPTSD-ridden body would be demanding more than ever that he compensates for a childhood and teen years' lack of general rest, he may not even have the strength to cope the way he did before. The only way he might possibly cope in this period is to go with the flow of that raging current and do exactly what his body is asking of him: getting real rest.

Like what happened with Katniss in the Hunger Games trilogy, this early grieving stage would emotionally be difficult and terrifying, like walking along a tightrope, finding balance between left and right to angle yourself as straightly as possible and walk forward. (the tightrope metaphor is what I use with some of my clients to explain swinging between extremes of coping mechanisms).

The missing pieces of the puzzle in his arc, in the 4-year duration before the timeskip, might be his own version of these points in Luz's arc:

where she sank lower before she realized her deepest wish and emotionally experienced her worst fear in her Watching and Dreaming nightmare.

For Hunter, these could look like the following:

Like Luz saying it'd be better for everyone that she permanently stays in the human realm, Hunter might say he wants to remove himself from his loved ones in some way, for good. Whether a literal suicide attempt (like Katniss from The Hunger Games) or not, I can't say for sure.

A parental figure trying to reach out to him, saying he is deserving of Flapjack's gift. But he still struggles to believe that. What matters though is this parental figure is present and he's not pushing them away.

Him hearing some confirmation of his deepest negative belief about himself, in his own nightmares. Like Luz hearing the most terrifying things she could ever hear - Amity's "You've been the real villain this whole time" and "But for the sake of everyone you hurt, I challenge you to a witch's [duel]".

Him being able to reach an emotional space where he can begin to question that unhelpful belief: "Am I really deserving of Flapjack's gift?", or something similar.

The big moment when he finally tells someone how he really feels about the possession, Belos's death, Flapjack's absence in this new supposed peace and quiet....this would be the important invitation for the other person to connect and meet his emotional needs, and is a lot like how support groups for addiction work: a client needs to acknowledge that they are struggling with a problem, not avoiding it with distractions any longer, and then seek help and express their need for said help.

I suppose the question is how soon Hunter might decide to accept professional help and give it a go: or whether he'd have the genuine need for space first and say "I need some time". Because one's rational mind can be ready to go for therapy, but their subconscious and body would find it too unpleasant if it's too soon. Every part of him would have to be ready to begin putting himself back together after the falling apart stage occurs.

The messed up experience of CPTSD is that you stay shockingly calm during real danger, but on the flip side have big, disproportionate freakouts during actually safe times. Compare how calm Hunter was when he smiled at Luz in her nightmare while he was tied up with puppet strings vs. his fear and shame when he couldn't save Luz in Clouds on the Horizon. 

In a CPTSD memoir I read, the author describes that it was horribly frightening to hear her partner be in a bad mood and wash the dishes more loudly than usual, while during the pandemic, she felt completely calm seeing empty shelves in a supermarket when she struggled to get supplies.

From my own experience, I have experienced being pretty damn calm when bleeding out and needing hospitalization. But in a different year before that, I recall one afternoon alone in my house right before a vacation where a strong gust of wind very loudly slammed an open door shut next to where I happened to be standing, and I broke down sobbing from a retraumatization via an emotional flashback. Because it felt extremely real as if my abusive parent was lashing out to physically hurt me. 

After a 5-year period of mostly being in talk therapy, and then a 2-year period of regularly scheduled EMDR therapy, my response if I have a door loudly slam shut near me now would maybe be a smaller-scale flinch and a flash of anger that would last about maybe a minute. Which is miles better than sobbing for half an hour and being dissociated and frozen in a memory for hours before I thaw out of that flashback.

Since the show's writing is just that good, I could look at Luz's depressive symptoms manifesting in Thanks to Them and see a likely parallel in Hunter's story moving forward, since we know how much this show also digs neat and tidy parallels. These are characters written for TV after all, so they'd have to fit a formula to an extent, to have compelling arcs and reach high and low points along said arcs.

Part 2: Therapy Itself

Part 1 was the setup to give a good amount of context: now for the technicalities of the therapy sessions themselves:

Like Adrian Graye said in Labyrinth Runners, Illusion Magic can sort through memories. We have seen from Gus's own powerful Illusion abilities that he could do so with Belos. It makes sense that a therapist does this in sessions to have a magnified version of how in our world, therapists exercise empathy by imagining what it is like to be their clients:

I would monitor whether his mood (what he is feeling within) and affect (how the emotions appear on the outside e.g. tone of voice, face expressions) are congruent. Congruence usually means a client is in less distress. Incongruence might mean they are in so much pain that they can't connect directly with the main emotion: the perfect example of this being Hunter laughing when digging his grave.

We therapists take note of aspects such as affect, mood, the client's motor activity, any indicators of psychosis, even down to things like how untidy their hair looks in case we get clues about the severity of their issues (this is called a Mental Status Exam, and we write what we see in our case notes per session).

Because CPTSD is so relationship-centric, I'd discuss how he's getting along with new parental figures (the Belos replacements who will heal him so much and change his life forever!) and friends.

If the Boiling Isles therapists use their own equivalent of EMDR therapy, which is theorized to be like a waking version of how REM sleep and REM-related dreams help our brains to sort through memories, it sounds like a great fit for his case. This intervention involves subconscious work and could help him reshape how he experiences memories of Flapjack and Belos. EMDR clients are expected to see vivid images popping up without control in their mind during the sessions, and they are quite symbolic e.g. seeing a grey sky often indicates grief, seeing lighter colors indicates more calm. This technique helps a client's subconscious rewrite their story the way they'd like it to be, and install new positive beliefs and emotions over time.

My own example of EMDR experiences from the second half of 2019 as a client, is it majorly changed how I related to my own abuser, got me to finally feel allowed to emotionally break away from her, even though she is still alive and even lives in the same building.

In the early sessions, I saw an image of my 5-year-old self being forced to wear an ugly grey apron that my abuser used for baking. The apron is a real object, not fictional, and the emotions I felt showing up were matching with the image: feeling very uncomfortable seeing a visual representation of my abuser's hold over me.

But in a later session after a few months, guided by my therapist, I saw a vivid image of my abuser receiving a sea burial. She was lying peacefully on the water surface and sank down until she was gone. That was me subconsciously burying any expectation that she could ever provide what I needed. This was so powerful that I could go home after that session and permanently (so far) be significantly calmer around my abuser.

Therefore if Hunter goes through something like this, he'd potentially be able to put Belos to rest and have it feel very real and true: and have significantly reduced distress about Belos-related memories. There is the potential for powerful breakthroughs for him here, especially also related to Flapjack's death and how challenging it might be to carve palismen in the beginning. Especially since in the worst case scenario, even touching palistrom wood might be enough to badly trigger him. I cover this particular point a bit more in my other meta, Retraumatization and Self-Soothing (Part 1).

We would also be discussing what he's implementing into his routine and what may benefit him. I would be seeing if he is able to laugh about things, be motivated enough to be outdoors and among people, experience pleasure when creating new things, and form closer bonds with parental figures (what I just listed is to do with neurotransmitters in the brain that increase mental health: serotonin, endorphins, dopamine and oxytocin).

If I were his therapist I might suggest that whatever volunteering tasks he does, he carries those out with his friends, and time should be allocated to managing and taking care of a specific demographic: children. Because I think it'd be a safe, low stakes form of unfamiliarity for him to have enough emotional distance from his traumatic memories. Early months of acute grief usually require such emotional distance.

Having a good dose of an environment like that alongside the other tasks where he's working alongside Darius etc, could help him because kids' emotions are less complex, and their infectious laughter and fun-loving nature may play a role in helping him be more open with his own inner child. His therapist would be seeking to draw out that inner child in their sessions, and that little child would need to feel safe enough to emerge.

Importantly, his future palisman: it would've been interesting if he did what Luz did with Stringbean and allowed the palisman to be whoever they wanted to be...that would've been a nicely organic process. But even if he had a good idea to incorporate a Flapjack-like design but change details like the color, I'm sure he thought it through very well. I'm certain that this was a major topic of discussion at some stage of his therapy. Discussing the guilt he'd feel about replacing Flapjack vs. still taking Flapjack with him in a new way.

Coming from a strengths-based angle: paying attention to which of his individual strengths he is shows and recounts in the session. If he needs reminding, I could give him a simple worksheet listing various positive qualities and ask him to circle/colour in which ones he feels he has, which then prompts further discussion and questions. Lastly, a powerful tool called reframing e.g. if he says he's worried about being a nuisance to his friends, I'll point out how much he cares about their comfort and affirm that place of kindness.

Work on inviting self-compassion into how he sees himself. Is he able to view himself the way he views his friends? If he remembers the encouragement he gave to Luz about "turning on the light", I would ask him what that would look like in his own life, symbolically.

Hunter's own life has been a really really bad dream for a very long time. He himself has to reach for that light switch and choose to heal by embracing Flapjack's ultimate gift to him.

And we can rest assured that Hunter did that.

Because this post-traumatic growth right here?

This looks like multiple breakthroughs have taken place while he's been receiving consistent care from an excellent community. And there's no way it was an easily won victory. It has been very much hard-won, after how dark the story became in Hollow Mind and Thanks to Them, and it looks like whatever breakthroughs he had left him pleasantly surprised.

It doesn't seem like his heart and soul can contain this much joy and hope, without a very painful dismantling to have taken place first, to make room for the most unexpected treasures to fill his life back up.

The joy becomes even greater if you never would've expected it in your wildest dreams.

[humornaut]

An Analysis of Foreshadowing in Omori's Prologue

Hey everyone!

With the Omori manga's first chapter's release, one thing has been made clear: They are FLYING through the game. Unless they are doing something weird, the entire prologue segment has been moved to right after the Aubrey fight, a move I can only believe has been made so that the real world characters appear in the first chapter. I won't be making any judgements until I see how it all fits together (and maybe I won't make many judgments in general, I don't really consider myself a judgmental person for better or for worse), but it did get me thinking about how well Omori's prologue works in general! So today, I'd like to take some time to talk about that!

The Sidequests

The first things I want to mention are the side quests! I've mentioned it before (or maybe I haven't, I don't remember everything I've said), but nearly all the side quests in Headspace are symbolic on a meta level. A lot of people dismiss this as boring repetitiveness (perhaps true), but the vast majority of the side quests are about finding a lost item or individual. This is, of course, echoing the larger Headspace plot of Basil going missing. However, there is something about this concept that I'd like to point out using one of the sidequests!

In the quest "Whereabouts of Duckie Jr.", you are tasked with determining the whereabouts of Duckie Jr! Crazy, I know. Remember how I said that most of the sidequests are reminiscent of the quest to find Basil? Like 2 seconds ago? Well, this one is good for actually illuminating what is going on with that questline overall! Duckie Jr. and his family are references to a famous optical illusion in which a person can see either a duck or a bunny. Take a look at the house that the family lives in:

They live in a present! Now take a look at this!

"SUNNY won't leave the box, so KEL put a food bowl inside. I guess this box will be SUNNY and MEWO's new home."

So that's interesting! Add in the distant demeanor of Duckie Jr's father, as well as Mari's statements about Duckie having his head in the clouds and comparing Duckie to Omori, it becomes clear that Duckie in this situation is a reference to Sunny, not Basil. What does this mean? Well, it means that we should rethink the Headspace quest all together! The quest to find Basil is much more a quest for Sunny to re-find himself.

Now this (as well as the quest for the character Daisy that I have mentioned previously) is interesting, but it isn't exactly foreshadowing. For that, I would like to draw your attention to the sidequest Stick in the Mud.

In this quest, you must go around Cattail fields to find Mr. Scarecrows three crow friends, and have them return to him. In order to do this, you have to use Hero when interacting with the three crows.

I personally believe that this is a bit of foreshadowing to the Sunny route. Hero's maturity is necessary to bringing Sunny, Kel, and Aubrey back together and bringing them to Basil. I also choose to see Mr. Scarecrow as an analogue for Basil rather than Sunny due to the coloring of Mr. Scarecrow's sprite (Blond hair, blue eyes, green clothes), and Hero doesn't actually bring Basil specifically to anyone (heck, Hero doesn't actually ever talk to Basil in the real world segments of the game)

I also want to make clear: I'm not trying to imply that this is symbolism on the part of Sunny's mind, like a lot of the things that I talk about on this account, rather that this is a bit of meta storytelling foreshadowing how the real world plot will turn out. This will go for everything else that I talk about here as well.

Captain of the Space Pirates

Now that we've talked about the sidequests, I'd like to draw your attention to the main questline of Otherworld. As a reminder, once the gang gets into Otherworld, we are introduced to Captain Spaceboy, who is bedridden and depressed following his break-up with Sweetheart. In order to solve this problem, we have to go through the junkyard to find his mixtape. We aren't the only ones looking for it, and while there, we meet Rosa, a Sweetheart super-fan.

We get the mixtape back, bring it to Spaceboy, at which point Kel plays it, triggering Spaceboy to start his boss fight.

The argument for this all being one large bit of foreshadowing goes like this:

Spaceboy would be Basil (purely from a narrative perspective, not in any kind of character-sense). We go to the junkyard and dig through the trash to find the mixtape, just like we eventually get the photo album by digging through Aubrey's trash. Rosa in this case represents Aubrey, attempting to take care of the mixtape due to her personal connection to the item, revealing that Spaceboy is the one that threw it out in the first place, echoing how in the real world, Aubrey takes care of the photo album for four years due to what it means to her, despite how Basil (from her perspective) destroyed it originally.

We bring the mixtape back to Spaceboy, and just as Kel is the one that kicks off going through the photo album with Basil, he is the one that rushes to put the mixtape into the boombox, triggering the memories that set off Spaceboy, causing the fight.

Admittedly, things get a little cloudy here, as the fight between Sunny and Basil isn't directly caused by the photo album. You could even say that the Spaceboy fight represents the fight with Omori (or even both the Basil fight AND the Omori fight) due to Omori's fight being due to Sunny's mind reacting to memories of the past, better mirroring the Spaceboy fight. But hey! Spaceboy's hair turns green and his eyes turn red so who can say. :P

Then, after the fight, we get a few things! We get an eyepatch (goes without saying), a train pass (representing how Sunny will be moving after the conclusion of the game), and a sno-cone ticket (yeah I don't think this one represents anything).

And, just like the Sunny route, the prologue ends with an early look at Memory Lane, and the dream ends, with Sunny waking up.

There's probably a lot more I could talk about regarding Omori's prologue, so I might update this later! I hope you enjoyed reading this! Within the game, I feel like the prologue is one of the strongest bits of Headspace, and I've always wanted to talk about how I believe it foreshadows the rest of the game! This is a topic that I'd love to hear more people's opinion on!

[somehow-a-human]

Whose POV is it Anyway?

Bodysnatchers & Cosplaying a bookseller

DO NOT ASK NEIL ABOUT FAN THEORY

I'm back! I took a few days off of doing internet thingsss so I took a break from writing this series of posts but I'm back and continuing with episode 3 in its entirety!

For reference & context, I recommend reading these posts:

Whose POV is it Anyway? - Introduction

Lens Filters

POV "Your 'Something's Wrong' Voice"

POV a Trip to Hell and a 25 Lazarii Miracle

POV a Companion to Owls

POV The Dirty Donkey & I think I Found a *Clue*!

Shall we get cracking?

Episode 3 gifts us the arrival of Muriel! Sweet adorable Muriel! We see them arrive to the bookshop, with the Bronze Glimmer Glass filter in full effect. Aziraphale is the only one there so it makes sense we'll have Aziraphale's POV to start. Cupperteas ensue, and Crowley arrives to be grumpy but fully accepting that Aziraphale is taking their car, I mean, he's already brought the plants inside. His sideburns are long here as well.

When the duo head into the backroom to discuss what's going on, the filter changes, the lighting is much cooler toned, and we're now looking through the Black Diffusion FX filter in Crowley's POV. Crowley's sideburns are also short now, and if my theory that POV is also correlating with his hair length, it's standing here.

As Aziraphale drives off, we see Crowley watch him from the window and sigh, sideburns still short, still his POV.

I'm going to stick to the present day storyline and switch to the bodysnatchers minisode at the end!

The time Aziraphale and Crowley spend apart in this episode is interesting to say the least. If we're trying to look at the lighting and possible lens filters used to determine the narrator or POV for these scenes... I think they're switched!

When we see Aziraphale driving the Bentley, the scene isn't awash with glowy warm lighting which we know isn't reserved just to the bookshop since we've seen it used in the record shop, coffee shop, and in the Job flashback.

It's rather cool toned lighting for a yellow bentley. Aziraphale's whole trip to Edinburgh is cool toned. The time he spends in The Resurrectionist, the graveyard, everything. I would have expected Aziraphale's magical little newspaperman cosplaying extravaganza to be dripping in his golden glow through the gorgeous Edinburgh when I started thinking about the scenes and these lense filters and these metas.

But then you look at the opposite, Crowley alone in the bookshop with Jim. Something he would hate right? Sounds like worst case scenario for him. He loves the bookshop but he's there alone with Gabriel who tried to kill the person he loves more than anything and didn't have an ounce of compassion, while Aziraphale has taken himself and his car very far away.

But what is Crowley's experience like? He and Gabriel are chummy as ever, they talk about rainstorms, vavooming, gravity. Crowley dresses down and is wearing sleeve garters? A bit old fashioned for Crowley but not for Aziraphale no? He's playing bookseller, carrying books around, albeit not quite correctly, chucking them at the end. Every scene is drenched in warm golden haze and Crowley's sideburns are long the entire time.

They aren't together, but they've always probably got one thing on their mind...

I think we're seeing these scenes through each other's eyes, or the POV is swapped if you will. Maybe that's why Crowley is wearing sleeve garters and cosplaying bookseller and being very kind to Jim? And Aziraphale is being the worlds cutest little investigator to ever exist. I think maybe they're imagining each other, or it just points to the idea that they're apart but still the only thing they're always thinking about.

Okay, cute lovebomb, now let's talk digging up dead bodies!

There isn't a lot to go off of for lighting in this minisode, but there is one detail I wanted to point out that has to do with Crowley's hair length. In all locations BUT the crypt his mutton chops are longer. When they enter the crypt both times, they are shorter.

You can see they are a distinct "J" shape in most scenes but in the crypt scenes (for example when he drinks laudanum and busts through the roof) they have been trimmed back). So if I'm going just on hair length, all scenes except the crypt are Aziraphale's POV.

If you can look past my terrible image quality, you can see on the right image his chops are notched where on the left they're doing the opposite.

NEXT

POV 1941

[thoughtfulchaos773]

Syd and Carmy- Communication 3

Part one Part two

First off. This scene was written by Chris Storer and directed by Joana Calo, our favorite duo (the creators of the table scene). Calo and Storer: do me a favor if the ship isn't real, don't even add shit like that in a scene...you know what I'm talking about. Don't have it where Carmy is taking her in and appreciating what the fuck he's seeing. And Carmy, the loser- notices Sydney as soon as she tries to sneak in. He doesn't even finish saying the word 'exactly' to Marcus before his eyes take her in.

But wait, this conversation is about legacy and how something starts somewhere, and they take these parts and take them somewhere- over and over again. I love that he points out these people would find each other.

Like a family tree.

Carmy and Sydney combine families to create a wholeness- something that's good.

Sydney starting a new legacy! My Shipper Heart: In some meta, Sydney often connected symbolism of life, fertility, rebirth, and nurturing. Chris Storer, these two are made for fanfiction, not a dish- a heart-shaped dish that Carmy just happens to give her- and this beautiful tree above her head- a symbolism for the tree he wants to build starts with the girl who ate his signature dish where he took the rebellion against abuse, rejection and sent a string of fate to start a legacy. What are you doing to me? Carmy literally presents his heart to Sydney.

Okay back to the scene:

He takes in Sydney and tells her "good morning," as if inviting her in. She comes from a meeting with Shapiro that should feel like good news, but she seems burdened. Since she first met with Shapiro, she enters, seeming distant but polite.

He says "no, no" as if to say, "Don't be ridiculous. You never interrupt." He's the one who invited her into the office.

He takes a moment to pause after saying "no," whispers "no," and looks at her...

Also, to note, he's coming from Al-Anon this morning. He has a clearer perspective than the last 7 episodes of that season. 'You look nice'—so simple but as the season's theme. Paying attention, Carmy sees her every day or close to it, and it's Carmy noticing something is different. Could it also be Carmy prompting her to say where she's been? There's room for that conversation.

But Sydney passes it quickly with a quick "Oh, thanks." A little surprised and also not having time for it right now. She focuses on their conversation- which could be a foreshadowing of what Carmy will do in the end.

I pointed this out before- Wednesday reference- 3x04- another episode Storer wrote.

Flashback

Carmy and Sydney are having the same day of the week they are trying to get through? The same day used to track time?

Excuse me-Writer/Director Chris--

But I'll move on...

You know what else I noticed about this scene- Carmy was staring at her the whole time as she took off her bow and said I'm just trying to get through Wednesday. He takes a second when she asks him his answer for legacy.

This is probably the most self-aware Carmy has been- does he realize he's passing panic and anxiety on to Sydney? Probably not yet at this point.

But also how Sydney is always the one to stop his anxiety and panic-driven ways, but for her to set a boundary where she's not his babysitter, eventually, he has to do the work to stop himself from panicking. But it's another sign of a legacy starting with them.

He looks at her a bit more than Marcus. He says with everything and everybody- he has to be square with Claire and Chef David. He needs to let go of the bad things from his past and the abuse he has held on to for so long.

The camera remains on Sydney as she considers his answer to legacy. She nods with understanding, unspoken communication we talked about- Carmy knows what he has to do. He wants to rid himself of the bad but needs help (therapy), so he's not taking it out on Sydney or any of his staff. How will he care for himself, love, and be there for Sydney? One of their relationship's central conflicts is Carmy showing up, the right way for Sydney to start their legacy and filter out the bad things he's carried onto The Bear.

I think that part of the conversation was considering Sydney, filtering out the bad to make it good.

It's still possible for Sydney to start and keep her legacy at The Bear. At the end of season 3, the panic attack is her realizing she doesn't want to leave.

Sidebar: Marcus. Marcus. His legacy-because being an awesome emergency contact is a bittersweet answer- shows some guilt about not picking up the call about his mom...

Grief. Grief is always the theme that sticks with the show. Despite its lingering presence, let's hope for more good days to outweigh the bad. Let's hope the Bear ends with a good legacy.

[thegreatgremlingang]

*Rage post may delete later*

just went and saw a meta about Jiang Cheng being underappreciated for getting Wei Wuxian out of the Xuanwu cave and stuff and I was scrolling through the comments being like "awwwww" "yeah that's right" 'damn straight" "yeeeheeahhhh" and then I just saw this FUCKING COMMENT being like "eeerrrmmmm that still doesn't excuse what he did to wwx he's such a nasty ass human being omg" and idk why but it just flipped some sort of mental rage switch in me and HRRRRRNGH like the little smile was WIPED OFF MY FACE and my intestines crackled from the sudden rise in blood pressure and like jc antis can you PLEASE PLEASE PLEASE chill and leave us the fuck alone

I don't want to die young from health complications

my entire dash was full of jc metas and ofc discourse and this fucking comment just pushed me over the edge

jc antis PLEASE PLEASE leave the stans ALONE and go drink some orange juice or something please do something productive you've got better things to do that shitting on jc and the people that choose to like him

even if he's straight up evil (he isn't) that's not your fucking problem isn't it people can stan literal villains in other fandoms and nobody cares so why do you guys have to be such control freaks

I don't see the xue yang antis and Jin Guanyao antis behave in this rabid ass sort of way just CALM DOWN and stop trying to make us argue with you on whether Jiang Cheng beats Jin Ling on a daily basis or if he puts emo teenagers in wood chippers or something

what even is the purpose of all the shit you get up to? Is it going to make Jiang Cheng hear you through the fourth wall? Is he going to drop to his knees and apologize to Wei Wuxian? NO! Is it going to make us stans see the "errors of our ways" and go hate on Jiang Cheng with you? NO! Is it going to summon Wei Wuxian so he can host a fan meetup and give you a hug and his autograph and his eternal friendship? NO!!! Is it going to drive Wei Wuxian to put Jiang Cheng in a wood chipper? NO!!! Is it going to make Jiang Cheng become real so y'all can put him in a wood chipper? N O !!!!!!!!!!!

Listen. Just like how we can never convince you to stan Jiang Cheng, you can never convince us to do whatever is your endgame. So I suggest you go to your own little corner of the fandom, stop bothering us, let us be "delulu" in peace, and get a fucking life.

phew!

Now I feel much better! Thanks for coming to my Ted talk and don't forget to tune in next time! bye bye!

[ineffable-endearments]

I was rethinking the bookshop meta I wrote a while ago and realized I was not thinking big enough.

The bookshop has always been Aziraphale's version of Crowley's plants (his trauma reenactment), but also, absolutely everything Aziraphale does in Season 2 is a re-creation of Heaven's role. Crowley's behavior also encompasses everything, not just his plants.

I've seen it suggested that centering Aziraphale and Crowley's trauma histories is reducing their characters to behaving like just reactive victims instead of survivors with agency. Or worse, it's "excusing bad behavior." I don't agree with either of these, because I feel that part of Good Omens is about how large, powerful systems affect individuals, and so the context of every character's decisions matters a lot to the overall themes of the story. Everyone starts out working within a system they believe to reflect reality and then has to learn how to break free of it. You cannot really illustrate that without having the characters start out being genuinely trapped with different ways of coping with their reality.

This is an attempt at a pretty big-picture meta. Although it isn't a plot prediction, it's how I think some of the series' themes are going to progress. It starts out perhaps a little grim, but in the long run, it's how Aziraphale's character growth and relationship with Crowley can simultaneously be massive for them as individuals, a crucial part of the overarching narrative message of the series, and symbolic of a change in all of Heaven and Hell, all while allowing the themes to continue to prioritize human free will.

In short, it's about Aziraphale's problems, but it's also meant to be an Aziraphale love post.

All of the below exists in tandem with Good Omens as a comedy of errors. Just because there are heavy ideas does not mean they will not also be funny. Look back on how much of Season 2 seemed silly until we started to pick it apart! One of the amazing things about Good Omens is how it manages to do both silly and serious at once! (I feel like that's maybe a little Terry Pratchett DNA showing through. "Laughter can get through the keyhole while seriousness is still hammering on the door," as Terry himself said.)

Aziraphale has really embraced his connection to Crowley in Season 2, and he has also become considerably more assertive toward Heaven and Hell. These are both major growth points compared to the beginning of Season 1.

However, again, we have the concept of growing pains...Aziraphale is starting to re-create Heaven's role in his relationship with Crowley and humanity. It's really obvious with the Gabriel argument and the I Was Wrong Dance, but I think we see it all over the place: he seems to feel any serious dissent is a betrayal. He also seems to assume there's a dominance hierarchy and he, of course, is on top. Now that he's decided to take control of his own future, then surely that does mean he's the one in control, right?

With all that said, he still seems to have trouble being direct about the feelings that make him most vulnerable. He manipulates people and engineers situations in which he can try to get his emotional needs met rather than saying things outright (case in point: the Ball).

Like I pointed out in the bookshop meta: subconsciously, he's playing the role of God, modified with what God would be if She were everything he wants Her to be. He's generous, almost infinitely sweet, always does what's best for people...or, at least, what he believes is best for people. During the Ball, Aziraphale influences the people around him to be comfortable and happy even when they're not supposed to be, and he limits their ability to talk about things he thinks are too rude or improper for happy, formal occasions.

Doesn't this pattern sort of make sense for an angel who's just discovering free will? Like, at the end of Season 1, he made an enormous choice to stand against Heaven and realized he could survive it. Now he's gone a bit overboard with exerting his own will. Unfortunately, while he's learned to question upper management, he's still operating on a fundamental framework of the universe where there have to be two sides and there has to be a hierarchy. Also, since Aziraphale is on the Good side, he of course has to gear his desires into what's Good rather than just what he wants, so he sometimes thinks he's doing things for others when really he's doing things for himself. (For example, matchmaking Maggie and Nina started out as something he wanted to use to lie to Heaven, but by the time he was commenting "Maggie and Nina are counting on me," he seemed sincere, like he had genuinely convinced himself this was for them and not for himself.)

Aziraphale knows Heaven interferes in human affairs, ostensibly on God's behalf. He thinks She should be intervening in ways that are beneficial. What I believe the narrative wants him to learn is that God and Heaven shouldn't be manipulating people at all, not even for Good, and in fact there is no real meaningful hierarchy.

Anyway, a top-down, totally unquestioned hierarchy is the primary social relationship Aziraphale has known, and it's certainly been the dominant one for most of his existence: you're either the boss or the underling, and if someone seriously questions you, they don't have faith in you - they don't respect you.

No, his relationship with Crowley has not always been like that, but they've been creating their relationship from whole cloth, so how would he know it shouldn't become that way, now that it's "real" and out in the open?

No, human relationships aren't like that, but Aziraphale clearly does not see himself or Crowley as human. As the relationship approached something that seemed like it must be "legitimate," Aziraphale would naturally look for a framework to fit it to. And again, the only one he has is the shape of "intimacy," or what passes for it, in Heaven. What has "trust" always meant in all his "legitimate" relationships? It has always meant unquestioning obedience, of course. What have the warm fuzzies felt like in Heaven? Well, praise from the angels above him is nice, so that must be it, right?

Aziraphale even describes being in love as "what humans do," separating out that relationship style. Someday, I think he'll realize he favors the shape of love on Earth, something that's more inherently equal, more give-and-take. Look at how he idealizes it from afar at the Ball. But I think that, like Crowley before Nina pointed it out, Aziraphale maybe hasn't 100% grokked that it can and in fact should work that way for him and Crowley, too. Just like people can desperately want to dance without knowing how to dance, or can desperately want to speak a language without knowing the language, Aziraphale does not instinctively know how to have the kind of relationship where he can be truly vulnerable and handle Crowley's vulnerability as well.

Aziraphale is downright obsessed with French, known as the "language of love." He's trying to learn it the Earthly way. He's not very good at it, but he wants to be.

This pattern is still present during the Final Fifteen even if we assume Aziraphale is asking Crowley to become an angel again out of fear (and I find it very hard to believe that fear doesn't factor in at all). He's still building his interactions off of that Heaven-like framework: he asks Crowley to trust him blindly, he tries to assume a leadership role with a plan Crowley never agreed to and couldn't follow anyway, and he tries very hard not to leave room for an ounce of doubt. He also suggests making Crowley his second-in-command and obviously does not register that this could possibly be offensive. Again, I think this is because for Aziraphale, there has always been a hierarchy in Heaven, it's started to transfer to his relationship with Crowley, and breaking out of that assumption about relationships is going to take more processing than a single argument can do.

As I mentioned in another post, I don't believe Aziraphale had a real choice about whether he accepted the Supreme Archangel position. I think he could sense that he was not getting out of it and chose to look on the bright side, to see it as an opportunity. And instead of looking realistically at how that would feel to Crowley, he tried to sweep Crowley up to Heaven with him using toxic positivity, appeals to morality, and appeals to their relationship itself. Again, mimicking what Heaven has done to him.

To me, "they're not talking" is a big clue that Aziraphale's approach with Crowley is going to be the mistake the narrative really wants him to face. "Not talking" has, thus far, been presented as the central conflict of Season 3! After losing the structure and feedback Heaven gave him, Aziraphale started creating Heaven-like patterns in his relationship with Crowley, and breaking out of those patterns is what he needs to do. Discovering first-hand that Heaven's entire modus operandi is bad no matter who's in charge is how he can do it.

Look, either you're sympathetic to Aziraphale's control issues or you're not. Personally, I am. He's trying so, so hard to be good. I think trying to figure yourself out (which Aziraphale is clearly doing) is hard enough, and when you start balancing what you want for yourself, what you think are your responsibilities, and what other people are actively asking of you, you're bound to fall into the patterns that have been enforced for your whole life or for millions of years, whichever came first.

It is very easy to assume that people should Just Be Better, but it's not actually that simple to be a thinking, feeling person. My anxiety tends to move in a very inward direction and Aziraphale's moves outward. But I'd imagine the desperation and exhaustion are the same.

Unlike Nina, Aziraphale became a rebound mess. I don't think it occurred to either him or to Crowley that there could be any soul-searching, anything but carrying on with the new normal after their stalemate with Heaven and Hell.

Now, instead of getting rejected by Heaven and surviving it, Aziraphale needs to be the one to reject Heaven. It needs to be a choice. And that choice is going to come from realizing that Heaven isn't just poorly managed but also represents a bad framework for all relationships.

How could this happen? Good question. We're obviously not supposed to know yet, although I think picking at existing themes within the narrative could possibly give us hints.

It's possible Aziraphale's character development trajectory will be akin to Adam Young's in Season 1. Please see this stellar post by eidetictelekinetic for more thoughts about it, but basically, in Season 1, Adam saw that the world was not what he wanted it to be and decided his vision was better; as he ascended to power, he took complete control over all his friends and then soon realized that's not what he wants because there's no point in trying to have relationships with people who can't choose you. It's that realization that leads Adam to conclude he doesn't want to take over the world and to reject the role he's expected to play as the Antichrist. Maybe Aziraphale's trip to Heaven is an attempt at a control move during which he'll realize he's defeating his own point.

Aziraphale clearly wants to be chosen. From the very beginning, he's wanted to be special and cared for - just like Crowley has.

Incidentally, I think Aziraphale and Crowley are going to represent pieces of the bigger picture here, and this - first imitating and then rejecting Heaven's relationship style - can both symbolize Heaven's transformation and directly start it (probably in an amusing, somewhat indirect way, like when he handed off the flaming sword to Adam).

If I'm right - which I may very well not be - I think this would all be so, SO cool. Like, "An angel who is subconsciously trying to be a better God" is a concept with so much potential for both tender kindness and incredible darkness. Add to that the comedy-of-errors aspect of "...but even deeper down, he'd much rather just be super gay on Earth" and you have, in my opinion, a perfect character.

I think this could work for Crowley as well. It's obvious that in the Good Omens universe, at least so far, Hell is all about detesting humans and punishing them; Satan seems to genuinely hate humans (unlike in some of NG's other works). Our perspective on this could change, but it potentially puts Crowley in a complementary position to Aziraphale, as a demon who is trying to be "better" than Satan. But this isn't about being "morally better." It's about things having a point. Crowley's exploits usually have a point: they test people. And you can pass his tests! He sincerely likes making trouble, but Crowley doesn't live to punish.

But, once again, the above paragraph would describe a transient phase for this infinitely charming character. Because, again, I think the point will be that in the end, Crowley's deeper-down desire, moreso than testing Creation, is watching it grow with a glass of wine in hand.

[starryeyedjanai]

this post has me thinking about steve and eddie falling in love with each other through writing fanfic in the 80s

because in the eighties before you could publish stuff online, you had communities that would send each other hand written fic, right?

steve and eddie both end up writing fic for spock/kirk

steve gets into it because he and claudia watch star trek together and they've been watching it for years when she shows him some cute fluffy fic a friend of hers wrote and he finds that he really likes it. maybe he starts off not knowing that he likes guys, but through fic he realizes that hey, he's kind of felt things about guys before that's similar to the stuff he's reading

and he gets enmeshed in this somewhat local community of fic writers and they all mail each other fic and give each other feedback and write on post it notes how much they loved reading it before passing it along to the next person

and steve has a particular writer that he's absolutely enamored with

the way they write, the tales they weave, it's all so good. they're funny and some of the spicy stuff they write is good and he's always so excited whenever he opens a letter and it's their fic. and he thinks he's like falling for some housewife from Indianapolis and he's a little embarrassed about it because they only sign their name as EM so he has no idea who it is. (he's also embarrassed because some of the spicy stuff claudia writes is also good, but he tries not to think about how his friend's mom knows so much nsfw stuff about what two guys can get up to)

but anyway, he keeps writing long detailed commentary about EM's fics and sending it along to the next person meanwhile when Eddie gets his fics back, he's like lovestruck at steve's comments on his fics because he really gets it - really gets what eddie was going for. he understands the yearning eddie's trying to capture and he offers little meta-analyses about eddie's fics and some of the episodes and eddie is also like damn i'm really falling for someone's wife, aren't i?

anyway steve doesn't write his own fic yet because he doesn't have the confidence in his writing ability but EM encourages him so he eventually does write fic and EM ends up being his biggest cheerleader and offers him help in areas where he thinks he struggles so they start mailing stuff back and forth to each other before it goes out to the larger group

and they start sharing stuff about their real lives and they both come to realize that the person they're talking to isn't a woman and isn't married like most of the women in the community are

and then they're collaborating on fics together and writing some of the best stuff eddie's ever written and he's falling in love and steve is too

maybe they eventually share their identities over letters, and maybe there's a meetup one day and their eyes lock as soon as they see each other and steve is nervous. he's nervous because he's kind of idolized EM for so long and he doesn't want to say the wrong thing. because writing him has been easy, he has time to think about what he wants to say and how he wants to say it. but talking in person is much more on the spot thinking which he's never been good at

but he meets him and eddie seems just as nervous, not nearly as eloquent with his words in person as he is in the fanfiction steve's been reading for close to a year now. but steve thinks he's charming and he's just as enamored in person as he was over the letters they've been sending each other.

on the ride home, claudia is chattering away about how nice everyone is and how nervous she was to meet them, but they're all so sweet in person. and steve is half-listening, clutching the slip of paper eddie gave him with his number on it