#Also an excuse to try 3 point perspective

[onomatoseeyah]

The Encounter with the Archivist

|"He was looking at me as if he ate a really good steak"|

[creatingblackcharacters]

"Calling Out Racists? Help!"

(shout out to the situation sender who's chosen to remain anonymous!)

NOTE: People of color, if you feel that your efforts would be in vain or cause more pain than it's worth, I fully respect not doing it. I've been there, and tbh I usually don't. But white netizens, I expect boots on the ground. Racism festers when no one does anything about it.

So, it's finally happened! You've come face to face with antiblackness in your fandom space. You never thought it could be this bad! Naturally YOU don't condone this behavior, so you take steps to remove yourself from this person.

However! Your friends and other fans are still happily sharing from someone that you KNOW is capable of this. Would they still be comfortable knowing they're yapping amongst racists? And then you wonder- should I tell everyone about them? I mean, surely everyone should know?

Thus we've come to the decision:

The Callout

In my honest opinion, callouts are morally neutral. When used to reveal consistent harmful beliefs, intentions, and behaviors to other people, usually of marginalized identities, I think they're critical. Our safety and humanity matters far more than someone's internet fame. If I can't stop someone from being a racist, I at least don't want their vitriol on my dash, and I ALSO don't want people thinking I agree! Racism shouldn't be tolerated at all, but unfortunately, many an antiblack racist has a popular following and will not be removed. Anything less overt than a slur like the example above is more often than not, not a dealbreaker for many.

On the other hand, when it is maliciously weaponized to drag someone down on nothing but hearsay and rumor, it can be devastating. It has often been used as retaliation against those very same marginalized peoples to shut down discussions of racism and other forms of bigotry. In my opinion, you should not do these sorts of things when you don't have any solid proof or an actual education on what you're talking about. Period.

I say that all to say, be intentional. Use your discernment and some critical thinking.

How Ice Deals With It

Let's say you see something that concerns you. First, you need to pay attention to if other Black fans have noted this person's behavior. Has it been previously noticed, have they seen dogwhistles you've completely missed? Keep in mind as well, antiblackness does not have to come from a white person. Don't let "I'm brown" fool you.

If you're confident: confront the person on the particular issue you've noticed.

‼️‼️‼️ For the maintenance of your mental health, you CANNOT go into this expecting to change someone's mind and behavior. If you do, 9/10 you will face demoralization. You cannot walk into these thinking they care. Most people don't, and will deny the harm of their behavior. It sucks, but it's the truth. Change your perspective. The only goal you need to have is pointing out the harm done, so that this person loses the excuse to be racist out of "ignorance". Once you've spoken up, ball's now in their court.

Confrontation doesn't have to be negative! It can be as simple as "hey, what you said was not okay, here's why, and I hope that you can learn from this to do better for yourself and for your fans." Simple, to the point.

‼️Keep in mind, from Fans of Color: the private confrontation is a sign that we're trying to give you a chance to do right. Everyone's not going to receive that grace, nor do I expect every fan of color to offer it. It might just be up with you and your racism that day. 🤷🏾‍♀️ I would take the chance if offered.‼️

We're going to go two routes here.

1) It works

If it works, then what should come next is 1) a full acknowledgment of the violence and harm, 2) visible steps to ameliorate that harm, and 3) an apology to those harmed.

It doesn't have to be a complex apology (unless the situation itself was that large). But it has to be genuine and the change needs to be seen.

Very often you'll see apologies for antiblackness... To white fans. You cannot apologize for your actions to people who were not harmed by them, because they are not the ones with the right to accept the apology!!!! It's not a real apology. They've just covered for being exposed, is all. Be willing to hold each other accountable!

2) It doesn't work

This might still happen after the "it works", btw! Some people genuinely just want the appearance of progressiveness.

Here's where it gets gritty and you'll experience the most discomfort, I'm just being honest:

They might fucking suck!

They might suck, they might make it a point to share with their followers that you suck, and those same followers might also suck! You know how they sound? Like those people who fought for rapist Brock Turner because "he had a good future and this shouldn't ruin it". Yeah.

Recognize that this backlash you may experience from strangers is not coming just from their need to be entertained, but from a realization that if their fave is antiblack and they agree, then THEY are being antiblack too.

That acute pain you're feeling from this effort- you're now feeling a part of the chronic pain that is being a Black fan! And if you're white, you just temporarily sacrificed your whiteness to defend what was right, and now you are seeing a piece what that whiteness shields you from. Idk how else to put it.

Now what?

Well first, this shouldn't make you go "oh well there's no point in fighting racism bc they're so mean." Why do you want to identify with the people who just acted like that lmao. Antiracism is hard, but the right thing isn't always easy. Stand up and dust yourself off, soldier.

Take the steps to protect yourself. That might be a break from socials to decompress. Block people as necessary, use the tag blocker thing.

Recognize that you are not in the wrong for wanting this harm to be accounted for. If this person didn't want to be seen as a willful racist, they should have chosen to do better. They didn't want to, they chose to triple down on their racism, which they are now aware of doing! They just don't care. And that's not within your control. They wanna be a racist, let them be treated like one!

"Curate your space" as they say, and recognize that antiblackness is going to have you potentially removing folks you thought were cool left and right. You might see some people close to you show their true colors. It's time to make some tough personal decisions. I can't walk you through that. But I don't want to be around people who treat antiblackness with apathy, because birds of a feather... 👀

I obviously didn't cover every single scenario here. And this is only *my* way of dealing with these things (if I do at all, anymore). Some folks may go about it differently. But yeah, in summary, go in to point the racism out, and don't let the response determine your self value. 👍🏾

[lostintransist]

Chiseled Heart | Part 3

CW: A man being creepy at the gym

AO3 | Part 1

“She gave me a gift card.”

König stares at his boots, arms crossed and shoulders resting against the back of his therapist’s couch.

“I’m not seeing why this makes you so upset.” Rich shifts in his chair across the small room, putting his stylus on the screen of his tablet. “Last time we talked you told me you were worried about a woman you had helped at the gym since she had been hurt and now you’re mad that she gave you a gift card to say thank you for the help?”

Frustrated, König turned to stare out the window. Sometimes squirrels would scamper down the powerline and give him an excuse to avoid trying to find words. He doubted he would find the words for this feeling in any of the languages he knew.

“I am…upset because,” he pauses, collecting his thoughts, “Danke was enough.”

“Do you feel like it’s fair to say you are upset because the exchange of money changed the interaction for you?”

“Ja,” he nodded.

“Okay,” Rich glances at his watch. “Can I give you my thoughts on the matter? I know you’ve been working at understanding others more.”

König narrows his eyes but nods his consent. He had worked with Rich for enough years to trust his opinion.

“You said she told you that she would bring a card the next day you saw each other but insisted after you walked her to her car, right?”

“Ja.”

“Okay, did you consider that she felt like asking for help needed something in return? Walking a woman to her car is a layer of safety, a measure of security that to her must have been a weight off her shoulders. She doesn’t know you well but wants the exchange to be equal. Could it be that she didn’t want to burden you?”

König turns the words over in his mind. You had been so apologetic even ask you asked for his help. The only time König had ever feared for his life had been under the hands of his vater.

“Help is no burden,” he argues, not quite willing to concede the point.

“I don’t imagine that it is, you work hard to be kind. I am saying that from her perspective, help and kindness are not guaranteed. By virtue of being a woman, she is always at a disadvantage and will do what she can to keep herself safe.”

He grunted.

“Sorry König, this might be one of those times to use radical acceptance. You will never understand the fear of existing in a small body where every man is a threat.” Rich shrugged one shoulder.

A moment passes in silence before König reveals the other reason the interaction bothered him so much.

“She has started to appear in my art.”

That got a double eyebrow lift from Rich. It wasn’t often that König caught his therapist by surprise.

“You’re art is how you process a lot of the trauma from serving right? How do you feel that your gym buddy is in your art?”

“Conflicted.”

Rich said nothing, only noting something on his tablet.

The silence compelled him to speak more. Rich knew it and König knew Rich knew it.

“Carving her feels different. Pulling memories from stone reminds me of the sting of pain.”

“How does carving her feel?”

“Freeing.”

Rich studies König. König leans over and picks through the basket of fidgets that sat at the end of the couch.

“Do you want to go into that more or leave it for now?”

König delayed answering until he pulled puddy between his hands.

“Leave it.”

“I’ll make a note to check back on the topic next time we chat then. How is your art selling right now? It’s still on display at the gallery right?”

They drift into more familiar and safe discussions.

There is only five minutes left. He has been watching the clock. There wouldn’t be time to get deep into this.

“Tell me to stop, to stop talking to her.”

Rich’s brows lift with confusion, it is also in the lilting of his voice, “You want me to tell you to stop making a human connection? The goal we’ve been working toward for nearly seven months now?”

König scowled as he shifted on the couch, arms folding across his chest. It sounded stupid when he put it that way.

“It’s okay to be scared König. This is a big step.”

He doesn’t reply, debating how to settle this struggle within himself.

“Did you already schedule your regular appointment with the front desk?” Rich asks, letting the topic drop.

One thing he excelled at carving had always been hands. The intricacies and the expressions that can be found in fingers had fascinated him. It was your hands he pulled from a small chunk of granite. Before he knew they were your hands he had carved a delicate ring on the left hand. The fingers on the left hand curled over the right ones, the piece ending below the right wrist. The pose reminded him of how you held pressure on your bleeding finger those weeks ago.

Frustrated he set it aside to continue on a massive piece. With a view into a building, as wide as he is tall, a house of worship is starting to come together. He carved out the rough shapes of the pillars and dug through the stone to what he had decided to be the back wall. Now came the time-consuming work of removing stone until he could begin to carve the bodies that lay scattered along the floor. This had been one of his worst nightmares. They had been too late.

Music drifted through the space from his built-in speakers. König worked late into the afternoon until Feather, the gallerist, arrived to peruse his recently completed carvings to see which she would like to house and which would be listed on the website or hawked directly to wealthy buyers.

Feather looked like she ran an art gallery. Her bold colors, expensive suits, matching lipstick, and perfectly done hair always set König on edge. Even in her heels, the top of her head reached his elbow. He remained seated as she let herself into his studio.

“Ah! There is my favorite artist. Where are the new pieces for me?” She breezed past him as he stayed seated on his stool. Feather knew where the new pieces would be by now.

Ignoring her, König focused on his carving. He could not work while anyone else existed in his studio but this process of removing stone to access the image didn’t count.

After several minutes Feather appeared in his line of view.

“I want the whole lot, stellar as always my dear.” She spoke with a crispness to her words, as if her job required a level of uppityness.

“Same terms as always,” König fiddles with the edge of his chisel. It needs to be sharpened soon.

“Agreed,” Feather crosses her arms. Her eyes drift over his current work in progress before she turns and points to the hands he had set aside.

“How much for the hands?”

A chill wraps itself around his spine.

“Not for sale.”

A good business woman Feather narrows her eyes at him and throws out a number much higher than they usually agreed upon for smaller pieces. He lifts a brow before shaking his head.

She tried three more offers before sighing and folding her arms dramatically.

“König I know all artists are finicky about their work but I have a patron who has been asking for something like this for a long time. He would pay through the nose if I sent him a photo. He would pay especially well since it is your work.”

“Goodbye Feather,” he pulled the remote from his pocket and increased the volume of the music.

He didn’t create for money. König carved images from stone because if he left them inside they would fester and canker his soul.

Feather got the message and fired off a text to him before leaving of when her team would be by to pick up all the pieces agreed upon and confirmed his payment would be sent via wire after they arrived at the gallery. He marked the messages as read and set all his tools in their home nearly an hour later. Eating a quick meal he readied himself for the gym, and more of you.

His time with KorTac gave him the ability to appear focused while his mind drifts. Sliding through his thoughts König cannot quite decide how to feel about the interactions he has had with you. Bringing you up in therapy hadn’t helped yet.

When the doors move and allow you entry König is shocked at your smile as your eyes find his. He reciprocates the small wave you give him as you head into the changing room. Then curses himself for the niggle of brightness that your smile brought. Continuing his workout König kept you in sight but did not approach. He had been stilted and stiff when you had pressed the gift card into his hands on Wednesday and didn’t know how or if he wanted to try and bridge that gap.

A man approaches you four different times in the span of twenty minutes. When you finally snap at him, anger contorting your face, you point to König. He watches as you stomp away from the man and approach him instead.

Any anger disappeared from your eyes by the time you reached him. You folded your arms tight to your chest and blinked rapidly as if to fight back tears. When you stopped you stood entirely too close for the acquaintances that you were.

“König?”

“Ja?”

“Can you bend down a moment for me?”

He does as requested, not pausing to think that he should not accept orders from you.

“There is a man that is bothering me and I told him you were my boyfriend. Can you pretend until he leaves?”

König can only blink at you before glaring at the man in question. The prick sneers a huff of breath in your direction.

“How does one pretend to be a boyfriend?” He keeps his volume low.

“You could put a hand on my waist or something? I just need him to leave me alone. The reason I like this gym is most of the guys only talk to me when they have a correction or to encourage me to hit a new PR. I don’t want to leave but if he keeps bothering me I am gonna have to go home,” you tighten your folded arms to your chest, clearly upset.

Following the twitch of his muscles König pulls you into a hug, resting his chin on the top of your head as he lets his killer face stare out at the man who bothered you. The fucker tries to maintain a sneer, but when your arms slip around König’s waist and the hateful glare pummeling him from across the gym becomes too much he man left in a tizzy.

When you pull back from the hug König struggles to return his hands to his sides and not leave them trailing the top of your hip bones. His fingers ache both from the touch and the lack of contact.

You rub a palm under one eye, wiping away the wetness that collected there.

“Thanks, sorry. I had a bad day at work and then the nonsense with a guy being a jerk I might actually call it a night.” You sniff lightly, giving him a watery smile.

“We can work out together if you want?”

König took whatever courage he had found a way to take the reigns and shake it until the bastard had to be dead in his skull.

You rub a thumb beneath your nose, face contemplative.

“That would actually be okay, yeah.”

He blinks at you, unsure why you would say yes. And then unsure of how to make this work.

“I don’t want to disrupt your routine,” you rush to fill the silence that had grown between you, “I can do whatever you are doing today, provided we fix the weights for me.”

Nodding König replies, “Company is welcome, but no offering to pay.”

You tongue at your teeth behind your lips.

“Okay, you are uncomfortable with thank-you gifts. Got it.”

König gives a startled laugh. You had labeled the feeling he and his therapist were unable to articulate.

“Ja, help is given, not bought.”

A beautiful blush stains your cheeks. The sight of your blushing smile sticks like a bur on a sock as he walks you to your car and waves to you as you disappear into the night. The change in color on your face haunts his dreams.

Masterlist | Chiseled Heart Masterlist

Part 4

@backseatsoldier minor updates from what you read but 😘

[kiwinatorwaffles]

two aroaces try to figure out dates 28 injured 3 dead

(image description in alt text and under cut)

Image description:

The first page of a three-paged comic. Panel 1: Edgeworth crosses his arms with an uncertain expression, saying, "miss maya, i hope you don't mind me requesting your help on such a short notice. Panel 2: Edgeworth lifts his hand to his chin, saying "i want to show wright appreciation by inviting him to a date, but i have no idea what to do. i was wondering if you had any advice or ideas from the perspective of someone who also doesn't experience romantic attraction. Panel 3: Maya grins and says, "oh yea, totes! i can help! lemme quickly just--" Panel 4: Maya pulls out her phone, scrolling through her Ao3 page titled "mayoinnaise." She says uncertainly, "um…. date ideas right… erm…. ok gimme a sec…."

The second page of a three-paged comic. Panel 1: Maya and Edgeworth have a back-and-forth conversation, starting with Maya's speech bubble. "how about going to the countryside and horseback riding and having a picnic?" "horseback…? the countryside is hours away…" "okay um… just a picnic then?" "i'm allergic to pollen." "sounds like you're just allergic to dates. "apologies…" Panel 2: Maya says, "wait i have a great idea!! you should get drinks and watch something on tv until he gets mega drunk and starts crying at you because you're so beautiful!!" Below Maya's speech bubble is a little bubble titled "Maya vision:" where Phoenix is blushing with his tie around his head, saying "miles i love you" with a bunch of "u's" stretching out. Panel 3: Edgeworth, unamused, says "…you know maybe i should've gone to larry". Panel 4: Offended, Maya replies, "hey!" in all caps and bolded italic text. "do you think LARRY would have better advice? he'd be all like," Her speech bubble cuts off here, switching to one that mimics Larry, indicated by a small Larry head beside the speech bubble and text saying "Larry voice". It reads, "edgey boy you should take him to your place and fuck him raw!" Panel 5: Edgeworth, looking sick, replies, "…good point. now excuse me while i go throw up."

The last page of a three-paged comic. Panel 1: Maya scrolling desperately with a speech bubble consisting entirely of ellipses. Text on the corner of the panel reads, "(on her 7th ao3 page)". Panel 2: Maya suddenly exclaims "dinner!" in italicized all-caps. "nothing bad ever happens with dinner!" Panel 3: Edgeworth closes his eyes and presses a finger against his temple, saying, "last time we had a dinner 'date,' wright ate his salad with a butter knife…" Dejected, Maya replies, "right. that time. post cancelled no dinner i guess". Panel 4: Maya looks back at her phone with one hand up in defeat and says, "man, i'm sorry… pretty much all i write is homoeroticism and angst! maybe we should ask larry…" Edgeworth's speech bubble reassures her, "i appreciate the help regardless…" Panel 5: A context box in the top-left of the panel reads, "meanwhile, phoenix:" Phoenix sits on the couch outside the office with a confused expression, thinking "wtf are they talking about". There is text in the bottom left corner that reads "(they kicked him out of the office)".

End ID.

[greyplainsttrpg]

Why the Greyplains: Core Guidebook cover is important

The cover to the Greyplains: Core Guidebook is a very designed product that is intended to express the themes of the game as quickly as possible. It also a weirdly dense piece (because of its nature as design) despite depicting relatively few key elements. The art is made by the marvelous Mirel Crumb.

This is a full/earlier sketch of what is now on the cover. The same image wraps from the front of the book to the back, crossing the spine (you will see pictures of this later).

You'll notice a couple of things here that are distinct from most other TTRPGs:

1. The background of the book is white and the composition is pencil. There are other books that do this, but it is not the majority at all.

2. There are no people or monsters in this composition.

3. The only elements in the scene are environmental and a single object, a sword, which is centered to the bottom and very small.

I can explain each of these points (and why they are important).

1. It will stand out on a TTRPG bookshelf. It stands out on my bookshelf (please excuse the books on my shelf, it is mostly D&D I promise I play other games).

2. The piece is a first person perspective of a character entering a scene, and that's why you don't see any characters depicted in the cover. I want you, the player reading this book, to feel like you are in the adventure. This matches the intended tone of the gameplay.

3. The scale also communicates the scope of the game's rules as well as the tone (more naturalistic within fantasy). Ultimately, this is a landscape with fantasy elements, and that's what the game is like.

Let's look at how the book manifests in its final, printed form.

This is the intended way that a person is meant to view the piece. They get about half of it from the front, half of it from the back, and the rest on the spine. While, yes, that does in fact literally describe the cover of every book (I get that), the piece plays into this design structure. The intended engagement is that a player is placed at a table with the book in front of them, they open it and use it to make a character and/or play the game. They might flip the book over to read the summary, but they probably won't. They won't really understand the whole piece and its context without seeing the spine, and at that point, the player might own the book. The structure of the book makes you want to investigate it. It has a natural flow that encourages the player to search the environment. By holding the book, you are emulating the experience of playing the game.

The opposite perspective is that somebody sees the game on a shelf at a store. The spine being part of a larger piece is intended to entice the viewer to pick it up and see the rest of the art. The image cannot be conveniently understood by just looking at the spine; you have to actually pick the thing up and look around to get the "whole picture."

The sword on the spine comes from the Greyplains main campaign. The encounter is presented pretty much exactly like this, and the sword is sitting there on a piece of scorched earth just chilling. It is begging for someone to try and pull it out, however this is a terrible idea (obviously). Touching the handle kills the target and sucks their entire life essence and flesh into the sword leaving behind only the person's skeleton, which then sinks into the ground. It's an obvious trap. You can't "I disarm it" on the sword. You can't dispel the effect (unless you come back with much better magic). It just gets to sit there, menacingly. The only way to solve the sword encounter is to accept "you know, I don't understand this situation, and I don't really have to play along." On the onset, it seems like just a dick move (and it is), but by the end of the adventure, the party encounters several other of these swords and can begin to understand what they do, how they work, why they are here, and how they can be sundered. The point is "you don't have to understand everything, now, the more you engage with the game, the more things make sense." And that is also what I'm getting at with the book.

The juxtaposition between the forest landscape and the unnerving crag is also part of the themes of the game. Much of Greyplains is, what I would consider to be, a pretty familiar, "vanilla" TTRPG experience. However there is also a throughline of strangeness that intentionally makes the book, as a whole, feel both familiar and alien to the average TTRPG reader. The cover is designed to feel familiar and alien at the same time to a viewer.

Anyway, those are my immediate thoughts. Speaking in favor of my game is something that I've always struggled with. But I am working to get past that and speak more in favor of what Greyplains does well and why you should play it. This is inspired by @anim-ttrpgs for making their, "why you should play EUREKA" posts.

[qwimblenorrisstan]

A New Dawn | Eris x Reader

Summary: Feyre grows closer to you, a close friend of Lucien’s, as you visit him while she’s in Spring Court. During that time, she learns of you being given to Eris as a servant by Amarantha, but no one could’ve suspected how deep the relationship between you and the Autumn Court heir went.

Word Count: ~ 1.1k

Warnings: Mentions of slavery, tyranny, pregnancy, also this entire fic is mainly in Feyre’s perspective btw

A/N: This is actually my first attempt at writing for Eris (all bc of a cute request), but if you like it then lmk and I might try more, hope you enjoy <3

Requests are open!

Feyre Archeron first met you at Tamlin’s manor, when she was still stuck as a human in a land of immortals that were trapped and bound by Amarantha. She’d been taking a walk through the house with Lucien, him explaining all the paintings in the gallery’s old, dusty collection that he knew of, and her eagerly listening, wanting to scrape up any lick of knowledge she could get.

That was when she’d seen you, coming from Tamlin’s office, him grave-faced and you just looking sad. You saw Lucien and perked up a bit, and he eagerly pulled you into his arms and held you.

“Who is..?”

Feyre spoke, trailing off at the silent tears you shed while Lucien held you close, his face buried in your shoulder. When you finally pulled away, the fiery male wiped your tears away with his thumb and glanced towards Feyre, you also looked at her.

“Y/N, this is Feyre, Feyre, this is Y/N.”

He said simply, a bit of his usual charm lacking because of the raw emotion in his tone. Feyre hadn’t known then why you’d been wide-eyed looking at her, turning to Tamlin and whispering some questions her human hearing couldn’t pick up, but she now knew exactly why you’d been shocked to find a human there during that time.

She was the cursebreaker, and you’d suspected that she would be the one from the moment you saw her.

You eventually had to leave, with whispered words to Lucien and more silent tears, before you had mounted a horse, even though running would be faster, and ventured back off to Under the Mountain.

“Where is she going?”

Feyre had asked Lucien. The male had only shook his head.

“Under the Mountain. She was..gifted to my brother as his servant, and she’s stuck there.”

He said, sentences carefully worded in the true manner of the fox-like male. Feyre found that horrifying, the thought of being gifted to a male, forced to serve him and do gods know what for him, being stuck there and only able to leave by delivering messages to other Courts. If only she knew the truth.

However, you sometimes got excuses or reasons to leave and stay at Spring longer than necessary, and you became a sort of salvation for Feyre. You would take her out into Spring Court to your favorite bakery, or the shops that were open at the time. Even when she asked, you never had a good reason for why some were closed, nor did Tamlin.

You slowly spent more time together, and she told you of her sisters, of Nesta’s hostility, Elain’s love for gardening and the flowers she’d grow with the spare change they had after selling skins, or how she grew up hunting. In exchange, you would tell Feyre all about your life growing up, how you and Lucien had been in the same age group and because of your High Fae status, you’d been friends for centuries.

“I’ll see you next visit,”

You would tell her every time, but this time seemed different. It seemed more like a final farewell. She gave a concerned look.

“When will you be back?”

“I don’t know, but I hope I see you again.”

It turned out that the next time you saw her was when you had a leash around your neck like a dog, Eris holding the chain to the collar as you both watched Feyre fight for her life in the challenges Amarantha proposed to her.

“Do you think she’ll live?”

You’d asked him quietly, and Eris had responded point-blank.

“No.”

But the glimmer of hope in his eyes as he glanced at you, a silent apology promising a future together if this human did manage to free you, a future where you weren’t chained and he wasn’t trapped.

Well, you’d almost gotten that when Feyre had given her life to free Prythian’s people, and come back as High Fae. Almost, but not quite.

“Just a little longer, darling, I promise.”

He would murmur to you every night as you had to act as his servant, attend to his every need, and act like the two of you weren’t painfully in love every day and night. That was, until, the night Beron was assassinated, shot dead with an ash arrow right through his black, soulless heart during a private conference between him and some higher-up you hadn’t bothered to learn the name of.

The next time Feyre had seen you, she’d been accompanied by Nyx and Rhys, Nyx on her hip as the other High Lords idly chattered, most of which were interested in how Eris would handle being High Lord of Autumn. Even more surprising, you’d been labeled High Lady of Autumn not shortly after.

They were still in for plenty of shock when you and Eris walked in, and the scent of budding, growing life spread through the room. Rhysand recognized it instantly, and the tiny bump on your stomach told everyone else what it was as well, not to mention the smug, satisfied face of Eris, clearly filled with pure male pride at his mate being pregnant.

“Oh wow, so you two were..?”

Feyre asked you while you chatted with her.

“We’ve been mates since before Amarantha, but we didn’t want to say because of Beron, then everything happened…it was a whole mess, but we worked it out.”

You replied with a warm smile on your face, one hand on your stomach. Rhys still seemed wary of Eris, rightfully so, but after seeing how the fiery male didn’t seem as conniving or rude, or even like the Eris he’d known for centuries at the meeting all because of his pregnant wife, or maybe because he didn’t have to play the role as the unassuming heir anymore, his mindset was slowly starting to change.

“Congratulations,”

Rhys had said to you and Eris, a slight genuine smile tugging at his lips as he’d patted Eris on the back, at which the other male stiffened slightly, but didn’t seem overly hostile.

Back at the townhouse, both having glasses of wine and idly sipping on them, Nyx already asleep, Feyre and Rhys chatted.

“I think they’re cute together,”

She said with a smile. Rhys chuckled lightly, shaking his head in amusement.

“She mellowed him out, for sure. I’m glad, I don’t think they could deal with another sassy High Lord out there other than me.”

She rolled her eyes.

“Really, though. They’re cute.”

Rhys let out a little hum of thought, before nodding.

“They are.”

[charafansmile]

Anyways that aside I think toriels biggest actual flaw is that she doesn't know how to approach kris. She'll read the parenting books again and again, ask around town, bake them their favorite food, take them to therapy, pray and pray and worry worry worry. But she can't quite communicate with them to ask them how she can help.

Learning about their friendship with susie clearly calmed her down alot, she must see alot of kris in susie. Or maybe even dess? But that's speculation.

Her and kris are close, and she's hardly what I would call authoritarian like I would carol. Their relationship isn't so strict that shes even upset at the church clothes being lost, turning it into a joke and telling kris to come up with an excuse since susie the guest. Kris is fine swearing (singing swears) in front of her. She barely scolds them for eating the entire pie, and prior to that basically dropped her grounding threat once she learned the reason they didn't return her calls was that they were hanging out with a friend.

Yes she was strict with asriel. But asriels not kris. I think it's a fair to assume that given how she's a foil to carol who IS super controlling that shes taken the reigns back when raising kris after dess's disappearance. Not so much that she's neglectful, I don't think that's a fair reading of her character, but things are going to slip by. Especially when kris is actively hiding things from her, and seemingly wanting to keep her in the dark.

Which comes back to the chapter 4 scene, the scene where they do want her to be worried, where it's finally warranted, where they want to come home after going through all of that and see she's okay and be worried over by her. But she's not. Because she thinks their better, or getting there. She knows their with susie, she knows they are finally talking to noelle again, and probably that they were going to study at her house. Every time she's attempted to call them they've from her perspective ignored them. And well. Just like how kris has a life outside of being her child for her to worry over, she has a life outside of them. Should she have left the house unlocked? Probably, she should have also called kris to tell them she canceled choir practice.

I'm not going to fault her for drinking on a weekend and bringing a stranger home, she's a grown woman and allowed to do those things, and admittedly I think people are fixating on the 'she was drunk!' Point too much. I'm not going to bring up the slashed tires or blood stain when I'm not even sure she knows HOW to clean up blood or if that's what it was AND she was specifically keeping the tires a secret from susie and kris so it's not like she's going to tell them why she's not stressed about them anymore. From her perspective, they dont even know about them.

But that all gets me to something I've not seen discussed yet, which is that chapters 1&2 were setting up kris & toriels relationship to later inverse it in 3&4. Down to the phone calls. If the numbers in the phone hadn't been deleted than we COULD have called toriel to check on her, much like she could have called us in chapter 1 if not for the dark worlds. Toriels reasonings to worry over them have been assuaged at each instance, and while WE have the 4th wall knowledge to know that she should be worrying harder, she doesn't. Likewise, kris (and susie) spend all of chapter 4 trying to save her. Only for her to be fine, at home, dancing and happy. Completely unaware of the hell they just went through for her sake. Completely unworried when that's finally what kris wants.

[miwiheroes]

Dropping Byler Evidence Every Day Until Season 5

. ݁₊ ⊹ . ݁˖ . ݁ Day 11: End of Season 3 pt 2/3 . ݁₊ ⊹ . ݁˖ . ݁

Welcome back to this series after a one-day break because of my exam, and again I'm gonna talk about the end of season 3 aka one of the most damning pieces of evidence that it's basically a fucking paradigm of the byler fandom atp <3

So here we have it, the scene where Mike probably (definitely) realises something is wrong about his relationship with El. Up until this point in the season, we have seen that Mike is desperate to grow up, and he does this by trying to emulate his parents' by getting into a relationship with a women, thinking about it logically rather than emotionally, right?

I think that as an audience, when watching S3, we were kind of waiting for Mike to have his proper character development moment, because obviously, he was kind of a jerk all season with his attitude towards Will and El. I'm still surprised that the GA believed his character was put in a blender and shat out, because this season and this SCENE literally gives you that last minute realisation and character development.

But unfortunately, and here's the kicker: it really is just too late. El and Will are gone, so he can't really do anything about his realisation that things are wrong.

Just wanted to put some things in perspective first, so here we go!

1. The Bear

So first of all, we start the scene with El trying to reach for the teddy bear which, BY THE WAY, is in Will's closet in his room. It is also definitely his bear that can be seen in his room in season one.

Therefore, this bear is a representation of Will. He literally gets taken out of the closet by Mike here as well. It is important to know that this bear represents him throughout this scene, because we can then keep in mind that El is holding him the whole time all this subsequent stuff plays out. The bear is between Mike and El, basically a litttleee foreshadowing moment to the imagery in S4 where Will is seen between Mike and El multiple times.

(this is where i realise how long this post is going to be bc there's so much to unpack here help)

2. Growing Up Issues No. 1000000

AnyWAYS so Mike then says something that perpetuates the whole S3 narrative and arc they set up for him trying to reject 'childish' things and associating childish things with Will.

"I was thinking you could come up here for Christmas. And Will too! Then we'd all have cool new presents to play with. ...Sorry that made me sound like a 7 year old."

Right after he mentions Will and the fact that he's excited to see him and everyone, he immediately feels childish. And the fact that he's been feeling like he needs to grow out of his feelings towards Will this season means he's thinking about those feelings here, however unconsciously. But he's only trying to grow up in a way he thinks he has to, there's no indication to the audience that this growing up is a good thing. (it always ends in Mike feeling self-conscious or an argument with Will)

3. Saying I love you

El then tries to remind Mike about the time that he 'talked about [his] feelings' and his 'HEART' (oh my goawsh), and he instantly looks put on the spot and definitely remembers what he said to her, obviously, but doesn't want to repeat it. He says stuff like:

"I don't think I follow." - he doesn't really remember something like this without a blatant reminder because he doesn't want to.

"Oh yeah. That. Man, that was so long ago." - when he says that it's 'so long ago', it feels like he's trying to play down what he's saying, backpedaling so that he can come up with an excuse to why he doesn't actually want to say that anymore. His excuse here is that it was a long time ago, EVEN THOUGH IT WASNT REALLY HAHA.. This his way of saying he doesn't really feel like that without actually saying it, so not to hurt her feelings.

"No, it was like heat of the moment stuff, and we were arguing and..." - again, these are just more excuses so that he can explain himself. Hmm, maybe it's that they are technically broken up here still, so he might just feel self-conscious in case she doesn't love him back. But here's the thing - they would have made him look much happier when she says 'I love you too' if this was the case, right? And they would have made him able to say I love you in S4 if he was just self-conscious she didn't love him back right?

"I don't really remember... What did I say exactly?" - Oh he definitely remembers. So this has to be yet another case of Mike trying to get El to say I love you for him, so that he doesn't have to say it. He doesn't really want to lie to her like that, so saying the words himself would feel wrong. It would be much easier just to agree with her if she says it. I talk much more about how he has already done this in the supermarket in this post. Go have a little read <3

Now, when El starts to walk up to him and puts her hand on his face, he looks utterly weirded out. It's a very strange thing to be looking like when your girlfriend might love you back, which is what she thinks Mike wants. The kicker is that El is unfortunately being presented as naive in thinking that she's making him happy by saying 'I love you too'.

This is Mike's face right after his gf says I love you btw yeah really cute and romantic.

This same sentiment of irony can be seen later when we get a shot of her smiling when she walks away from him, before cutting to a shot of the opposite of what she expected: which is Mike looking confused. Again, Duffers love subversion.

I think a lot of people think that Mike looks confused in this little part here because he also acted confused when El asked him about his feelings. So people think that, what, he just found out that El knew he loved her? No. He wasn't actually confused about what he had said ages ago, he was pretending to be confused. He clearly already knew that she had heard him, anyone can surely see that he's just trying to get her to say it for him, right? Why would he be confused about something he already knows (that El knows he said I love her)? Why would he look so shocked instead of happy that she said it back?

4. The kiss + Closet Imagery

This is literally the most blatant ass queer coding that I've ever seen. If this was any other show, it would definitely be called queer coding because I mean it is literally a girl initiating a kiss that the guy does not respond to at all, WHILST BEING IN FRONT OF A FUCKING CLOSETTTT

I barely need to analyse anything here, as you can see, El just kisses him and he doesn't do anything with his hands, he has his eyes open, and it frankly is a bad kiss, sorry but-

There isn't much stake in the argument that he's just confused and shocked as well. IN STRANGER THINGS there have been surprise kisses before (see Jancy season 2) that the directors easily made have good chemistry because they are good directors... they don't do this stuff by accident.

How else do I know they are great directors? Because they put Mike directly in front of a closet while El isn't. The Duffers fucking love background symbolism, they love symmetry. They even had some of this symmetry earlier in the scene with Jancy!:

(the window symbolises their love being open with one another or the fact they can be free with each other etc)

Not only does this closet get positioned right behind Mike in the shot, there is also a LIGHT on that is positioned right where his head is. This portrays that he's thinking about something new, like he's just been given a new perspective on something. (Also why would there be a light in the closet unless it's to draw ur attention to it??)

So why would a kiss from El, that he's had numerous times, conjure up a new idea? Why would it be that he loves her, when he allegedly already knows that because he said it ages ago? It's not an idea about El, it's him discovering the truth.

I talk more about how light symbolises truth in one of my very early analysis posts on this app here, but basically, light often symbolises the truth in film, and the fact that a light is IN THE CLOSET AND POSITIONED WHERE HIS HEAD IS just shows that he's thinking of the truth, which is not what is right in front of him.

AND THE BEAR THAT SYMBOLISES WILL IS STILL IN BETWEEN THEM. OH MY GOD,,,, this scene is literally just- the byler endgame scene I fear holy moly

So as we all know, afterwards, Mike stands there as if he's just realised something.

Based on what I've already said, that Mike can't just be realising that El figured out that he said "I love her", that Mike can't just be processing that she loved him (because wouldn't he be happy and the writers could have written a cute moment), and the fact he has lightbulb moment, this is him realising that something is wrong with his relationship. He realises that he doesn't want this.

The closet is fucking clear as day here, like it just all comes together in this perfect way I love it.

Keep this in mind for when I talk about the Hopper monologue at the end, because he just realises here he doesn't want this relationship, and during the monologue part he regrets everything he's done over the course of season 3.

This whole season he's kind of confused and trying to figure out what is wrong with him and why he feels so hurt by everything, but here is when he realises why, which is why it is a good closer of his arc. It is also supposed to be ironic that it's completely last minute. Meaning it is too late to do anything about it, leaving a good space for S4 to come along.

[immortaledd]

Do you really feel good about yourself appearing in other people's publications where no one called you out or tagged you to defend a fictional character that others have every right to express dislike and even hate for?

You have fun acting innocent and saying you have good intentions, but you're belittling and devaluing the feelings of people who just want to vent a bit in their own personal space through opinions that don't hurt anyone. And if you find them by "coincidence", you can just ignore them or even block them if they get on your nerves.

I'd totally get it if one of them popped up on your blog or in one of your posts. You'd 100% have the right to defend your favourite baby. But showing up out of the blue in someone else's post, where they're just sharing their thoughts and feelings? And you're basically telling them, in a pretty subtle way, that they're not that clued up about the show or don't get the characters, just because they don't watch them the same way you do? It's honestly so frustrating and cringe. Especially because you hide those intentions behind nice words. Pathetic.

I really hope you're a child, because it's even more pathetic when an adult wastes their time doing what you do.

Whooooaaa.

I wouldn’t talk about childish attitude when you walk up to someone anonymously and start insulting them and belittling them back.

You have a completely valid argument if you have proof, and I don’t blame you for thinking like this, but if you want to see something done, give some constructive criticism.

speak without hiding, and actually be constructive.

If you believe I’m doing something wrong, instead of spitting out words like “pathetic” and “I hope you’re a child”, how about saying “Hey, I don’t believe you’re acting appropriately and I believe [this] is a solution.”

I am not acting stern in this post to be stern, but only to match a limited amount of the energy you are throwing at me.

I am not belittling anyone. I haven’t fully talked about this since this is a fresh blog, but I have repeated time and time again whenever I ramble that my “excitement”, my “anger” or other extreme emotions all are fully “in-character”, to which I also haven’t defined on this new blog.

When I am passionate about a certain character, my arguments on them, my analyzing on them, I am speaking of them as if I was a character in-the-show witnessing the same bs I rant about. I do this to combat VA / writer hate, because everyone knows that’s a problem here.

I do not belittle people for having opinions, I make counter arguments. Anyone I reblog and ramble, (1) I disclaim “this just gives me a excuse to ramble”, (2) I always bring up good points or other perspectives to combat my ideas to help give a productive ramble, (3), I disclaim “hey! You don’t even gotta read this!” Because my blog is full of analyzing and rambles, because that’s what I enjoy doing.

If you have any direct evidence to me belittling someone, hating someone, or otherwise, please provide me with evidence, and I’ll correct it either in the post, or in the future.

Whether I have properly disclaimed it in my ramble posts, or I’ve let it slip a few times, here is my full disclaimer.

The interpretations I make of any fictional media are completely and entirely my own. I encourage you to make your own opinions, but to always be open minded to new perspectives. I encourage challenging opinions to embrace new ones - for yourself, and the other.

I am passionate about “my favorite baby” because I directly see myself and my issues through them. I have grown so emotionally attached to Eclipse and/or Ruin specifically because I feel I have lived parallels of their lives, and it makes me feel seen and understood. Therefore, by speaking on their behalf, I have an opportunity to speak for my own.

Reblogs I ramble under have playful replies from OP. I try to be playful back. I like to verbally roughhouse with people to create an emotional bond with someone. I believe it is fun, and I do it in moderation whether I know the creator or not.

Everyone I have reblogged and rambled under (as far as I currently remember, show me if you have evidence otherwise.) has greeted me by name, rambled back, and either returned the playful gestures or has engaged in a full conversation with me, bouncing off both of our opinions, and enjoying our time.

For ANYONE, if I have reblogged to you, rambling, or mentioned you and rambled about your perspective and giving my own…AND YOU FEEL UNCOMFORTABLE IN ANY WAY, please do not stay quiet or play along. Tell me, and I will correct it. I understand not everyone may enjoy it. A lot of people I talk to do.

Ranting is half of this blog. Art is the other. It’s what I enjoy doing. Seeing perspectives is an opportunity for me to fulfill some of the blog. I don’t even do it [reblog + ramble] often, it’s a relatively new thing for me. I typically make isolated rants, and have only started reblogging and replying recently. I rant often because part of being in this show is hyper analyzing characters.

I also enjoy rambling, because comments are something that means a lot to me. When I am reblogged and someone else starts rambling under my own posts, I feel encouraged. I think it’s amazing to see perspectives whether they’re similar or different to mine. It’s how I’ve learned about a lot of character throughout this fandom

I typically only focus on a select few, but I enjoy delving into other characters as well.

I “hate” Moon in-character. I “hate” Moon from TSAMS because of the inaction he did for Eclipse and Sun in numerous scenarios. I still delve into his character, I appreciate his character, and I enjoy making things for said character. From a writer/viewer standpoint, I do not genuinely hate a single character, nor anyone for liking a character I don’t.

I was infuriated with Nexus for a long time from a writer standpoint until a friend of mine helped me further dissect his character. Now I love him. I used to hate Solar with every atom in my body, writer and in-character, and then I learned to realize he’s not just some one-off character I should hate. He, along with everyone else, has effort put into him.

I do not give a single damn if you hate a character I love for whatever reason. My goal is to change your mind, not because “actually you should love this character”, but because

How are you supposed to enjoy anything if you keep finding reasons to hate it?

It doesn’t matter if it’s low effort, sloppy, clickbait, overused.

This is one of the biggest issues here, blunt hate on characters and writing.

You want something done about the content farm slop you’re forcing yourself to gobble? Do something about it. That’s what I’m doing. This is how I enjoy things.

If you are stern in your position, comfortable in it, I’m not going to reblog every single post you have and say “erm actually love this character please please I’m so desperate for you to listen to me pleasee!”

I DON’T CARE??? I would LOVE to influence the fandom considering how downright ass it is - [ Misogyny, ableism, hate, anti-constructive criticism, harmful mischaracterization, etc. ] - but I’m not going to grab every person by the throat and shove my ideas down it.

I am spilling my ideas out into the open, in my own blog. It’s your choice to read it or not.

Respectively, you cannot pray I am an adult, when you yourself, are taking time out of your day to hop on Tumblr, walk to their inbox, put on “appear as anonymous”, and write ~4 paragraphs insulting them and putting them down.

Because ranting at someone in this manner IS a sign of immaturity. Please take that into consideration the next time you want to critique something. Approach calmly with evidence. Drop the subtle insults.

Next time, please be more professional if you have a problem. This is not helping anyone. You have not given me any solutions, nor proof that I am making anyone uncomfortable - which is never my goal.

I am not claiming innocence. I am aware I can be tone deaf sometimes, or act awkwardly under pressure, or get too rowdy. I understand very well I have room for improvement. But I need YOUR help to improve, not just passive aggressive paragraphs in my inbox.

Thank you for your input. I am always open to suggestions.

[takemebacktowheniwassane]

i've been seeing a lot of falsettos posts recently deconstructing the fandoms beliefs and firstly

holy fuck thank you, i try to steer clear of fandom (and fandom-izing thereof) drama but this is getting a lot more visible recently so here's some little tidbits for you

whizzer brown is not an unflawed character!

okay so i haven't seen enough dissecting this but!!! in the chess game!

the whole point of marvin using that game to determine the ending of their relationship is because he suspects whizzer is constantly deceiving him and wants to prove it.

whizzer LITERALLY proves him right!

he asks marvin to help him along (yes i know he says he doesn't want help, hear me out, it's a little more complex than that) and takes advantage of the fact that marvin is- like- infatuated with him.

he draws him into a sense of false security then starts throwing accusations at him ("since you need a man!" "what?" "who's 'brainy'," "or witty, move.") until hes able to win, which he does with ease because he's been using marvin having this idea that he isn't smart against him.

of course, marvin's side of this isn't the best either but honestly, for once the fandom should focus on a different character when they think 'insane asshole'. typically we should also probably change our perspectives a little to be more unbiased cuz fr guys, this is getting really.. annoying.

i understand he's the most visibly flawed but that doesn't excuse constantly picking the worst parts of this musical (without other context, btw) to use against him.

and this post certainly isn't here to excuse anyone either i've just got a lot of opinions that i wanted to share while falsettos is.. trending? right?

2. marvin's (headcanoned but still somewhat researched) autism

this one isn't brought up as much but when i do see it around, it's kind of a skewed viewpoint.

while rewatching bits of the proshot i realized a lot of different neurodivergent traits that he shows-

he's helpless during I Never Wanted to Love You and is childish and regressive when he's upset (not every autistic person is like this either, i know this is a bit of a touchy subject so i just wanted to add that).

usually when people depict it i see it either toned down or joked about which is fine when all in good fun, and when its done respectfully.

not here to attack anyone, just here to point it out and say that yes :) he most likely is neurodivergent, but despite that his actions aren't condoned. he's still kinda a dick who needs to get his shit together

3. ..the lesbians also have shit going on?

just putting this out there- I DON'T SEE ENOUGH FOR THE LESBIANS! OR TRINA!

the girls in this musical are like thoroughly neglected and i think that's kind of shitty just assuming the fact that william finn put them in to demonstrate how gender roles put people in degrading positions (and he even makes it more prevalent by showing marvin as something like a misogynistic character who forces whizzer into more feminine roles to show the audience what woman have to/had to go through in society).

anyways, the lesbians aren't just there guys. they have a plotline too. in Something Bad is Happening, you derive a lot from charlotte singing about the outbreak of HIV/AIDS and realize how she operates on a daily basis (she's passionate about her work and takes every bad day as a hit to her life and career, explaining in a way that as a black, jewish, lesbian, FEMALE doctor in this time, everything that goes wrong is immediately brought down on her so much more than it would as any straight white male pharmacist-).

cordelia on the other hand has to handle the fact that her girlfriend is so adamant about her work ethic that she can't actually be super present in their relationship at times like that.

but either way she still sticks by her and is constantly trying to be supportive and endearing despite feeling like she's not amounting to her gf who's basically a hero in her eyes.

i kinda just wanted to bring that up because they mean a lot to me and they don't get enough love from the fanbase, thank you for listening to my TED talk <3

[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.

[actuallyjustabiscuit]

So as someone who is very fond of the Latin American dub of certain Disney movies, I wanted to check out TADC in Spanish…

…and found some interesting dialogue changes.

Now changes in translation is not unheard of when dubbing something that was written in a different language, of course. This is usually done to help make the lip movements look more natural, but also because some jokes or expressions can hit different depending on the language.

And I think that’s really neat

So I wanna share some of these differences that I spotted from episode 3 🙂

“And Zooble returns to normal.”

“I’m already nor[mal]…”

So the original joke Jax makes in English is “And Zooble turns straight.” which Zooble then clarifies that their limbs just straighten out when they hold their breath.

But I think the change to Zooble getting defensive over their appearance (or just taking offense at the implication that they’re abnormal) makes the fact that they hate their body hit a lot harder.

“Bubble has those?”

This is referring to Bubble having feelings, which is certainly a good question.

It’s sounds like an insult, but I’d find it funnier if Zooble’s curiosity was sincere.

“Excuse me, could you repeat that? I don’t speak Lovecraftian.”

C’mon, we were all thinking this angel looked a little too much like an eldritch abomination.

“And Pomni, every time she comes back from one we lose a little more of her”

…this…really puts Pomni’s experience in the Circus into perspective.

It also makes me wonder how much Zooble is projecting here.

“Please, stay dead.”

Not much different from the original but I love that she says “porfis” instead of “por favor” because using the abbreviated version makes her sound cuter.

“Congratulations, my honey mariachi rockers (?)”

…I don’t even know…

My personal favorite dialogue change because Caine is basically saying “And that’s the end!” but instead of referring to a story (which is usually the context for which this phrase is used) he’s referring to his adventures.

I just thinks it’s fun how they essentially made Caine rhyme like a Dr. Suess character.

So…this…

I’m gonna try to explain why this scene hit me so much harder in Spanish. Again, it’s not that different from the original where Kinger says “In this world, the worst thing you can do is make someone think they’re not wanted or loved”

But here, it sounds almost...poetic? Melodic? My point is that he’s rhyming here, and I’m almost certain that it was intentional.

Like…directly translating this into English would not do this subtle change justice. Or vice versa! Directly translating the English version to Spanish would not hold the same aesthetically pleasing delivery.

And that’s another thing!

I want to give a quick shout out to the amazing voice actors that lent their talent for the Spanish dub of TADC.

Especially, Rodo Balderas (Caine), Maureen Herman (Zooble) and Elliot Leguizamo (Kinger), because WOW their performances in this episode was peak.

Elliot make Kinger so goofy. Like really goofy. Then when we get to the point where he talks about Queenie his voice gets so soft. You can feel how much he loves and misses her. Seriously, the range on this man!

Anyway, yeah, watching the show in Spanish definitely gives another enjoyable experience.

[handumb]

shhhh..

~ shigaraki x f!reader

summary: you had been exceptionally dry towards your boyfriend this past week, and he couldn’t get the reason out of you over text, no matter how hard he tried. So he figured he’d pay you a little visit! :)

additional tags: reader has strict parents, eventual smut, forced to be quiet, established relationship, teasing, praise, cunnilingus, fingering, using panties as a gag, slight aftercare, no quirk au

a/n: this is my first time writing publicly on this account, so please feel free to leave tips or suggestions for me <3

word count: ~2.7k

ೄྀ࿐ ˊˎ-

Family dinner was something that was obligatory in your household; it had been since the dawn of time. Unless you weren’t home, you had no excuse to not be sat at your dining room table with your parents. That leaves you where you are now, picking at your plate as you sit in uncomfortable silence with your mom and dad. You knew the reason why they were refraining from breaking the silence, in turn understanding that they were going to avoid the subject all together.

“So, when can I talk to my boyfriend again?” Your tone was slightly annoyed, as you placed your fork down on your plate and looked up across the table. You met your mother’s eyes, which looked to her husband, and back to you. She let out a sigh as she also set down her fork, bringing her napkin to the corner of her mouth.

“You know the answer. He’s bad for you, and we will not allow you two to see each other any longer,” she stated simply. She was right, you knew the answer, but you couldn’t stand being forced to be so distant with him. It killed you to not maintain the same personality with him online, let alone not seeing him for the past week and a half. You looked to your dad, but he avoided your gaze, not being one for confrontation. “What your mother said, sweetheart.”

You scoffed, throwing your hands up and letting them fall to your sides. “That’s not fair, it’s my life,” you said, hating that they thought they could control you like this. “No, it’s our life, and it will be for as long as you live under this roof. If you want to be independent, you can move out!” Your mother raised her voice, displaying her usual short temper. “You don’t get it, you don’t even care enough to meet him,” you retorted, propping your elbows up on the table and swinging your hands around as you spoke, as if it helped prove your point.

“Honey, please, just try to see it from our perspective,” your dad started, turning to face you. “You sneak around with him, he’s been in the custody of the police more than once, he doesn’t do good in school, the list goes on. He doesn’t seem to have a good influence on you. We’re doing this because we love you.” You looked at your dad in disbelief. Of course they used that excuse, it’s their favorite one to abuse.

“You will stop seeing each other, and that’s final.” Your mom stated with no room for arguing otherwise. Feeling your blood rush to your face, you made the executive decision to stand up from the table, and reside in your room, not wanting to say anything that would provoke further punishment from the both of them. “If you loved me, you would let me live my life however I damn well pleased. Fucking god.” The words left your lips as a soft curse as you stormed down the hall and toward your bedroom door. Opening it revealed a surprise that you definitely weren’t expecting.

There laid your boyfriend, Tomura, lazily on your bed, fiddling with some little trinket that was supposed to be on your desk. The sound of your door opening snapped him out of whatever he was doing, and he smiled, really it was more of a smirk, and got up off the bed to greet you.

“Hey sweet thing.” He cooed out. Your eyes were wide and your feet were frozen, not expecting him to literally be in your room.

You shut the door swiftly, and held your hands out in front of you, motioning for him to stop and explain himself. “How? Why??” You could barely get out before realizing your parents could probably still hear you. Before he even started talking, you put a finger to your lips, signaling him to be quiet. You walked past him, finding something to turn on as noise to drown you two out. You landed on just turning on your fan.

The fan ran for a second before you interrogated him on what he was doing here. “What are you doing? How did you get in?” You were right in front of him, whisper-yelling your inquiries at him. He started walking closer to you, closing the gap between your bodies. You stepped back, until you reached your bed. You sat on it and looked up at him, waiting for his answer.

“Well, your window was unlocked, and I wanted to see why you’ve been ignoring me.” He stated with ease, a slight grin and a shrug of his shoulders accompanying his words. You sigh and furrow your eyebrows, upset at yourself. You didn’t want to break the news like this, but you figured you had no other choice. You were mentally beating yourself up for what you were about to say.

“Tomura.. I think we have to.. uhm- stop seeing.. each other.” The words left your mouth with so much hesitation, dripping in sadness. You couldn’t bring yourself to look up at him, holding your gaze in your lap. Your head felt heavy as you tried to compose yourself, knowing he wouldn’t react well to the news.

You didn’t hear anything for a good while after you spoke, deciding to look to see what he was thinking. Except, you don’t see a different expression from what he was sporting earlier. He still had the shit-eating grin that was plastered on his face when you first saw him. “That’s cute, angel.” He rasped out, grasping your chin and forcing you to look up at him. He crawled to you on the bed, forcing you to lie down as he positioned himself on top of you, trapping you. “But I’m not going anywhere.”

He leaned down to kiss you, holding the side of your face with one of his hands. You matched his movements, bringing your hands up to either side of his head. You were lost in the feeling, missing this for the last week or so. You wanted it to be slow, in case this was actually the last time you saw him. He slowly prodded your lips with his tongue, asking for permission to be let in. You granted it happily, parting your lips as you felt your breathing slowly become heavier.

He leaned down, pressing himself more into you as an effect, and finally broke the kiss. The catching of breath was all that was heard between the two of you. He just smiled with half lidded eyes before dipping down to your jawline, eventually kissing his way down to your neck. Your hands found their way into his hair, pulling at his locks and tangling themselves in it. That’s when you realized that your parents were, in fact, still home. Most likely just down the hall from the both of you.

You panicked, trying to push Tomura’s face away from the warmth of your neck so that you wouldn’t get caught. “Wait, no, my parents are still home, I can’t-” You were cut off, your breath hitching, Tomura not budging as he continued his attack on your neck. “T-Tomura, I can’t, not now-“

“Yes, now,” he breathed out, finding a spot on your collarbone to sink his teeth into. He sucked on the spot afterwards, allowing as close to instant relief as he could, before dragging his tongue along it painfully slow. This elicited soft whimpers from your throat, foiling your plan of trying not to let too much noise slip. Sure, the fan helped with blocking it out, but it could only do so much before your parents got suspicious.

You eventually gave in, not being able to resist him with any bone in your body. He kissed down your collarbone, and made his way to your chest. He slid his hands up the shirt that was covering one of his favorite features about you, slowly raising it above your head and discarding it off to the side. He had a twinkle of something in his eyes, and licked his lips, before kissing and sucking all over your chest. His lips lingered on your nipple, sucking at it harshly, before bringing one of his free hands up to the other, making sure it didn’t feel neglected.

“So beautiful, all for me.” He said, making it increasingly harder to stay quiet, and you were very sure he knew that. You looked down at him, the sight one to remember, while soft moans were slipping past your lips. You bit your tongue in hopes of it helping cease the noises. He met your gaze, grinning.

Once he was done marking and biting your chest, he made his way down to your most intimate area. He started fiddling with the waistband of your underwear, looking up at you while he did so. You looked down at him with pleading eyes, practically begging him not to do what he was about to. “No! Are you crazy? Do you want me to get caught?” You whisper to him, squirming. He only laughed softly in response before slowly pulling them down your legs; past your mid thighs, then your knees, then all the way down to your ankles, before wadding them up and shoving them into your mouth.

“I guess you’ll just have to be quiet then, princess,” he teased, honing in on his target, “I bet you can manage.” His tongue stuck out, licking up your slit, then going to focus on your clit. You moaned into your panties, the sensation euphoric. God, you missed this. You couldn’t fathom how you went without him for as long as you had.

He wrapped his lips around your sensitive nub, lapping the rest of your pussy generously with his tongue. You tried to stay quiet, you really did, but you couldn’t help how euphoric it felt. You continued moaning, fighting back as much as you could manage. You were squirming in his grip, either trying to break free from his hands or trying to grind against his face; you weren’t sure which you were attempting. All that washed over you was an intense amount of pleasure, urging you to reach a hand up to one of your tits, fondling it and tugging at your nipple.

Your breath became labored, the rise and fall of your chest attracting Tomura’s eyes as he looked up at the beautiful sight: you with your legs spread wide just for him, moaning out what he assumed was a mix of curses and his name as he made you feel heavenly. He took it one step further.

“Look at me,” he pulled away, waiting for you to meet his gaze, “look at me as I fuck you with my fingers.” He said, slowly inserting his fingers into your core, feeling your gummy insides squeeze around his digits. You lulled your head back against your pillow, the combination forcing you closer to your climax.

That was until the sound of knocking at your door interrupted the two of you, the room falling almost completely silent as one of your parents made their presence known. “Honey?” Your dad called out, talking through the door. You sat up as much as you could, not knowing what to do. Your eyes darted between Tomura and your door, frozen.

“I.. I wanted to apologize for earlier.” He was lingering outside of your door. Tomura had a devilish grin on his face, slowly starting his movements up again. You looked down at him, seeing him slowly bring a finger up to his lips with a small “shh” emitting from them, dipping back down into your cunt, and thrusting his fingers in and out of you. You squealed softly into your underwear, trying especially hard not to make any noise now that your dad was outside of your door.

“You know how mom can be sometimes, she just needs some downtime,” he continued, wildly unaware of what was going on just on the other side of the wood barrier between the two of you. You felt yourself slowly climb back up the steep hill of pleasure, your boyfriend's movements only getting more intense as he makes it his mission to get you to cum. You looked down at him, pleading eyes begging him to slow down, or at least make it easier for her to keep quiet. But, to no avail as he kept up his pace with his fingers, matching it with his tongue as he focused on your sweet spots.

“We can go out tomorrow, just the two of us? I bet it’ll make you feel better, sweetheart,” he said. You squirmed, softly moaning, waiting for your dad to leave. You could feel yourself nearing the edge, wiggling your hips as you tried to force yourself into your orgasm. To your dad, you were just giving him the silent treatment, so he took that as his cue to retire back to his room. “Okay, goodnight honey,” your dad said, before leaving again.

Tomura rasped out a small laugh, before urging you on. “Come on, angel, you can do it. You’re doing so good.” He whispered in between your thighs, hitting the spots that make you see stars over and over, finally pushing you over the edge. You looked down at him one more time, before coming undone. You felt him hum in satisfaction as he tasted your orgasm, forcing you to ride it out until you were begging for him to take it easy on you. Your hand found refuge in his scalp, tangling themselves in the nest of light blue locks.

With one last lap of his tongue around your cunt, he pulled away, a smile plastered on his face as he licked his fingers clean. Your face was slightly flushed as you smiled back at him, your chest rhythmically rising and falling. He crawled on top of you, wrapping his arms around your body. You started massaging his scalp with one of your hands, and rubbed his back with the other. You heard him mumble out, “Are you actually going to follow through? With the thing you brought up earlier?” You heard his tone; he sounded defeated.

You cup his face in your hands, turning it to face your own. “Of course not. My parents have been on me about it, and I didn’t know what else to do.” You looked away for a moment, then back at him. “But, that’s not to say that I won’t still ignore you, seeing this is what happens when I do,” you teased, a smirk on your face. Tomura scoffed, shaking his head and laying it back down on your chest.

After a long, silent moment, Tomura propped himself up. “I think I should go. Your parents will kill both of us if they found out I was here,” he said, moving towards the window to open it up again. “Aww, please, stay just a little longer.. Please?” You pleaded, sitting up and following him out of bed covering yourself with a nearby blanket. He turned to face you, hands moving from the window to your face. “Don’t worry, I’ll be back. You can count on that,” he said, half of his face illuminated by the dim light of the moon. He leaned down, your lips interlocking with his one last time, before he turned to escape through the window.

“Wait!” You called out to him, leaning out the window. He turned to meet you, pulling his hood up. “Uhm- text me when you get home. Maybe I can sneak off to see you next time,” you said, a small dust of pink on your cheeks as you spoke. You heard him let out a small laugh as he nodded up to you, running off into the night, leaving you up in your room for the rest of the time being.

[raziiyah]

Since you made that post about the Monster World and their Beauty standards

How attractive do you think Randall is by the monster world standards?

Obviously in Monster's University he's MEANT to be seen as this wimpy, scrawny geek and a loser 🤓

But what about during the Monster's Inc era?

Out of the 3 Main Monsters (Mike, Sulley, and Randall) we see that Mike is the only one who isn't "Bitchless" or "Maidenless" (as the Twitter crowd would say 🙄)

Which I find hilariously ironic considering Mike is the only of those 3 who wasn't a scarer nor does he really fit into any of the Beauty standards 🤔

(Now from a real life perspective I can understand why Randall and Sulley are single due to Randall's status as the villain and giving Sulley a love interest would've distracted too much attention away from his relationship with Boo)

But it is kinda funny from an In-Universe perspective because you'd think Randall and ESPECIALLY Sulley would both have an army of Women (and Men 🌈) trying to vouch for their attention due to their status as the 2 biggest Top Scarers

Tho with Randall I suppose you could argue that his personality was probably a turn off for anyone who actually might've tried to date him or get to know him (I love the dude but honestly he seems like he'd be kinda difficult to deal with in a relationship).

Not sure what the excuse for Sulley is tho lol

hi i will gladly talk about randall’s hotness 😋

okay for real though i think randall would actually be considered handsome (i swear im not biased) randall definitely possesses scary traits, from sharp teeth, big independently moving eyes, multiple limbs, etc., and has a general scary appearance, so i think it’s fair to say he’s considered quite attractive. also the fact he was in ror; the top frat in MU, presumably the most elite university in monstropolis, and is a scarer, the best career you could ever have (and with him and sulley being the two candidates to get the all time scare record, one of the best in the whole monster world??) probably helps too

another thing i want to mention that i’ve thought about is there are many round cyclops monsters like mike and big horned furry monsters like sulley, but there isn’t really any monster in the monster world (or in other media) that quite looks like randall.

joy has reptilian features but she looks very different from randall (though i’d like to point out that she was the number 1 scarer at fear co., which could be more evidence that randall is very scary and therefore more attractive) mr. crummyham bears some resemblance to randall, but he has smoother skin, a skinnier body, and a very different face

other than the fact that the vas in mi bear resemblance to their characters to me, randall has such a fine distinct design, so something i thought about is randall’s attractiveness could be compared to his va steve buscemi in our world. there are many people who consider buscemi as handsome, and i've also seen some people describe his look to be “unique”. with randall having a design so distinct from the other monsters and possessing scary/attractive traits, i feel like randall’s attractiveness in the monster world could also be described the same way

i definitely agree with the idea that they didn’t include any romantic stuff for sulley and randall because it would be unnecessary and distracting, but that aside,,

i’m sure there are many monsters who were attracted to sulley. sulley's been the number 1 scarer at monsters inc for a very long time, is the son of a famous scarer, and is shown to be very popular both in and at work. for one, these two in mu seemed attracted to him

in mi, on his way to work, basically everyone knows him and greets him, both on the street and at work. so in that way, there are actually a lot of monsters that vie for sulley's attention (including the fcking CDA 😭)

maybe some monsters are nervous around sulley and think he's out of their league. even though he is friendly, he does have a very high status so he may be intimidating to talk to; like look at how nervous needleman is here when talking to him hehe

on randall’s end, though he’s probably not nearly as social, he probably gets a fair share of recognition (though is probably very overshadowed by sulley) but there are likely some monsters that don’t like his personality and because of that aren't interested, or are scared/intimidated to actually talk to him. but they can admire him from an appearance and achievement perspective, though perhaps from a distance

but as you said, i definitely think that personality plays a big role into which monsters are considered attractive

first, mike is full of personality, being charming, funny and witty. he's shown to be a smooth talker, whether flirting with celia or distracting waternoose and randall with convincing lies. mike may not fit into the "scary" beauty standard, but i think some monsters don't really care. and i know that celia genuinely thinks mike is handsome :] mike was also very likely the smartest scaring student on mu’s campus. but judging by mike's locker in the credits for mu, celia may have started crushing on mike around the time when he was just a cafeteria worker and i like to think she fell for mike early on for both his looks and personality 🩷

sulley on the other hand is shown to be a bit clumsy and not as smooth with his words, so he probably has no rizz 😔✊️/jk (it's v cute though)

randall's personality is pretty self explanatory LOL, though interestingly, even though randall is a prick, his coworkers were genuinely happy for him when he became the scare leader and when they thought he broke the scare record. so i feel like he’s only directly mean to sulley, mike and fungus, while he just tolerates everyone else (unless they cross his path) like his coworkers are probably aware of his bitter attitude but may undermine it since he's not directly mean to them and randall probably has respect for being #2 in the whole comany, because i don't think all those monsters would be happy for him if he treated all of them how he treats the three i mentioned. and i mean he showed a liking towards johnny so we know he's capable of not feeling utter hate for everyone. though he may not always be directly mean to his other coworkers, i’m sure his attitude is still noticed and deemed undesirable for lots of monsters. i feel like randall would be viewed as skilled and attractive but a dick lol

but in the end i think a big reason why i think sulley and randall aren't in a relationship is because they’re so career focused.

sulley probably wasn't interested or focused on getting into a relationship since he was focused on his career and reaching the scare record. before he met boo, he didn't have much else going on for him outside of scaring. he does work out as a hobby but even that was scaring related; mike even calls him out for this

it was likely the same with randall, and between the scare record and the scream extractor, he probably has no time or desire to get into a relationship. and his commitment to his job and one-upping sulley could impair his attention in a relationship (you better believe this is something i incorporated into lia and randall's relationship but lets not get into that right now haha ☉‿☉) there may have been monsters who were brave enough to confess to him but he's likely rejected him because his priority is the grind 😤💯💰

in maw sulley may have lost some of his reputation by bringing laugh energy to mi, plus jill broadcasting to all of monstropolis that sulley cheated in the scare games, got expelled, and was associated with the convicted criminal who is waternoose, probably didn't help his popularity. though after the end of maw season 2 i know more monsters will warm up to him, not to mention there are probably many who admire him already

(where did they get this image 😭)

if anyone johnny is probably the pinnicle of monster attractiveness, from appearance, skills, demenour and status. i was cracking up over how much game this man had, like everyone wanted him 😭 he got with claire, then it was shown that jill, tylor's mom, and his grandma were shown to be down bad for him (not the generational thirsting) not to mention chet and randall wanting to get his attention, like fck this mf has game, he was probably on a magazine with "sexiest monster alive" on the cover LMAO

he was whole package, well until, you know

[bellaxgiornata]

Hey, I love your fics! I just wanted another perspective on this:

Do you think Foggy and Matt are codependent in any sort of way? (Especially Foggy?)

Hey, friend! I'm glad you've been enjoying my fics! ❤️And I'm so sorry it has taken me so damn long to answer this ask, I've had it on my mind for weeks now, but I've been nonstop sick for months, so trying to sit down and write up an answer with a coherent response has been difficult. I didn't want to just give a brief little response to this question (and we all know I'm always long-winded) because I mean...that's a big topic. I'll give a longer answer beneath the cut on this, but I will say, since we have DDBA out, I will be giving my thoughts with DDBA spoilers below the cut. So do not read below the cut if you don't want spoilers!

My shortened answer to this (solely based on the Netflix and Disney show versions, I haven't read enough of the comics to comment), is that I think yes, they do have a codependent relationship. Foggy with how he pushes away his own needs and comes running to help Matt whenever he needs it, and well...Matt with everything when it comes to Foggy. But I believe it's Matt who is mainly reliant on Fog instead of the other way around. I'll explain more beneath the cut (with DDBA spoilers! this is my last warning 😆).

So in regards to Foggy in particular, I can definitely see it. I mean, they somehow intern at the same place after law school. And maybe it was just luck they got accepted together because of their grades, but I'm guessing they both applied there intentionally wanting to keep being around each other. Then they open a law firm together, and they're always spending all their time together. Besides Karen, we don't often see them spending a lot of time with anyone else as friends--and Karen is BOTH of their friends. Though, Foggy at least eventually has Marci, and Matt, well, I guess he gets Elektra and Frank? If you squint really hard?

Now, when it comes to the law firm, they have differing views. Foggy clearly is the one who wants to take on cases that are going to make them money, but Matt is the one focused on helping people in general--which leads to them not really making money to pay their bills. And Foggy has expressed his thoughts on that in the past, but yet he still follows along with Matt's vision of the firm. Foggy could've easily gone his separate way at least career-wise to better himself, but instead he keeps himself tied with Matt. Even after he learns Matt's big secret and they briefly end the friendship and the firm, they still eventually reopen Nelson & Murdock back up together because Foggy clearly can't just walk away from Matt.

We also see Foggy rushing to help Matt whenever he needs it after he discovers Matt is Daredevil--finding him on the roof in season 2 and making sure he got back to his apartment without being seen, making sure Matt gets medical attention from Claire, bringing him the suit when he goes into Midland Circle, covering for Matt on cases when he's clearly distracted and being a bad business partner. All things that're putting Foggy out or putting him in a bad position, yet he does whatever he needs to anyway for Matt.

There's countless times that Foggy puts his own needs on the backburner to help Matt in the show. So yes, I definitely think you could argue there's a level of codependency there, and I think Foggy excuses it in himself because of Matt's dependency on him. Because of Matt's tragic childhood and fear of abandonment, Foggy seems to feel the need to go above and beyond to not be another person to abandon him. But I think the way they respond to losing each other says the most, and to me really points at Matt being the codependent one in the relationship. I've often seen Foggy as more of just the best friend who's maybe a little codependent, but mostly just a little too empathetic because of their friendship. Matt is the one who absolutely needs Foggy to live and breathe.

When season 3 starts and Matt is believed to be dead, Foggy accepts it. He's grieving, yes, but he moves on and lives his life. We don't see him spiraling or questioning anything like Karen. We don't see his life somehow upended. Instead, Foggy gets a good job at a good law firm and seems to get closer in his relationship with Marci. Whereas in contrast, when Matt loses Foggy in Born Again, he's a mess. On the outside, yes, it seems the same. Matt has a nicer law firm, nicer apartment, steady girlfriend. But he's literally given up half of himself, he carries Foggy's funeral card in his suit coat pocket every day, and he cannot even say Foggy's name. He is a mess inside that he is just barely carefully holding together because he lost the one person he needs. I think it could be argued that he becomes so fixated on being the Matt Foggy wanted him to be to try to cope with the grief and guilt, but also I think he does it as a way to handle the loss of that person Matt relied on to feel whole. It's like his way to still somehow feel connected to Foggy because he still needs him.

I think it becomes very obvious how much Matt needs Foggy in Born Again more than Foggy ever seemed to really need Matt in the same way. Whenever Foggy isn't in Matt's life--even just when they lose the friendship over his secret in the beginning of Daredevil--Matt falls apart entirely while Foggy keeps thriving and living his life. That doesn't mean Foggy isn't grieving and struggling, but honestly, I feel like Foggy doesn't respond in the way I feel like someone would when they lose their "crutch." Matt is the one who uses Foggy as his emotional crutch, I don't get the feeling that it's the other way around.

Those are my thoughts written as briefly as I could get them, hopefully this answered your question a bit and made sense! I'm still getting over yet another illness and I could have probably sat down and written an entire essay more in depth on this, but I was trying to be more straight to the point about how I view their relationship. This already got pretty long, but honestly, there's a lot to analyze when it comes to Matt and Foggy. And I know there's little details I'm missing because I haven't had a full rewatch in a bit, but I was trying to cover what I felt was the most important! But there's clearly an imbalance in the relationship, and I think we all know who is really relying on who in that friendship.

[sunshine-jesse]

Ashley Literally Did Nothing Wrong, Fuck You, Fight Me

Alt title: Ashley Graves: The most convenient scapegoat in the world

I'm going to espouse a take here that will no doubt be controversial, as you can tell by the title. This is a take I've created from my hollistic understanding of the events of the game, and isn't dependent on any one single point I make in this essay. Because of that, I want you to read it with an open mind; if you hyperfocus on one or two smaller details I might've gotten wrong or are fallaciously interpretated, and either use that to discount the whole essay or go into the comment section and immediately try to debunk my interpretation of that event, that'll make it obvious to me that you're not trying to seriously engage with the core of what I'm trying to say. Because unless quite literally everything I've said here is wrong, I feel confident in saying this:

Ashley Graves did nothing wrong.

Moreover, I think Ashley is on the level of people like Rossiu, Shinji Ikari, and Skylar White as far as people who are mistreated by their fandoms goes.

At first this was going to be an essay about how I don't think the demons are evil, using textual and thematic evidence to show that they're just part of a system that deals mostly fairly with humans and doesn't have any nefarious plans, or at least nefarious plans that stand to fuck anyone over. But then I realized that, goodness gracious, that is boring as shit to write! But I looked at what I had written already and realized that I could write something else with it: something better. I could sum up a lot of the points made in my prior essays and elaborate upon them in much more detail, showing why I think certain themes are obviously present within this game. And here, I intend on doing that.

I've spoken a lot before about how Ashley is a scapegoat for all of Andrew's worst habits; and to a lesser extent, her mother's. The game makes it seemingly obvious that she's the bad one, and generally just a Very Not Good person. It shows her and her brother committing many different acts that are, under most moral systems, wrong, and implicitly implies that she's the reason that Andrew ever did those things. It implies that she's corrupting him, that he could be better and refuses- or is unable to- due to her poking and prodding. But… is that the truth? Is that how their relationship actually works, in practice? I don't believe so. I think I've made it obvious by now that I believe the exact opposite!

I'm going to start off by tackling the morality behind their actions, especially relative to the world they're in. Specifically, I'm going to tackle how the game presents the morality of their actions from a thematic point of view, and any statements it may or may not make.

First of all, TCOAL plays with a lot of different taboos- demon summoning, cannibalism, incest, murder- but the game goes through great lengths to muddy the moral weight of the siblings' actions. Every single action they commit is portrayed in the most neutral possible light- killings were done in self defense (with one notable exception), or done to people who greatly wronged them, cannibalism was a necessity to survive (also with one notable exception), incest is shown to come from a marked improvement in their relationship- leading me to believe that this game is taking a hard morally nihilistic stance. Else, they'd be shown to suffer for their actions, when in reality, the literal exact opposite is happening; they are being rewarded for it. This isn't necessarily glorifying the actions, but instead showing that even the worst of actions can potentially be excused, but whether or not you do is up to the reader. Hence, nihilism, or at the very least, skepticism (as noted by Lisafication). There's an existentialist reading of this too, but I think much of that is contingent on the events of chapter 3 so I won't get into that here.

It contrasts this mostly nihilistic perspective on interpersonal taboos with the deep societal ills that drive people to commit such actions. Evil exists at every level of analysis here, but curiously, the only thing that are shown to do direct harm to others without having a justification of some kind- be it self-defense or retaliation- are those societal ills. There is no (morally) good reason to quarantine people, starve them, and harvest their organs. There's no good reason to burn all evidence and then put a hit on the ones who did escape. There's no good reason to extort sexual favors from someone in exchange for food. These are deep structural problems that force people to either retaliate/lash out or enable people's most exploitative or abusive habits lest they just let themselves die.

And thus, the obvious evils become much less obvious. The game makes a point of subverting the obvious or the well-known when it comes to morals, and I think it does so when it comes to everything else, too. Outside of those societal ills (so far, ch3 might have something else to say), every situation where someone could obviously be shown as the bad person in a situation is immensely more complex than it first appears. So much so that I'd argue that displaying said complexity and subverting simplicity to force/encourage people to analyze things deeper is one of the central themes of the game.

So why, exactly, does he blame so much on her? It's because Ashley is the world's most convenient scapegoat, and the game is well-aware of this and displays it in ways both obvious and not.

First off: the title screen has Ashley wielding the cleaver, establishing that she’s the violent one. It's covered in blood, too, implying that she's the one more driven to kill. The reality of this is the opposite; Andrew is the one with less hesitation to inflict violence on others, the cleaver is his weapon, and most of the kills in the story are done by him (and fully justified). Ashley might push him to do these violent acts, but… does she?

Her reaction to the death of the first warden is one of utter shock.

And her expression afterwards?

This is not the look of someone who enjoyed the fact that someone killed for her sake. This is not the look of someone who finds joy to be had in violence. It's not even the look of someone who is apathetic towards violence. It almost seems to express shame or guilt, but at the very least, she's timid over it. At the very least, it's an "oh shit, he actually had to do that for my sake" face. Not a "haha, I am making him worse!" face.

Not to mention, not only does Andrew kill the first Warden without a care in the world, he proactively kills the 302 lady to eliminate all witnesses, and because he believes Ashley would want him to. But Ashley actually grills him for it; she didn't want the 302 lady to die, although she hardly had good-person-reasons for it. But that's not my point. The point is that she is not the violent one between the two of them.

The door doesn't open in response to violence, remember?

The game intentionally misleads us.

And what happens when Ashley tries to make him take responsibility for all this violence? To point out that she didn't force him to do anything and that he chose to do all of it, including lock Nina in the box? She lashes out, hits him a few times… and then he goes to strangle her, and doesn't let go until she acknowledges that he has no reason for her to be around. He literally doesn't cease his threat to her life until she acknowledges she's useless to him.

I acknowledge that this isn't the most charitable framing for Andrew, and maybe too charitable for Ashley. After all, she wasn't indignant. She was mocking him. She found it hilarious. But I have reasons for that charitability that I'll go over towards the end. But even with that charitability in mind, I don't think my reading is too off base. Defaulting to laughter or mocking in stressful situations is just what Ashley does. She's not indignant about it; she just finds it hilarious that people keep pretending to be better than her, when they're not.

Andrew killed the 302 lady and used Ashley as a scapegoat to justify it; this is indisputable, stated in the text during the dream. This alone validates Ashley's point of view. There is no interpretation of this event that doesn't paint Andrew as every bit as unscrupulous as Ashley, and thinking she corrupted him into this- when it was both one of the first actions he did on his own in the story and something he explicitly uses Ashley as a scapegoat for- is just ridiculous. It's frankly unreasonable. She has every right to be sick of being used as a scapegoat. And at the very least, whether or not you accept the idea that Andrew only let Ashley go once she acknowledged that she's useless to him, he's still so taken aback by his misinterpretation of Ashley's desires that HE goes to strangle HER.

This is NOT Andrew triumphantly standing up to his abuser. This is both of their masks slipping; Andrew revealing how violent and insistent on keeping up his internal narrative that he is, and Ashley revealing that she's getting tired of being blamed for everything.

And then, when he finally lets her go… she hugs him, and acknowledges that she's happy that Nina is gone, which makes little sense at the face of it. Why would that be her first response to being let go, when it was ostensibly what made Andrew so upset to begin with?

I think, to her, it's a conciliatory gesture. As chapter 2 showed us, she's more than willing to take responsibility for violence to relieve Andrew of stress over it, as evidenced by her finishing off their parents. This is an earlier instance of that; by acknowledging she was happy that Nina was dead, she took responsibility for it. She willingly framed herself as a bad person here, so Andrew wouldn't have to be.

She let herself be the scapegoat, because it's all she ever knew. She put the mask back on.

This alone is enough to challenge the idea that Ashley 'corrupts' Andrew in any meaningful way. How, exactly, can you define it as corrupt when society itself is twisted enough to force these actions to survive? In a more sane world, a lot of their actions would've been bad, sure, but they're also actions that the siblings probably wouldn't have done in a more sane world. Ashley's actions aren't making Andrew worse, they're helping to ensure their survival. You could say that this is still corruptive in its own way, but at that point it seems like your reasoning is motivated by having already had that narrative rather than making a good-faith reading of their dynamic.

At no point did she actually make him worse; he was already like that and just used her as an excuse.

Next up is the Nina situation. This one is obviously cut and dry- Ashley manipulates Andrew into killing Nina because she wants no competition between the two of them. It's not Andrew's fault and Ashley was an evil abuser from the jump. Obvious, right?

No. It's really not.

It's pretty strongly implied that Ashley was mistreated by people her whole life. The Lemon Cupcake scene shows this in more detail, about how people always neglect or ignore her birthdays, but she also says that nobody likes her because she's weird and loud in the Nina flashback too. But unless something big happened in between the two flashbacks, none of this behavior indicates particularly maladaptive or even strange tendencies on Ashley's part. She's a needy, bratty child, and the closest thing to a friend she has- Nina- wants to take away the one thing from her that's a source of comfort and emotional validation.

It's not entirely rational, sure! But it also -makes perfect sense-. NOBODY treated her well throughout her entire life; it's strongly implied that Nina never did either, given Nina's reaction to Ashley being there and the lower left-hand painting past the Questionable door showing her being distant from the two of them. We can also see a star bouncing off of her head, and stars represent closeness in this game, so it shows there was an attempt made somewhere along the line, it's just not clear as to who made the attempt.

At the very least, Nina's reaction of disappointment fed into Ashley's preconceived notions of how people treat her, and how she deserves to be treated. Although, from what has been directly stated, rather than implied, Nina was nothing more than an innocent victim in this scenario; I don't mean to take that away from her.

"But she didn't care when Nina died?"

So? If Nina treated her like trash for most of her life, why should she care? She didn't expect Nina to die. It was just an acceptable consequence. You can say "That's not how normal kids act!" all you want, but there's a level of spite and apathy that comes with intense bullying and emotional neglect that I don't think you really understand unless you've been there to the extent someone like Ashley has implied to be.

Andrew, meanwhile, was the one who told Ashley that they had to lock Nina in the box to keep them in there. He's the one who looked for and found the stick to keep them locked in. You could say he was coerced by an abusive person into hurting someone, sure, but you'd be wrong. Cataclysmically wrong, even. Like, if you actually think that a seven year old girl (nobody wears overalls past the age of seven) can have anything approximating an abusive dynamic with her as the perpetrator with someone both older and stronger than her, you frankly have some issues with women you need to work out. That's simply not how abuse dynamics work at that age.

Andrew wasn't entirely responsible for it either, mind- he was just a kid who should never have been saddled with this kind of responsibility. But that's not my point; the point is that it enables other people, Andrew included, to use her as a scapegoat to avoid his own responsibility. All this scene does is retroactively justify any preconceptions you might've had about them from seeing their adult selves first. But the moment you start digging, it becomes much less obvious who's really culpable here. Andrew was, as evidenced by the blood oath scene, fully aware that he held the advantage over her in strength, and managed to give up nothing when making the oath while he made Ashley swear to silence. He was fully aware that he could've chosen to do better, but he refused, and instead opted to reinforce Ashley's insecurities for the sake of exerting control over her.

I've said before that the 302 lady was murdered without any input from Ashley, but this is also relevant on a meta-level because it's done without any input from the player, either. Both of the murders in chapter 1 were like that, whereas all that we, the player can choose to do in that chapter is either solve puzzles, or hilariously, die. The only person with control here is Andrew, the character, and this is reinforced by the fact that we have no control over him for much of the Nina flashback, too. He locks her in the box regardless of our input, even though Ashley spends a lot of time trying to convince him. The main difference between the Nina flashback and the scenes in the apartment is that Ashley had absolutely no idea that any of that was going to happen in the present, whereas it's something she wanted with Nina- which isn't that big of a difference when discussing how much agency she really has.

As much as the game frames Ashley as a manipulator- and much of the fanbase uncritically accepts- she is given shockingly little in-game control over many of the actions committed. Even in the case of the Hitman- as a good friend of mine pointed out- the only choice the player is given is whether or not to check the closet and be killed; an impulsive decision leading to a swift and unceremonious end. In the end, Andrew is the one given the choice to kill the hitman, and we can consciously choose whether or not his reaction is panicked or measured. No such choice is given to Ashley, as most of her reactions are impulsive and spontaneous rather than planned. This is not the makings of a standard "manipulative evil bitch" trope. She's pretty consistently portrayed as someone with poor impulse and emotional control who loudly and aggressively states her intent in every single scenario she's in.

And you can still call what she says and does manipulative despite that, sure, but at what point are you just pathologizing relatively normal (if extreme and highly emotional) social interactions for the sake of fitting into a narrative you already held?

We see Ashley's status as a scapegoat for people to use to pretend to be normal reach its most blatant with the parents. This time it's pretty cut and dry to anyone that doesn't already have it in their mind that Ashley is evil and unforgivable. Mrs. Graves explicitly brings up the possibility of a normal life without Ashley to Andrew in the basement, and claims that Ashley was at fault for shutting her out. She would've been a normal parent otherwise, right? Well, no; the game wastes no time in showing that this wasn't the case in the Burial ending.

From when Ashley was a baby, Mrs. Graves was already tired of her shit, and too emotionally exhausted to be a parent. Despite her attempts at blaming Ashley, she would've never been a normal parent unless Ashley was a golden child in the same way that Andrew was. And yet Ashley didn't even deny shutting her mom out. She didn't deny the chance to be used as a scapegoat; it was all she ever knew. The fact that Mrs. Graves had the audacity to claim that she was a saint when she was never prepared to be a parent for a child who didn't make it easy, and when she was willing to sell out her children and let them die for a life insurance payment is absolutely astounding.

This alone should've been enough to recontextualize everything we supposedly know about how responsible Ashley really is in all of this, but bad parents have a knack for being great at manipulating both family members and everyone viewing from the outside, including the people playing the game.

And almost including Andrew.

Andrew almost accepting the mom's offer is the single most tragic moment in the game, by far.

Dandy said it best in his video essay: By Ashley leaving Andrew alone with their parents, she showed that she is capable of changing. That she is capable of getting better. She showed that she loves and respects Andrew enough to be able to put aside her usual role as the scapegoat and allow him to make the decision that was for the best for both of them. And make no mistake, it was for the best; if the mom really DID sell out the siblings, and given the two of them were already on the run for supposedly being dead, there was no hope of any of this ever working out. They saw through the conspiracy and knew the truth of how the quarantine operations really worked. They were an active threat to one of the most powerful entities seen in the setting so far, to the point where they had a hitman sent after them.

Mrs. Graves had every reason to sell them out again, for their presence in a public setting was more than enough to put everyone in their family in danger. Mrs. Graves had every reason to believe that the normalcy she wanted was nothing that could ever be grasped again so long as her children were alive, and as such, it was clear that she had nothing to offer either Andrew or Ashley. Ashley trusted Andrew to see through their obvious manipulations and lies, and understand that the parents had nothing left to give them. She trusted him to love her more than the false promises their parents could give.

…And yet. In spite of it all.

In spite of her love, in spite of clearly displaying that she can grow up and become a person that causes him less stress, and in spite of Ashley showing that all she wants now is their safety and security…

Andrew can still choose to consider Ashley the problem. He can still choose to use her as the scapegoat he always has.

He can still choose to see her as the one thing that caused him to be this way, that stands in between him and normalcy, when she, not once, forced him to do anything.

Were he to accept Mrs. Graves' offer, this would've been the single most tragic moment in the game. It almost was, and still stands to be, because he ignores every indication that things could be better for the sake of his own narrative, and a narrative echoed by much of the fandom.

But no matter what ending was picked, things could be better. They could've been better all along. Compared to chapter 1, their dynamic in chapter 2 is already much healthier. Their banter is less venomous, and while they still poke and prod each other in ways that aren't exactly great, they don't get into the same violent fights we saw in the 302 room. By all accounts, what happened in that room was an outlier. Even when they find themselves in their parents' house, where they stand to do the One Thing That Means They Would Never Be Normal Again, Ever (ignoring the fact that this is already a lost cause by then), Ashley doesn't get into any fights with Andrew in the same way she did back in the apartment. All she wants is affirmation and security. She doesn't even lay into her mom like she lays into Julia over the phone, even in their private conversations.

We’re led to believe that she’s still getting worse because the actions she’s taking are more extreme, but her attitudes and behaviors are much, much different. The actual actions they're taking are so obviously the right thing to do (both morally and practically) that I don't think it's until they eat their parents that you should make a double take and go "Wow, maybe these goblins actually are kinda fucked up," because until then, well… everything is justified! Perfectly so! Even then, eating their parents serves a purpose, even if not a mentally healthy one.

Maybe she’s calmer because she’s in control over the situation, but if the calls she made to Julia are any indication (independent of the theory that she didn’t actually say those things), were she unchanged as a person, she still would’ve lashed out at their mother over how much more useful she is to Andrew than their parents were, or something of that nature. Something about how nothing their mom offers could compete with what Ashley gives. But she makes no such claims. She feels no need to prove anything to her parents, or to reaffirm her place in Andrew’s life even in the face of her mother challenging it (or at least implying such a challenge). Regardless of her insecurities, she’s changed. It’s hard to see, but she has.

And then Andrew can ignore that and consider betraying her because he refuses to believe that she's willing to make their dynamic work, when she shows many different indications of being willing to concede as long as Andrew stops giving her mixed signals.

A friend of mine put it best, and I'm pretty much quoting her word for word here, because of how strongly I agree with it. When I look at Ashley, I find very few actual "flaws." I see familiar wounds.

The Burial ending, despite being triumphant and not nearly as "dark" as some people think, is still very, very sad. A lot of abusive dynamics are characterized by someone having to fight every step of the way to get what they need from the other person, usually some kind of emotional validation or relief. This is what happens between Andrew and Ashley for most of the game: Ashley wants Andrew to treat their relationship as special, to acknowledge there's something to it beyond just him going through the motions. And yet for most of the game, he refuses to, especially in chapter 1. And then, in Burial, when he does…

She's confused.

A lot of people view this as her being afraid of losing control over Andrew, since her "Andy," who she can push around, is gone. Andrew has changed, and the same tricks wouldn't work. But that's not what that is; it's not about control, it's about her finally getting what she wants from him without having to fight. She still thinks about using sex as leverage to keep him around, but that's because she's never understood what it's like to have someone actually want to be around her. And I speak from experience; when you no longer have to fight for every little bit of emotional validation or relief, when you no longer have to keep checking your messages to keep an argument going so you can finally be proven right, when you no longer have to force yourself to let go, to stop engaging, the reaction isn't happiness. It's not relief.

It's confusion. It's discontent.

Because something you've tied so much of yourself up in to is no longer there, despite it being more peaceful, it still feels wrong. The dynamic still has to be this way in your mind, because you've never known anything else. You latch on to whatever you can in order to justify that, and your actions are still heavily biased in favor of maintaining your place in that nonexistent dynamic. This isn't manipulation; it's trauma. And the fact that Ashley almost immediately understands that Andrew is changing is nothing short of a miracle. By consolidating past and present Andrew into a single person rather than splitting them into two, she showing that she can actually heal from that trauma. And all Andrew had to do to enable this is to acknowledge that she CAN change, that things CAN be better, and that everyone who claims to be better than her is full of shit.

I've analyzed the events of the story in a way that may seem needlessly antagonistic to some characters, and overly charitable to others. But I have to ask you, that if you disagree with anything I've said:

Where does that disagreement come from? What about my narrative clashes with your own? -Why- does it clash? Is it because the game presents your interpretation as obvious, whereas mine is not? Is it because you've experienced someone like Ashley before in your life, and you know it when you see it? Maybe you strongly identify with Andrew, and view his status as a doormat with no agency to be obvious? Or did you just accept the narrative that much of the fanbase has taken at face value, without further analysis other than building on top of it?

I don't believe these things to be contrarian; I've held most of these opinions since my first or second playthrough. I don't believe what I do because you don't, I believe what I do because I understand what Ashley has been through. I've experienced a lot of the specific traumas she had, such as deep feelings of isolation and being deprived of the emotional validation I need from the people who need to give it. I know what it's like to be misunderstood, to have who and what I am taken for granted, and to be terrified of being abandoned by the people I need the most. I see what I do because I understand.

And I want to give her that understanding that nobody gave me.

Maybe you should think about it. Why do you take it for granted that Andrew is a doormat who is strung along by Ashley? Why do you find it so odd when the trope of a woman corrupting a good man through leveraging sex is drawn into question? Why is Ashley seen as crazy, when all of her actions are so straightforward and rational? How is she corrupting him, when the single most needlessly violent act in the whole story- outside of the Nina flashback- is done without her influence? Why is Ashley seen as the abusive one when Andrew both threatens and resorts to physical violence and witholds emotional validation?

Weirdly personal tangent aside, Ashley and Andrew are two of the most well-written characters I have ever seen. They're not written like archetypes who interact with each other through a series of tropes; they're written like real people who's words and actions have astoundingly human motivations. They come from places that we can understand and relate to.

And just like people, they deserve respect. In spite of all they've done, they deserve love.

But make no mistake, Ashley is not the one stopping that love from happening. She just has the audacity to still want it in spite of everything telling her that she doesn't deserve it. We're led to believe she wants too much, but all she ever wanted was the bare minimum that she was never given.

And she has every right to be mad about it.