#An arc of her own I might add | Explore Tumblr posts and blogs

ambrosiagourmet · 1 year ago

Text

I love Izutsumi. She's got a great design, she's a fun addition to the main party, she adds some new tension, and she's honestly one of the reasons I read dungeon meshi in the first place. I mean, "the most cat to ever girl" is an extremely appealing hook to anyone who loves cats and girls (me, I love cats and girls).

However, while I have always liked Izutsumi, I finished the story kind of feeling like I didn't really get her. I felt like I had a decent grasp on her character an character arc (she's a traumatized teen given space to feel safe and open up, and because of that she realizes that she can't grow without letting go of the coping mechanisms she once needed). But I didn't feel like I really understood her role in the story as a whole.

She follows the group of her own accord, after a coincidental meeting and a misunderstanding of what they can do for her. She's never super invested in saving Falin, at least not compared to the rest of the group. Though they do help her escape Maizuru's shackles, and are clearly good for her in general, she doesn't really have a healing Moment with the group the way that Senshi does with the hippogriff soup.

And yet, she gets an entire chapter, the third-to-last chapter, dedicated to exploring her growth and future. She's the one who frames much of the falling action, who lets us check in with everyone. She's the one who helps talk Laios into accepting his role as king. She may join the story part way through, but she is there for most of it. So Izutsumi! What's your deal!?

Well, I think I've come up with an answer, at least for myself, that I really like. Two of them, even! Though they both really work together to form the overall point - Izutsumi is the character that most helps the story face towards the future. Here's why I think that.

So the first of these "ah-ha" moments was when I realized that Izutsumi really is the best supporting evidence for Laios' point about the good things that wouldn't have happened if Falin hadn't died.

If Falin hadn't been eaten by the dragon, Izutsumi probably would still be a slave. It was because of Shuro and Laios' parties both being in the dungeon to rescue Falin, as well as Marcille's use of ancient magic in the resurrection, that she got the chance to escape. None of that would have been the case if Falin hadn't died. Shuro wouldn't have separated from the group and joined up with his retainers, Marcille wouldn't have revealed her knowledge of ancient magic, and Izutsumi never would have even met any of them. They are only part of her life because of Falin's death.

Though this isn't explicitly pointed out by Laios or Izutsumi in the scene, I do think you can very much feel the presence of it. For one, when Marcille reflects on the journey and how much it made her realize she didn't want to lose everyone, her relationship with Izutsumi is prominent:

It's the main original group at the top and center, but when you read it right to left, it’s Izutsumi and Marcille who might catch your eye first. And it's specifically Marcille and Izutsumi's relationship on display here, not just Izutsumi's presence in the group in general.

Also, after Laios' statement about how none of their adventure would have happened without Falin dying, it is Izutsumi who gets the final word:

Izutsumi is also the one here who is the most forward-facing. Chilchuck is trying to correct Laios, Senshi is focused on the immediate future, and Izutsumi is talking about her new goal.

And I want to talk about that goal in general as well, because it’s also interesting how it comes up. In that moment, everyone is trying to remind Marcille of her less destructive desires - to eat food, to share it with them, and to meet Chilchuck's family. All of which are previously established, existing desires. When prompted by Chilchuck to join in, however, Izutsumi offers something new:

That's interesting, isn't it? It's kind of funny, of course, to see her rambling on about a completely new thing, her own personal motive, in the middle of everyone working together to reach out to Marcille. Izutsumi doesn't even know who Yaad is! But at the same time, it’s kind of meaningful. Amidst the focus on desires that everyone already had, she adds a completely new one to the mix. It’s even the final bridge that lets Laios reach Marcille.

It is, in fact, even an idea that comes back later to help out another lord of the dungeon. The idea of finding new goals and feeling new desires... this is exactly how Kabru reaches out to Mithrun, after the Winged Lion is gone

So yeah, Izutsumi's presence here, both in what she's actively choosing to say as well as what she represents of the consequences of Falin's death, supports the story's ideas of moving forward. Of accepting the past, and finding new reasons to live.

Which is all really good, and that alone works pretty well as an answer to what Izutsumi's role in the story is.

But oh, oh. There's more. Something I realized after having thought of all this, because I still couldn't let go of the feeling that there was still something I was missing.

And as I reviewed the things I loved about Izutsumi - her sometimes unhealthy ways of coping with trauma, her struggles with isolation, her skill with fighting, her selfishness contrasted with the ways she grows to care for and protect the group, her perpetually guarded nature, born from the seeming impossibility of ever fitting in or finding a safe place to just be herself - I realized something.

Izutsumi...

is a foil to Falin.

Where Falin copes with isolation and trauma by being eternally caring and struggling to say no to people, Izutsumi copes by constantly saying no to everything she can. Falin is often considered selfless, but does have selfish desires that she can’t easily express until a moment of crisis. Izutsumi is delightfully selfish, but chooses to stick by her friends when they need her. They are both transformed, against their will, into partly monstrous hybrids, and they both will have to live with that - there is no undoing what has been done to them.

Falin anchors the group in the past. Izutsumi pulls them towards the future. Neither would find freedom without the other - it is Falin's death that leads to Izutsumi joining the party, and likewise, it is Izutsumi who inspires the realization of how they can save Falin.

And Falin is her future, as much as Izutsumi is Falin's. Both learn to be a little more like each other, even though they never meet. Falin gets a little more selfish. Izutsumi gets a little more willing to bend.

In this context, I feel like I have finally started to understand just how important Izutsumi is to the story. She is a proof that they cannot just go back, and she is a clawed, happy-to-scratch-anyone-who-pisses-her-off reminder, at that. In any conversation about what the group wishes would have happened with Falin, she cannot be ignored or brushed aside.

She is a reminder that, even in the midst of a tragedy so big it feels like a shadow you will never escape, you have yet to met all the people you will love. Hell, some of those people might even be catgirls. We should all be so lucky.

#dungeon meshi #delicious in dungeon #izutsumi #dunmeshi analysis #dungeon meshi spoilers

4K notes · View notes

honeypiehotchner · 16 days ago

Text

Operation Lovebirds (Hotch x Fem!Reader) -- oneshot

Happy belated Valentine's Day! In the spirit of making myself feel better, here's some unashamed fluff in between updates of The Gambit!

Summary: You make plans for the team to get drinks together after work on Valentine’s Day in an effort to make yourself feel better after a sudden breakup. The team decides to play matchmaker instead 😉

Warnings: oblivious reader, oblivious Hotch, PINING, YEARNING, past relationship/breakup woes, gender neutral terms for reader's ex, hotch is divorced but no foyet arc, awkward flirting (i think), happy ending ofc!!!

WC: ~5,200

If there’s one thing you’ve learned about Aaron Hotchner since you started working at the BAU a year ago, it’s that he doesn’t go out.

You’re not really sure what it is that stops him, because even Rossi comes out with the team most nights, but in the year that you’ve been here, Hotch has come out three whole times. Three. In a year.

So, naturally, you’re the first to let the pure surprise show on your face when Hotch agrees to go out tomorrow night. In fact, you laugh.

He doesn’t.

“Oh my god,” you pause, smacking Morgan’s arm. “He’s being serious. Somebody get the champagne! Get me a calendar, I need to mark it.”

Hotch rolls his eyes at you, but there’s a small smile fighting at the corners of his lips like always when he hears your jokes. “Don’t get too excited. I might change my mind.”

(The truth is, after seeing how excited you are, he won’t change his mind. He hasn’t seen you smile in a week.)

A week ago, the person you were dating broke things off rather randomly. You aren’t even sure if you can consider them as someone you were in a relationship with, since based off their final message to you, it seems they didn’t see things that way. Regardless, it ended, and it was something that, for the first time, you had high hopes for. You thought it might’ve been real.

So, yeah, Hotch hasn’t seen you smile in a week. He knows something is wrong, but hasn’t had the courage to ask, in case he’s overstepping. The two of you get along just fine to work together, and you’ve had a few heart-to-hearts over the months, especially on late night flights when everyone else is asleep and you’re the only two wide awake. But those feel…different than this.

Hotch is just happy that his idea worked. He knew if he could joke about going out, it would put the bug in your ear, and you’d make the plans. Which is how he found himself agreeing to go out to a bar tomorrow after work.

Tomorrow just so happens to be Valentine’s Day. So what if Hotch selfishly wanted to spend the day with you in some capacity outside of the office, but was too scared to ask outright? So what if he’s a little happy at the fact that you have no plans other than inviting everyone out to drinks?

He’s a little worried given that he thought you were seeing someone, but he thought that was his imagination. You never mentioned dating anyone to anyone on the team, Hotch was just putting pieces together to hurt his own feelings.

Except. You haven’t smiled in a week, and you’re suddenly free for drinks after work…on Valentine’s Day.

Hotch tries not to think about it too much. He doesn’t want to think about you being sad any more than he’s had to this past week with your silent moods and halfway smiles. That alone has already twisted something into a knot in his chest.

“This is perfect!” your excitement is palpable. “This might be the first time I get everyone out at once. Derek, do not let me down. Bring your date!”

“Fine, fine,” Derek concedes. “I’ll ask her if she wants to come -- after her and I have had a very romantic dinner,” he smirks.

You roll your eyes and shove his shoulder in the same sibling way you always interact with Morgan, but Hotch watches you carefully, noticing the hint of sadness behind your eyes.

Fuck. You were seeing someone. That’s the only explanation, and they broke your heart -- a week before Valentine’s Day, might he add -- and it must’ve felt real to you because why else would you have that devastated look in your eyes?

Hotch, unsurprisingly, has harbored somewhat of a schoolgirl crush for you since about a month after you started working at the BAU. It took Rossi precisely one week to notice, but you’re going on month eleven of being blissfully unaware. Morgan has given Hotch a couple knowing looks but has yet to call him out on it. If JJ and Emily know (and they do), they haven’t said anything, least of all to you. Garcia is well aware after she caught Hotch watching you wistfully from his office one afternoon, but she hasn’t mentioned anything to you.

Rossi has, of course, tried to talk Hotch into making a move -- even a half-move, a hint of a move -- but Hotch refuses. Mostly because he had suspicions you were seeing someone, but also because he just can’t imagine someone like you having the same feelings for someone like him. It’s bizarre.

As everyone listens to your giddy pre-planning of where to go for drinks and what to wear, knowing looks are shared by the team -- looks that you and Hotch are left out of.

+++

You’re trying on the fourteenth outfit and trying to hold yourself together when you nearly cancel drinks to lie in bed in a pit of despair.

But that’s dramatic and irrational, so you try on a fifteenth outfit, say fuck it, and grab your car keys.

You’ll be a little early to the bar, but you don’t mind. Might as well get out before you lose the will to go back out again.

You just couldn’t stomach sitting inside, alone on Valentine’s Day, not during this rollercoaster of emotions that you’re feeling. Especially not now.

It’s not that you thought you had found the one, it’s the fact that you thought maybe they are. It’s not the fact that you were certain, it’s that you were so hopeful. You really thought things would go farther than that, and you never thought the crash and burn would be so random.

You really thought this time was different. Because it felt different, it felt good. Only for it to end the same as always.

You should be used to it by now, you think. People being uncertain of you. People being uncertain of how they want you in their lives. This isn’t the first time you’ve been in a relationship with someone only for them to decide that suddenly they aren’t ready for a relationship. It doesn’t make any more sense than it did the last time, but this one certainly knocked the wind out of you from how unexpected it was.

No matter, though. Because tonight you’re dancing, laughing with friends, and hopefully smiling so hard that you forget about it all hurting so much.

When you get to the bar, you’re the first one there, so you slide up to the bar and wave the bartender down, getting started with your first drink.

Unfortunately, no one cute catches your eye -- yet. You’re not exactly sure if you want to flirt with anyone tonight, but it could be fun. Could take your mind off things.

You’re halfway done with your first drink when Derek texts the group chat. Dinner got a little delayed. See y’all in a bit.

You roll your eyes, knowing exactly what he means by delayed. You snort and text back telling him it’s fine.

JJ is next. Couldn’t find a babysitter so Will and I are staying in! So sorry guys!

You frown, but it’s fine. You were worried about whether they'd be able to find a babysitter so soon.

No one else says a word, so you assume they’re all free.

Except that they don’t show.

You’re getting a little annoyed as the minutes tick by until you see, like a knight in shining armor, Aaron Hotchner walks through the doors.

You smile in pure relief and disbelief that he’s actually here, waving him over. He spots you and a soft smile settles on his lips, making a beeline for you at the bar.

Couples are sitting on either side of you, so Hotch stands behind you, your body suddenly very aware of how close he is.

“You look surprised to see me,” he teases.

You stare up at him, mystified. “Because I am.”

Hotch orders a whiskey on the rocks and another of whatever you’re having, opening a tab. Your brain short circuits a moment too late when you realize he’s just bought you a drink.

You don’t mention it, unsure of what exactly it means. Or what exactly you want it to mean.

When the bartender brings the drinks over, Hotch leans down to speak to you over to growing crowds and conversations. “There’s an open booth over there if you want to move somewhere more comfortable?”

Your mind spins with all kinds of inappropriate thoughts as you nod. “Booth sounds nice.”

You were unaware of just how many people had flooded into the bar since Hotch arrived, your focus clearly all on him and how close he was to touching you. Your fingers lightly touch Hotch’s back as you follow him through the crowd to the booth that he can see with his height.

Finally, you spot it, a miraculously free two-person booth at a table with a small lamp in the middle. It casts just enough shadows on Hotch’s face to make him look infinitely more attractive (something you hadn’t thought possible).

You’ve harbored a foolish crush on your boss since, well, the very beginning. It’s embarrassing.

Because you know that not only will he never feel the same way, it’s also highly against the rules at work and would be beyond frowned-upon. So, you suffer in silence, and try desperately not to think about what it might feel like to just kiss him. Just once.

That’s the alcohol and loneliness talking. You need to pull yourself together.

There’s precisely ten minutes of small talk before Hotch goes straight for the heart.

“How are you doing?” he asks.

For anyone else, it’s an unassuming question. It’s simple. It almost falls into the category of small talk, except it doesn’t. Not for two FBI profilers.

Still, you try to deflect with a shrug. “I’m alright. As alright as someone chronically single can be on Valentine’s Day, I guess. What about you?”

He’s not exactly in a different boat. He’s been single ever since his divorce a few years ago, as far as you know -- and you imagine you’d know because these sort of things get around in the BAU. The nosiest unit in the FBI, you always joke.

Hotch mirrors your shrug. “I’m alright.” He pauses, studying you. “I only ask because you’ve seemed…down lately.”

You grimace.

“We don’t have to talk about it,” he quickly adds, almost scrambling. “I know this is odd, I’m your boss and we’re sitting at a booth in a bar on Valentine’s Day, but, I want you to know, if you do want to talk -- about anything -- I’m here. I want to listen.”

You stare at him blankly for a moment, feeling your facade as it slowly melts and drips away. “Thanks,” you avert your eyes, focusing instead on your drink that has barely two sips left. You have a comfortable buzz now, one that makes you a little quicker to let him in. “I was seeing someone that I was really hopeful about, for the first time, ever, and it ended randomly a week ago. Got a text just out of nowhere.” You pause, chuckling darkly. “I was in the middle of thinking about Valentine’s plans, actually, when I got the text. So.”

Hearing you confirm it out loud only makes Hotch’s heart twist and threaten to break. “I’m sorry,” he says, unsure of what else he can say, unsure of if there’s anything he can say to make it better. “I’m really sorry that happened.”

“Thanks,” you breathe, shaking your head a little to shake yourself out of it. You look up at Hotch and put on a fake, half-smile, the same one he’s seen you wearing the past week. “On to the next one, huh?” you joke. “If there even is a next one. If I even want there to be another one,” you add with a roll of your eyes. “I might have reached my limit for this shit.”

Hotch can’t even say that he blames you. “That’s understandable.”

There’s a trace of something in your eyes when you look at him, something he can’t read, but your smile is a little softer now, starting to look genuine. “Alright,” you clear your throat. “There’s my relationship woes. What about you? Breaking any hearts? Anyone breaking yours?”

He laughs at your change of subject, but shakes his head. “No, no, there’s no one.”

You frown. “Why not?”

He shrugs. “Haven’t really wanted to, I suppose.” I’m too much of a coward to ask you out on a date, according to Rossi. “Maybe soon, though.”

Excitement glints in your eyes. “Ooh, there is someone, I knew it! Tell me immediately.”

He just stares at you, fighting back a smile at your unbridled joy that he gets to witness. He is so glad he gets to see this expression on your face. “There’s not really someone, it’s kind of--” He pauses, looking down at his own glass, wondering how much he can say without giving himself away so embarrassingly. “I’ve been too afraid to do something.”

“Why?” you ask, sounding genuinely interested. “Is she dating someone?”

“She was,” he replies, perhaps too fast. “And I’m not certain she feels the same way, or else I’d have made a move by now,” he admits, thinking the whiskey is getting to him. “Maybe.”

“Aaron Hotchner, a shy, hopeless romantic,” you muse, leaning back in the booth with a smirk. “Who would’ve guessed?”

He gives you an almost pained look, hoping the awe seeps through the most. Because you have no idea, do you? You have no idea just what you do to him, just by talking to him, looking at him, making him laugh, letting him hear your laugh. He’s more of a goner than he originally thought.

He laughs off your teasing. “There are my woes,” he says, hoping that’ll be the end of it. “Where are the rest of the team, anyway?”

“Who knows,” you say, sounding unbothered, though you dig your phone out to see if anyone has texted.

If you and Aaron hadn’t been so caught up in conversation for the past hour, then you would’ve seen that everyone has said they can’t make it or that they’ll be “late” which is only code for they won’t show. You frown down at the messages, some almost forty-five minutes old now, wondering what they’re up to.

Aaron glances at his phone, too, finding a private message from David. Enjoy your date ;)

Hotch rolls his eyes, pocketing his phone. The team -- most likely led by self-proclaimed Cupid, David Rossi -- decided to play matchmaker. He should’ve known.

And you…you seem completely unaware.

“Whatever,” you exhale, exasperated. “I should’ve known better than to try to get everyone together on Valentine’s Day.” You pause, a sheepish look in your eyes. “I just really didn’t want to be alone, so,” you lightly tap Aaron’s leg with your foot, “thanks for coming and keeping me company.”

“Anytime,” he says, meaning it wholeheartedly. “Should we get another drink?”

You hum. “I was actually getting kinda hungry.”

“You read my mind,” Aaron smiles. “Do they have food here?”

“Probably shitty bar food,” you reply. You look up at him through your lashes, nearly knocking the breath from his lungs. “Wanna go somewhere else?”

He nods immediately, nodding toward the door. “Let’s go. I know the perfect place.”

You grin almost instantly, standing up from the booth. “Lead the way.”

+++

The perfect place that Aaron knows is a hole-in-the-wall, family-run pizza joint that he has frequented for years, probably ever since he joined the BAU and moved out here. It’s open late, and half-full of other couples when you and Aaron arrive.

“Hey, Tony,” Aaron greets the owner with a firm handshake and smile. “Table for two, please.”

You watch as Tony gives Aaron a look before repeating his words, “Table for two, you got it, right this way, Hotchner.”

The way Tony says his name is reminiscent of a coach talking to his favorite player, right down to the playful swat of Aaron’s chest. It makes you smile.

“And who is the lucky lady?” Tony asks nonchalantly as he places the menus down on the table by the window.

You giggle, introducing yourself. “I wasn’t aware Aaron had connections here.”

It could be a trick of the dim lighting, but you swear you see Hotch blush as he shakes his head.

“Oh, yeah,” Tony says, standing back as you both sit. “I’ve known him for years, always coming here alone on Valentine’s Day. I’m just happy to see he’s brought someone with him this time.”

“Oh, we’re--” you start to say.

But Hotch interjects with, “That’s enough, Tony, thank you.”

You furrow your eyebrows only a little. He didn’t deny what Tony is implying.

You ignore it. Because you can’t let yourself read into it. That’s what always ends up burning you. You need to ignore it.

Tony leaves to let the two of you look at the menu, albeit going with a mischievous smile on his face.

“What do you recommend?” you ask, trying to redirect. “Or should we just get a large and split it?”

“That might be easiest,” Hotch agrees. “Let’s do that.”

Tony returns to take your order and brings water with him, promising some wine if you’d like. You laugh him off and tell him the two of you just came from the bar.

When the pizza comes out, the two of you dig in, both having not realized just how hungry you were. With more water and food on your stomach, the alcohol has begun to wear off. But you’re still happy you’re spending the night with Aaron.

Whoever it is that he’s got his eyes set on, she’s one lucky girl. You know that for sure.

As the night winds to a close, you watch him more closely, wanting to memorize this. Because if you have any say in it, he’s going to get that girl that he’s so hopelessly in love with already. He deserves that. Even if it means you’ll never have another night like this with him.

So, you tell him just that as he’s dropping you back off at home. You turn toward him in the passenger seat, a sad smile on your lips.

“I’m going to give some unsolicited advice, okay?” you begin.

He laughs, clearly wary. “Okay. Go ahead.”

“Ask her out,” you say, hating the way you can feel the beginnings of tears pricking at the backs of your eyes. “Make a move. Don’t make her wait any longer. She might feel the same way, you never know, and you’ll never know, if you don’t ask her. So do it.”

He watches you, eyes studying every inch of your face. You don’t know it, but he’s trying to figure out why you look so sad as you’re saying this to him. How can you have no idea that it’s you, it’s always been you? How do you not know?

“That’s all,” you say, blinking the emotion out of your eyes. It’s gone so quick that he wonders if he imagined it. “Thank you for tonight, I really needed it. I’ll see you on Monday?”

He nods, all words foreign to him. “See you Monday. Enjoy your weekend.”

“You too,” you give him another smile.

He watches you leave, watches you get to your front door, waits for you to go inside. He stays there, waiting until he sees the lights turn on in your apartment, until he knows without a doubt that you are safe inside.

He drives away. And starts to think of a plan.

+++

Monday is a slow, tortuous day after a slow, tortuous weekend spent wondering yourself sick about if Hotch took your advice. If he spent the weekend with her, the girl that made his eyes go all soft when talked about her to you. If he was going to come into the office as a new man on Monday, feelings reciprocated, love radiating off him.

He didn’t, which you felt guilty for feeling relieved about.

He brought you a coffee, though. With a heart on the side of the cup. Probably from the barista who made it, you think.

It’s a paperwork kind of day, so everyone leaves by 4:30, even Reid, though he leaves so early because he has an event at a bookstore to go to. Slowly, everyone trickles out, until it’s just you and Hotch.

You’re avoiding your empty apartment. Hotch is finishing up his work, while simultaneously building up the courage to ask you to dinner.

Time is ticking, this he knows, and he starts packing up as soon as he sees you standing to rinse out your coffee mug.

You’re just finishing gathering your things when you hear Hotch leaving his office, locking the door behind him. You look up at him with a smile.

“We’ve gotta stop meeting like this,” you tease, gesturing around at the barren BAU. “Why do we keep doing this?”

It’s true that you’re usually the last two here, but this time feels different. There’s a different tension in the air that wasn’t here before, and you’re trying like hell to decipher if it’s good or bad.

“What are your plans for dinner?” he asks.

“Just leftovers or something,” you shrug. “You?”

“Well,” he says, letting out a soft, nervous laugh. “I was hoping to take someone out to dinner.”

You deflate a little. He must mean the girl. You try not to let it show in your tone, so you keep your head tucked, putting things away. “Did you ask her out? What’d she say?”

“That she had leftovers or something.”

Your hand freezes on your purse. You’re terrified to look up because if you do, then that means-- He can’t mean--

“I didn’t think I was so bad at this,” Aaron chuckles. “I guess it’s not muscle memory anymore.”

Slowly, slowly you lift your eyes. He’s sheepish. There is a blush on his cheeks, his smile is so damn hesitant, and you’re smiling before you can stop yourself.

“Aaron Hotchner,” you cross your arms over your chest. “Are you trying to ask me out on a date?”

“Emphasis on trying,” he says, looking so boyish. “Would you like to get dinner with me? Tonight, as a proper date?”

You nod right away, then stop yourself. “Wait, what about that girl you were telling me about?”

You’ve been “the other girl” before, and you refuse to do that again, not even for a man who looks like Aaron Hotchner.

But he laughs. Not at you, more at himself, at the situation. He shakes his head. “That girl is you,” he says. “I thought I was so obvious.”

“Wait--” you pause, blinking, the gears in your head stuttering and starting. “Me?”

He nods. “Since you started here. It was getting kind of embarrassing, according to Rossi.”

You giggle, unable to help yourself. Then pieces begin clicking into place. “Wait, so Valentine’s Day--”

“That was the team’s doing,” he nods to confirm. “Rossi got them in on it.”

“Oh my god,” you whisper. “And tonight?”

“Tonight was…just us being ourselves,” he confesses with a warm smile. “I didn’t tell any of them to leave so early.”

“And I just always stay a bit later,” you add. “Like you.”

“Like me,” he says. “Though you still leave before I do, most nights.”

“Yeah, because you sleep here, it seems like.”

“Hey,” he laughs, feigning hurt for a moment. “So…dinner?”

“Dinner,” you nod. “I’d love to get dinner with you, Aaron.”

“That’s a relief,” he breathes. “Can I take you somewhere again?”

You can take me anywhere you want, is what you want to say, but that feels a bit forward. “Of course,” you say instead. “Lead the way.”

+++

The team finds out the very next day, by pure accident.

Aaron drove you two to dinner last night straight from work, and the both of you were too caught up in it all to realize you left your car at work. Until it’s the next morning, you’re heading down to the parking lot of your apartment, car keys in hand, with your car nowhere to be found.

Aaron is walking through the BAU doors when his phone buzzes with a call from you. His heart skips as he answers, “Good morning.”

“Good morning, my love,” you reply easily. “Do you know where my car is? You get one guess.”

Hotch pauses, thinks, wondering why you’re asking him this question, until-- “Oh, shit,” he laughs. “I’ll come get you.”

“I can just take the bus,” you laugh just as hard. “I just wanted to tell you.”

You? On the bus? When he can easily just come get you? Absolutely not. “I’ll come get you,” he says again. “Let me set my things down, and I’ll be on my way to you.”

“Aaron--”

“Let me, please?” he asks, shoving inside his office to put his things down just inside the door. “I’m already walking back out to my car. We can get coffee and breakfast.”

“Okay,” you concede, finally. “I’ll wait.”

“I’ll be twenty minutes.”

It’s less time than that, actually, but you don’t call him out on it. Instead, you climb into his passenger seat with a smile.

“Long time no see,” you joke, buckling yourself in.

“I’m so sorry,” he laughs. “I completely forgot about your car.”

“I did too, don’t be sorry,” you reply, resting your hand on his arm. “It’s funny. And I’ll just drive it home tonight.”

He doesn’t want you to, he wants to always drive you around like this, but he doesn’t say that. He doesn’t want to come on too strong. “Okay. Well, for your troubles, we’ll get breakfast.”

“And coffee,” you sigh happily. “My turn to pick. I know the best place.”

He turns his phone toward you, the GPS already up. “Lead the way.”

When the two of you finally make it back to the BAU, the whole team is there, huddled around in the bullpen, clearly whispering about you and Hotch.

See, it’s rather suspicious when Hotch’s things are in his office, but he isn’t, especially an hour after he’s usually already got half the day’s work done. And your absence was noted too, as the minutes ticked by and no one had heard from you. And they knew the two of you were the last to leave last night.

Hotch holds open the glass door for you, laughing at something you’ve said (like always), the two of you unaware of the team meeting until you’re inside.

Everyone wears similar smirks.

“Hello lovebirds,” Rossi chimes. “We were wondering where you disappeared to.”

“Just breakfast,” you say with a shrug.

“Mhm,” Morgan hums. “Where’s my breakfast?”

“Go away,” you groan, swatting him. “Why are you all around my desk? Boundaries!”

Just like that, the crowd disperses with some laughter, and Hotch is free to escape up to his office. Rossi is quick to follow him, interrogating him about his night.

“It was a great night,” Hotch replies, not wanting to give anything away. “You are an instigator.”

“Did you kiss her?” Rossi presses on.

Hotch makes a sound of disbelief. Rossi looks appalled.

“You didn’t?”

“There is such a thing as taking things slow, Dave,” Hotch replies.

“Alright,” Dave concedes. “But dinner was good?”

“Dinner was great,” Hotch reiterates, unable to hide his smile. “Now get out of my office so I can get some work done.”

Rossi leaves with a smirk so smug that Hotch hopes his face cramps up.

+++

Later in the evening, when once again it’s just you and Hotch left in the office, Hotch decides to pack up a little early.

You’re in your own world, completely unaware that he’s heading out until he’s standing beside your desk.

You lift your eyes, realizing he’s watching you. “Hey.”

“Hey,” he smiles. “Ready to go?”

You glance at the clock. “I was actually--”

He shakes his head. “Come on.”

“What?”

“As your boss, I’m deciding you’re done for the day.”

“Oh, really?” you quirk an eyebrow. “And there wouldn’t happen to be any ulterior motives, would there?”

He shrugs, all sheepish again. “If you happened to be free for dinner again, I wouldn’t say no.”

“And if I’m not free?”

He’s unbothered. “Then I’ll walk you to your car and let you get to your plans.”

“Not even a kiss goodnight?” you tease as you start gathering your things.

Hotch goes quiet. “That can be arranged.”

“Okay,” you murmur, standing with your things. “Let’s go.”

He reaches out for your hand which you easily hold onto, walking with him to the elevators. As you wait for one to arrive, you look at him, taking in his side profile. He catches you looking from just the corner of his eye, starting to smile.

Once you step onto the elevator, you break the silence. “I desperately need to sleep early tonight, so raincheck on dinner?”

He nods. “Of course.”

You pause, testing the waters. “Coffee tomorrow, though?”

He smiles. “I’ll pick you up at seven?”

“That’s perfect,” you reply.

Hotch walks you to your car, as promised, and helps you set your things inside. He even opens the driver’s side door for you. You’re about to get inside when he stops you, one hand on your arm.

“About that goodnight kiss,” he says, a glint in his eyes that has your stomach doing flips.

You place your hands on his shoulders, gently looping your wrists around his neck. “Mm, what about it?”

His hands find your waist in no time, squeezing ever so slightly. “Can I?”

“You don’t have to ask,” you murmur. “And yes.”

You’re both smiling into it, softening when your lips finally connect. You feel it then, how this is what you’ve been missing.

Aaron is so gentle as he kisses, so timid in a way that only makes you want him even more. His hands never wander from your waist, except for one moment to cup your jaw, to brush his thumb over your cheek as he kisses you one last time.

He pulls back to watch you, your eyes still closed in bliss. When you finally open them, he’s smiling at you.

“That’s some goodnight kiss,” you tease. “Careful, or you’ll spoil me.”

He shakes his head. “I want to,” he says, pressing another kiss to your lips. “And I will.”

You bring one hand to his face, holding onto him in disbelief. “Goodnight, Aaron.”

“Goodnight,” he whispers, giving you one more kiss for good measure. “Let me know when you get home safe?”

You nod. “You as well?”

“Okay,” he smiles. “I’ll see you in the morning.”

You nod slowly. “In the morning.”

Neither of you make any move to leave. In fact, it takes half an hour for you to peel yourselves off of one another, and might’ve taken longer if your stomach hadn’t growled.

Eventually, you part, and Aaron shuts you into your car, waving as you drive off before he walks to his own vehicle. He stares at his reflection in a bit of disbelief, wondering what he did to deserve someone like you.

#aaron hotchner #criminal minds #aaron hotchner x reader #aaron hotchner x fem!reader #aaron hotchner x you #hotch x reader #hotch x you #hotch x fem!reader #aaron hotchner fanfiction #aaron hotchner fanfic #aaron hotchner oneshot #pure fluff #aaron hotchner fluff #aaron hotchner fic #just desperately needed to write some fluff

747 notes · View notes

teapartyprincess4two · 1 year ago

Note

omg can you make a chris version to the talkative fic? my english isn’t very good i apology if this doesn’t make sense!

Talkative- C. Sturniolo

pairing: Yapper!reader x Boyfriend!Chris

classification: SFW & NSFW headcannons

inspiration: request^^

warnings: some 18+ content, use of y/n, established relationship

summary: head cannons of Chris with a talkative, yapper girlfriend!

Talkative- M. Sturniolo (Matt’s Version)

Talkative- N. Sturniolo (Nick’s Version)

—

☆ SFW

You love to talk and that’s something Chris has loved about you from the moment he met you. He, much like you, is extremely extroverted, but every girl he’s talked to in the past has always found him to be too much. You’re his perfect match and although he also likes to talk, he loves to listen too.

☆ Chris never gets tired of hearing you talk, “Babe tell me the story about the teddy bear again.”

☆ You retell stories in such a detailed way that he can’t help but burst into laughter even if he’s heard it before.

☆ When you talk about your friends, it’s like you’re explaining their lore in full detail each time.

☆ “No, babe, that was Savannah. I’m talking about Teala,” or “Dude, I’m telling you that’s why they fired that bitch.”

☆ He has all the characters memorized, even categorizing their lives into arcs, episodes, and seasons.

☆ “Wow Teala is in her villain arc,” and “On this weeks episode of, Who the Fuck is Getting Fired!”

☆ He loves asking you questions because you somehow know the answer to everything.

☆ You’ll be eating dinner and suddenly a random question will pop into his mind, “Y/n, what does litigate mean? I heard someone use it today, sounded fancy.”

☆ You look up at him mid bite, slightly confused but also intrigued at a new topic of conversation.

☆ “I think it has something to do with the law, I don’t know, babe. But one time I heard someone say that on one of those court shows…” you drone on for a while.

☆ Chris always Googles the answers afterwards, not because he doesn’t believe you, but because he truly thinks you’re the smartest person on this planet and you haven’t been wrong yet.

☆ You’re both equally insane, you’ll laugh like crazy people no matter where you are.

☆ You tell the best jokes too, your mind works so fast that you’re able to create comebacks and quick, witty remarks to everything he says.

☆ Sometimes you’ll join him and his brothers on grocery trips, and the both of you wander off just completely in your own world.

☆ You’re the only person who can catch Chris off guard.

☆ You’ll say something completely unexpected and outlandish, causing him to pause whatever he’s doing and stare at you in shock.

☆ “Babe! No way you just said that.”

☆ “I said it, and I’ll say it again.”

☆ When you’re with friends, you tend to talk over each other and your friends almost break their necks switching their attention between you and Chris.

☆ To other people it might seem like you’re fighting each other for the spotlight, but in reality you’re able to bounce off each other’s energy and add on to whatever the other says.

☆ He knows what it’s like to be called annoying, so if anyone ever makes you feel uncomfortable for being talkative he defends you without hesitation.

☆ “Watch your fucking mouth. Don’t say shit like that about her.”

☆ Every conversation you have is full of inside jokes that no one else can keep up with, and it’s literally something new every week.

☆ Although other people are confused by the jokes, you and Chris understand each other fully, almost like you speak your own made up language.

☆ You make each other laugh so hard that your cheeks and ribs will start hurting.

☆ “Chris stop! I’m gonna pee,” you wheeze, rolling over on your side as you try to catch your breath.

☆ He keeps going though, making you laugh harder by making silly faces and funny voices through his story.

☆ After long days of filming and being away from you, he’ll cuddle up next to you in bed and murmur through the drowsiness, “Talk to me baby.”

☆ You know he’s tired so you don’t talk his ear off at a high energy, you just retell your day and play with his hair, kissing his face between sentences.

☆ He loves the sound of your voice, each word as sweet as honey, instantly lulling him into a peaceful sleep.

☆ You’re very opinionated and sometimes you say something he disagrees with, instantly creating a debate between the two of you.

☆ The debates always start off innocent, just you two going back and forth with opinions and the occasional fact.

☆ It’s not until it gets personal that Chris gets upset, giving you the silent treatment until you’re begging for him to talk to you again.

☆ “Chris, I’m sorry! Just talk to me, I’m so bored without you!” He tries putting on a tough guy act, but it never lasts long so he’s forgiving you within seconds.

☆ When you’re around older people, they always comment on what a nice, kind couple you two are because you engage in conversation with everyone.

☆ “What a nice old lady,” Chris says, slinging an arm around you as you both walk away.

☆ “Such wisdom,” you chime in, both of you falling into a fit of laughter. You could never take anything serious.

☆ NSFW

☆ Chris knows not to look too into your conversations with other guys, but sometimes he can’t help but get jealous.

☆ He’ll lose you at a party and find you talking to a stranger, an excited aura surrounding you as you jump from topic to topic.

☆ When he sees the guy becoming too comfortable and touchy, he makes his way over to you and inserts himself in the conversation.

☆ Later, he’s fucking you to teach you a lesson and clamping a strong hand over your mouth to keep you quiet, “This dirty little mouth of yours got you in trouble, Princess.”

☆ Other times he just gets turned on by your voice.

☆ He wants you to talk him through the sex and guide him on what positions you want.

☆ “C’mon baby, tell me how bad you want it.”

☆ Despite you both being talkative, there’s times when you’re so fucked out you’re speechless.

☆ The only sound that fills the room is skin slapping and Chris’s animalistic grunts, followed by your whimpers and small squeaks.

☆ He relishes in it, “This dick has you speechless, huh?”

☆ All he gets in response is a whimper, as you claw at his back for support.

☆ Chris loves when you dirty talk him, using your words to say filthy things to him.

☆ It riles him up beyond belief, and if you keep it going he’s lasting at least 3 rounds.

☆ Afterwards, he loves cuddling or spooning, both of you talking for hours about your future together.

—

MASTERLIST

A/n:

Happy birthday to me! (It was yesterday at this point)

Thank you for this request and NEVER apologize for your English/ grammar. I’m a bilingual education major and I firmly believe you don’t need to apologize for that EVER. I luv u!

Also I’m bilingual (English & Spanish) If any of yall ever want to send in a request in Spanish, go ahead bbys! LOS AMO 💋💋💋

Lastly, I’ll admit that this was harder to write than Matt’s version idky

- L.A.M.B👼🏻💗

—

taglist: @nicksmainbitch @sturniololovers @mayhem-72 @worldlxvlys @gnxosblog @meg-sturniolo @creamoncreamoncream2 @mattnchrisworld @sanyi5 @lustfulslxt @whicked-hazlatwhore @tworosesblackthorn @mxqdii @fawned01 @junnniiieee07

note: if you want to be tagged in my fanfic related posts, you can access my TAGLIST and comment 💐

1K notes · View notes

campbell-rose · 1 year ago

Text

Charlie Redesign!

I want charlie to look super out of place in Hell. I wanted her color palette to resemble the sky, as the sky can symbolize infinity and is usually associated with the place gods reside, high above it all. The main point is looking super out of place in Pride, which will carry over to Vaggie. I made her colors bright because i can’t be bothered to alter the colors of Viv’s hell to dull it down and from the trailer it doesn’t seem like shading is that important. Not shitting on that btw, i hate shading my drawings.

The way I imagine this version of Charlie is that she helps do the paperwork side of things, since Viv’s hell is just earth but red, I'm just assuming her heaven will be similar. Charlie helps schedule things, she’s kind of a secretary and works under Adam to help make sure the Exterminations go smoothly. She takes stock of weapons, sees what was lost, tallies up the total deaths, general stuff like that, you feel me? She doesn’t like the Exterminations; she thinks it’s horrific and that the people in hell ought to have a chance to come to heaven.

So it’s basically the exact same plot as before and her personality is the same because Charlie was the only character i liked from the pilot the others all had something that threw the vibes off slightly. Charlie’s relationship with Alastor will be a little different, because he’s one of her benefactors. He wants to watch the pretty little angel’s plans crash and burn, and she is determined to prove him wrong. Side note while I'm thinking of him, I’m changing the overlords – they aren’t sinners that got powers because sinners don’t have powers in this version. Well, no, they are sinners, just sinners that made contracts with demons and gained favor with hell during their lives, earning their own place in the hierarchy of hell. Speaking of which, it goes: Sinners, Overlords, Hellborn, Ars Goetia, Princes/Seven Sins. Overlords are given the power to torture other sinners (so it makes sense that Valentino makes Angel’s life miserable, it’s his job to torment other sinners)

Once the show actually drops, I might add more benefactors in my rewrite. Like, since Alastor is backing Charlie, the cannibals from cannibal colony will be friendly towards her, things like that. Hell, maybe Val backs her, idk don’t want to jump the shark.

Either way, i think Charlie being an angel sets her up for a better character arc with her naivete and attitude towards sinners. Also i think my design for her is literally beautiful she’s so pretty, she’s my baby i love her. And for the sake of making things easier, i fused her little goats Razzle and Dazzle with the key cat KeeKee because i think having three cute little pets is too many and R/D didn’t really do anything in the pilot. I’ve doodled them a bit, haven’t settled on a design yet. In my mind this little kitty is a cherub thing that Husk adores as his first hint of not being a complete ass.

Any who. That is all.

#anti vivziepop #vivziepop critical #hazbin hotel criticism #hazbin hotel redesign #hazbin hotel critical #hazbin charlie #ignore her fucked up hand i got lazy oopsies

1K notes · View notes

longing-for-rain · 11 months ago

Text

Katara and Mutuality in Relationships

There are lots of conflicting opinions about which characters Katara felt attraction towards, which characters she didn’t, and how long she felt that attraction. I see in most cases, people point to quick clips of her faintly blushing or kissing another character on the cheek as evidence, but I think these kind of takes miss the nuance of the purpose attraction serves in a story.

Most importantly, I see these characters treated as if they are actually people capable of making their own decisions. It’s important to remember that these are fictional characters. They don’t make their own choices; the writers make their choices for them for the purpose of telling a story. From that standpoint, it’s more valuable to examine how a character’s story and narrative themes tie into their relationships with other characters. Animators can shove in a kiss or a blush wherever they want, but it’s harder to demonstrate through storytelling how and why two characters might feel attraction towards one another, and how a relationship between them would develop both characters and contribute to the overarching themes of the story.

In other words, when discussing which characters Katara is “attracted” to, I’m discussing which relationships and actions within the narrative build on her established story and arc. Romance is always integrated into a story for a reason, and considering that reason is important.

Unfortunately, ATLA is very much a product of its time in this way. It’s easy to see what romance adds to the arcs of the male characters—but not so much with the female characters. All three canon relationships (kataang, sukka, and maiko) follow this trend to some degree. The primary purpose of the woman in this narrative is to act as a prize for the man for performing some good deed. Once they’re together, she ceases having her own motivations and becomes an extension of the male character she’s dating. This is pretty blatant with Suki—she barely had a personality in that later seasons; she is there to be Sokka’s girlfriend. Similarly, Katara becomes a completely different character—she’s even animated differently—when the narrative pushes her into romantic scenes with Aang. Her character is flattened.

So what is Katara’s arc, and how do the romantic interactions she has throughout the series contribute to this?

Well, that could be a whole other essay itself, but to put it simply, Katara’s arc is one of a young girl devastated by grief at a young age clinging to hope that she has the power to fight and change the world for the better. Which she does as she gains power and confidence throughout the series—culminating in her defeating Azula in the finale.

But the part I want to focus on here is how Katara connects with other characters. She connects with them over shared experiences of grief and loss.

Take Haru, for instance.

Haru: After the attack, they rounded up my father and every other earthbender, and took them away. We haven't seen them since.

Katara: So that's why you hide your earthbending.

Haru: Yeah. Problem is…the only way I can feel close to my father now is when I practice my bending. He taught me everything I know.

Katara: See this necklace? My mother gave it to me.

Haru: It’s beautiful.

Katara: I lost my mother in a Fire Nation raid. This necklace is all I have left of her.

Haru: It’s not enough, is it?

Katara: No.

This isn’t just a throwaway moment; it’s an important character moment that leads up to growth and the progression of Katara’s overall story, both in this individual episode and in the whole series.

Katara finds her power in the connections she’s able to make with other characters. It’s a powerful driving force for her that makes her a strong character even before her bending abilities develop. Imprisoned was such an important episode to establish who Katara is and what her power is, and adds so much to her arc.

But there is one line in particular from the above exchange that also stands out: Haru says “it’s not enough, is it?” and Katara agrees. Even this early in the series, we’re establishing the fact that despite her drive and hopeful outlook, Katara feels deeply hurt, she feels a deep sense of loss that she opens up about to other characters in moments like these. But unlike Haru…Katara can’t go rescue her mother. Her mother is dead, and we see her grapple with that grief throughout the series.

Another character she reaches out to like this is Jet.

Jet: Longshot over there? His town got burned down by the Fire Nation. And we found The Duke trying to steal our food. I don't think he ever really had a home.

Katara: What about you?

Jet: The Fire Nation killed my parents. I was only eight years old. That day changed me forever.

Katara: Sokka and I lost our mother to the Fire Nation.

Jet: I’m so sorry, Katara.

Another important note about Jet is that there are explicit romantic feelings from Katara in this episode. Again, Katara empathizes with another character through a shared sense of loss. Sadly, in this case, Jet manipulated her feelings and tricked her into helping in his plot to flood the village…but those feelings were undeniably there.

That was the tragedy in this episode, but it also gives the audience so much information about Katara as a character: what motivates her, and what she wants. Katara is established as a character who wants someone who will connect with her and empathize with her over her loss—her greatest sense of trauma. She wants to help others but also receive support in return. The reason why she was smitten with Jet, beyond just initial attraction, is because he gave her a sense of that before Katara realized his true motivations.

A lot of people make the claim that Aang is good for Katara because he also feels a sense of great loss and trauma. And while on paper that’s true…does he really demonstrate that? I just gave two examples of characters Katara connected with this way, and both responded with deep empathy to what she said. Very early on in the show—the third episode—Katara attempts to connect with Aang the same way. How does he respond?

Katara: Aang, before we get to the temple, I want to talk to you about the airbenders.

Aang: What about 'em?

Katara: Well, I just want you to be prepared for what you might see. The Fire Nation is ruthless. They killed my mother, and they could have done the same to your people.

Aang: Just because no one has seen an airbender, doesn't mean the Fire Nation killed them all. They probably escaped!

Just compare this exchange to Haru and Jet. No effort to empathize, not even a “sorry for your loss” or anything. It’s a stark contrast, and the reason for that is because this narrative entirely centers Aang. Katara’s narrative always seems to be secondary to his when they’re together—which is exactly my point when I say this relationship has a fundamental lack of mutuality. It’s built that way from the beginning of the series. It does not add to Katara’s arc nor establish what about this dynamic would attract her.

And, look, before someone jumps down my throat about this…I’m not saying Aang is a horrible person for this response. I think it’s a sign that he’s immature and has a fundamentally different approach to problems than Katara. Katara is a character who has been forced to take on responsibilities beyond her years due to being a child of a war-torn world. Aang’s approach to problems is avoidance while Katara never had that luxury. It doesn’t mesh well.

This is all in Book 1. I honestly could have gotten on board with Kataang if the series meaningfully addressed these issues…but it didn’t. In fact, they actually got worse in some ways.

Back to Katara’s mother. We’ve established that this is a core part of Katara’s character and like in the scene with Haru, she indicates that this is an unresolved issue that pains her. But then, in Book 3, Katara actually does get a chance to confront this pain.

This would have been a powerful moment. Surely the character who is meant to be her partner, her equal, would have been there for her. Surely he would have understood and supported her, fulfilling her narrative and adding to her story.

But Aang didn’t do that. I won’t go into details because there are a million analyses out there on The Southern Raiders, but Aang’s response to Katara was the opposite of understanding. He got angry with her, insinuated that she was a monster for wanting revenge, and tried to dictate her behavior according to his own moral values. And importantly, from a narrative standpoint, he did not go with Katara. One of the most important events in her arc, and Aang didn’t support her—he actually tried stopping her. He didn’t contribute to her growth and development.

Also noteworthy:

Katara: But I didn’t forgive him. I’ll never forgive him.

Even at the end of the episode, Aang clearly doesn’t understand at all what Katara is feeling. This line demonstrates it perfectly. He thinks she forgave him when that wasn’t the case at all…but of course, he didn’t even accompany her, so he didn’t see what actually took place. His worldview is fundamentally different from hers, and he’s consistently too rigid in his morality and immature to center Katara’s feelings.

Throughout Katara’s whole arc, her most significant character moments, Aang’s character just doesn’t come through the way Katara’s constantly does for him. Their narrative lacks mutuality. When Katara and Aang are together, she becomes an accessory to him. The ending scene is a perfect demonstration of this.

Now, to address the elephant in the room.

Which character does actually add to Katara’s narrative and support her growth as a character?

Correct! I just talked about how important The Southern Raiders is to Katara’s character and story, how it’s a chance for her to finally address the grief she’s been carrying since Book 1. And who stood by her side throughout this pivotal moment? Right—Zuko did.

You can talk all you want about how he’s a “colonizer” while Aang’s people suffered genocide, but you’re forgetting that “show, don’t tell” is one of the most basic aspects of storytelling. The fact is, despite how it looks on paper, Zuko was the one there for Katara at her critical moments. Zuko empathized with Katara more than Aang ever did—as demonstrated in this episode. Zuko never once brought up his own cultural values. Zuko never once told Katara what to do. Zuko’s position was that Katara should be the one to decide, and that he would support any choice she made. He supported her decision to spare Yon Rha, but he would have also supported her if she decided to kill him. I actually found this episode to be a satisfying reversal to what is typically seen in TV—for once, the female character is centered while her male counterpart takes the backseat and becomes a supporting role to her narrative.

Even before this, Zuko is shown to empathize with Katara.

Zuko: I’m sorry. That’s something we have in common.

I think what gets me about this scene is the fact that he’s still Katara’s enemy, and she was just yelling about how she hates him and his people. But despite that, Zuko still empathizes with Katara. She is fundamentally human to him, and he expresses that to her in a way that allows them to connect. Zuko stands to gain nothing from this. It’s true that Azula entered the picture and twisted things around—but in this moment, Zuko’s compassion is genuine. His instinct was to respond to her grief with empathy, just like she consistently does for other characters.

And finally, how else does Zuko add to Katara’s arc?

I don’t think there is any more perfect of an example than the finale itself—the culmination of the arcs and development of all characters.

Zuko and Katara fight together. In a heartbeat, Zuko asks Katara to fight by his side against Azula, because he trusts her strength. She’s his equal—both in his mind, and in a narrative sense.

Then, this:

Both of their roles are so critical in this fight. They both save each other. The scene has such raw emotion to it. These characters were together at the conclusion of their respective arcs for a reason.

This is the perfect conclusion to Katara’s arc. She just played a critical role in ending the war that has caused her trauma her whole life. She just demonstrated her mastery of waterbending (another thing she’s dreamed of throughout the series) by defeating the world’s most powerful firebender during Sozin’s Comet. Even though she had help as all characters do, these are victories that belong to her and demonstrate the growth and power of her character. And to top it all off? She was able to save Zuko’s life. She didn’t have to endure the pain of feeling helpless to do anything while someone else died for her; this time, she had an active role, she changed her fate, and she prevailed. Zuko plays an important role in Katara’s story without dominating it. They perfectly represent mutuality. They add to each other’s stories. Their narratives become stronger when they’re together, without one diminishing or sidelining the other.

So, from that standpoint, that’s why I always see the attraction between Zuko and Katara and why I see it lacking between Aang and Katara. Zuko and Katara’s story doesn’t need some cheap little throwaway moments to shine. It’s integral to both characters’ stories. We are shown not told of the way these characters feel about each other. Given everything we know about Katara, her goals, her values, her past loves…absolutely everything points to Zuko being the true subject of her feelings.

Because let’s be honest. The ending I just described is so much more powerful and so much more Katara than seeing her being relegated back to a doe-eyed love interest for Aang to kiss. It hardly even made sense—Katara played no role at all at the culmination of Aang’s arc. She was relegated back to a love interest, rather than the powerful figure we saw fight alongside Zuko.

#zutara #katara #zuko #atla #anti kataang #canon critical #jet #haru #katara deserved better #aang critical #meta #analysis

701 notes · View notes

writingwithfolklore · 7 months ago

Text

Subplots are your side character arcs

Subplots are incredibly important in longer works as they assist in pacing out the main plot, develop your characters, and give you opportunities to explore parts of your world you might not get to in the main plot.

So where do subplots come from? Often, they are the character arcs of your side characters (or connected to them). Today we're mostly focusing on side characters that are allies or close with the MC. Let’s talk about it.

1. Developing your side character

There’s as many ways to create characters as there are characters themselves, but for the purposes of this post, I’ll take you through my favourite way to do it.

You’re going to need: A goal, an objective, a disrupting characteristic, and a formative event.

Objective: The actionable (your character can work at it) objective they want. It is likely the same as your main character’s if they are allies, such as Sam also taking the ring to Mordor with Frodo, or Flynn also working towards taking Rapunzel to the lights.

The difference is in their…

Goal: To what end are they working towards this thing?

Flynn’s goal changes throughout Tangled, but his goal in the beginning is to get back his crown because he wants to “be something” more than he is (rich). Rapunzel wants her life to begin so she works towards seeing the lights, he wants the crown so he works towards getting her to the lights. Same objective, different goals.

Disrupting characteristic: What internal reason do they not already have what they want? While characters tend to face external antagonists that keep them from their goal, it’s their internal conflict that is the thing they work through to provide change by the end of the story.

Let’s go back to Flynn—his disrupting characteristic is that he believes he has to be rich to “be someone”, so he’s turned to a life of crime.

A disrupting characteristic can be either a personality trait (selfish, self-destructive, naïve, relentlessly optimistic) or a belief about the world (I need to be rich to be worthy, I need career success to make my parents proud) etc.

Lastly, the formative event: An event in your character’s past (usually childhood but depends on how old they are) that has inspired why they are they way they are. The beginnings of backstory.

2. Building an arc

From this character development, we can figure out what the arc is. Take your character’s disrupting characteristic—what do they need to internalize or figure out in order to get past it?

If your disrupting characteristic is, like Flynn’s, that he believes to be rich to be worthy, his arc is going to be discovering self worth separate from monetary gain—which we see throughout the story as he falls for Rapunzel, and caring for her becomes his new purpose.

Your character’s selfishness keeps them from forming the close connections they crave with others—so they need to be thrown into a situation in which caring for another person over themselves forces them to be unselfish.

That gives us an A to B.

3. Add conflict

To get from A to B, characters go through a whole lot of conflict. The conflict your side character will go through relates directly to their goal and objective—so the subplot is intertwined closely with the main plot while still exploring this side character’s internal change and journey. The conflicts they face on their own will likely be internal—typically side characters don’t have separate external antagonists from their main characters, but that’s not a hard and fast rule.

Speaking of, check out my posts on antagonists and conflicts here, here, and here.

The last thing I'll say is that subplots that don't necessarily revolve around the MC but are kind of their own journey until they come crashing together with each other (such as the two POV characters that only meet halfway through the book) should be created as their own MC--so essentially two plots.

Questions?

353 notes · View notes

raayllum · 2 months ago

Text

I get that in general a lot of kids shows do utilize the protagonists ('good guys') in ways where they're supposed to be role models, particularly because some do have a "lesson of the week" where the character does bad things, then clearly learns and explains what they should've done instead by the end of the episode.

That has just... never been how TDP has operated, and I don't get how and why people think we're supposed to take what anyone does in the show as being unilaterally good or evil. Particularly in arc 2; any moral simplicity that was hanging on by a thread in arc 1 has been taken out back and shot numerous times by now.

TDP very rarely calls anything Evil or Good, and when it does, it's always filtered through the characters' biases, and rarely does more then 2-3 characters ever have the same opinion on something for the same reasons. Soren and Rayla, who have inverted character arcs, are some of the only characters to ever use the term villain / good guys or bad guys, and are two of the most staunchly black-and-white thinking characters, heavily to their detriment, I might add, in terms of coping with the increasing complexity of their lives. They have cognitive biases. They're not always right, and are frequently wrong. This is true for everyone in the show.

The show refuses to condemn murder, indirectly and directly condemns the expulsion of humans from Xadia routinely (Evrkynd being a city for everyone, Ezran arguing with Karim, who is the most wrong about the most things), and shows a variety of viewpoints on all things.

The show understands that the choices people make—whether the same character trait is a flaw or a strength—as well as 'moral' choices are all circumstantial.

Are you wrong to burn people alive? Mostly yes (2x07, 6x08) but also no (3x09). Are you wrong to kill people? Sometimes yes, sometimes no, sometimes whether it's 'wrong' or 'right' doesn't even factor in. Are you wrong to use dark magic, or use the dangerous Staff of Ziard, or coin someone and condemn them to a 'fate worse than death'? Sometimes yes, sometimes no. Is lying or hiding the truth to protect someone wrong? Sometimes yes (1x06, 2x03, 3x03, 5x01, 7x04, 7x06) sometimes no (1x02, 2x03, 6x06, 5x08, 7x08).

Are you doing the right thing?

Do you have no choice? Is that true, or is that just what you think, or how you rationalize it yourself?

When is it right or cowardly to leave (Viren, Lissa, Rayla, Callum, Ezran, the Cosmic Council, the offer made to Karim's troops)? When should you stay? When do you decide to share resources (2x05) to your potential detriment or withhold them in the name of protecting yourself and your own people (Xadia and magic)? At what point(s) do you prioritize your own pain and grief, or someone else's (i.e. the Keeper vs Callum vs Ezran)? At what point is someone too dangerous or 'too far gone' to keep alive (Runaan about Harrow, Ezran about Aaravos)? At what point do you decide someone cannot change? When do you refuse to change (Karim, Terry) who you are no matter what happens, and when do you decide that you must (Ezran, Soren)? When is it wrong to use illusions to trick someone (3x09 and 7x06) and when is it more reasonable (2x03)? When should you be willing to sacrifice others (Rayla with her family, Runaan and Rayla with Callum, Soren with Viren) and when should you refuse? When should you sacrifice yourself, and when it is wrong to? Did you betray them, or did they betray you, or both (usually both)? When should you betray or stay loyal to your family? What is the right thing to do?

The show, tbh, doesn't know, at least 90% of the time. It's not interested in knowing. It's interested in exploring. That's the whole point. At most, it says you should work towards harm reduction, but what constitutes harm, and what peace looks like, is also something that greatly differs for all the characters.

Rayla is willing to sacrifice the love of her life, Ezran is willing to create weapons of mass destruction and wield one, and Callum used a torture spell on someone when he absolutely did not have to. The idea that any of the protagonists are meant to be paragons of unblemished virtue who are always 100% right, or that any of the antagonists do not canonically have a good point of contention with anything that's happened and are always 100% wrong, is reductive to everything the show is and explores, because it is Quite Literally not what the show does, ever tbh.

They literally spelled it out this past season as a core theme; I don't think they needed to have a character directly point it out every time a main character did something that was Kinda Fucked Up or Complicated But Understandable to know that the show knows it was Canonically Fucked Up or Complicated But Understandable.

There is not a single character or action in TDP that is always right, and there is not a singular character or action in TDP that is always wrong. Hell, even narrowing it down to "this is 'right' or 'wrong'" feels counterintuitive because it's so subjective within the narrative.

Every choice the characters make is often well reasoned, aligns with their values and world views, and fits into how they work through problems. Every choice has benefits and consequences, for them or for others. That doesn't mean it's Right for everyone involved. That doesn't mean it's Wrong for everyone involved. That's what makes the show interesting. Everything has nuance. Everything has Complexity. I'm not interested in a simplified version of TDP. I'm interested in the show as is.

I hope you are, too.

#tdp #the dragon prince #analysis series #analysis #mine #im so tired #s7 spoilers #like i truly cannot fathom watching viren walk away from claudia or the illusion plan in 7x06 and thinking #'the show wants us to think this was 100% the right thing to do no ifs ands or buts' like. what #like rayla thematically has always been an antagonist #it just always seems like ppl are like. the show doesn't know the magic system is unfair #or the cosmic council are gonna be good guys. and it's like. the show has known the magic system is unfair since s2 #that's the point of s2. the cosmic council will be dismantled. they have to be. that's why they're there #it's a hand of god narrative structure. they executed a child for no reason. where else would we go #have a lil faith #'humans can do whatever they want bc they were oppressed' that's not how life & morality works #just look at world affairs (atrocities in gaza)

156 notes · View notes