#I could write an essay here with all the things I like so much about him but we have a tag limit so :))

[thevampireladyambrosia]

The Professor's Pet

Request via anon.

Pairing: Male!Kitsune x Female!Reader.

Content Warning: Power dynamics (professor x student), manipulation, age gap, knots.

You have always been a good student. At least at this university. A school involving magic was the dream. As a human, however, you struggled a bit. Especially with charms. In fact, you frequently explode them by pouring too much energy in. You can't help it. You are just so excited. Thus, you fell behind in class.

The professor, an older kitsune with all nine tails, noticed this. He had been trying to help you as much as he could, but he could only do so much. So you quickly began to fail the class.

This caused you to panic. You could only go to this place because you got a full ride scholarship. A scholarship that requires a certain GPA to keep.

So you doubled down. You tried harder. You stayed up later. Only for things to become more of a disaster. Your anxious energy explodes charms more easily. Your sleep deprivation led to you making mistakes you normally wouldn't.

It was very late one night that you decided you'd approach the professor the next day. You knew his office hours from the beginning of the year; from when he had gone over the syllabus. Maybe you could ask for an extra credit essay? Something. Anything. You had to pass this class.

The next day goes slowly. It's like the universe knew you had something that needed done, so it slowed down time. You found yourself glancing at the clock every couple minutes. You were an anxious mess. The professor seemed nice enough. But would he help you?

When the time came for you to approach his office you somehow grew more anxious. You swallowed the lump in your throat and forced your feet to move. You entered his office.

He looked up and smiled. He greeted you and gestured for you to take a seat.

“I'm assuming you're here about your grade?” He stated. He said it casually and in a nonchalant way. But it was anything but that to you. It determined the rest of your life. Failing would mean not being able to continue at this school. It would mean everything had been for nothing.

“Um… yeah.” You replied. You mentally kicked yourself. You wanted to say more, but it would come out. Like your mouth was too dry, and your lips were sewn shut.

“I went ahead and took a look at your assignments. It appears you weren't absent for much. Rather, it became apparent that you had a knack for exploding things throughout the year. As you likely know, I could have done something if you had excused absences. I could have let you make up the work for partial credit. Simply failing is different, though. If I let you redo it, you'd gain an unfair advantage over your classmates.”

You sucked in a breath. There it was. What you had feared all along. Your face fell. You were really going to fail the class.

“But…” You immediately snapped back into attention. There was a glimmer of hope in that simple word. “I do reward effort. And you, my dear student, have put in effort. Tell me, how far are you willing to go to secure your grade?”

You blinked. Did he want you to clean the classroom? Write a huge report? Do a presentation?

“I'd do anything. Anything at all.” You said confidently.

“That's a bold statement.” The kitsune said. But you didn't miss the glimmer in his eye. The same one people have when they get something they want. When they succeed at something. Satisfaction.

“It's the truth,” you replied. And it was. At this point in time, you'd do just about anything to secure your grade. Aside from doing something that harmed others.

“How about I give you a bonus assignment? One worth a good chunk of points. It would be distributed and added onto your other grades. But you'd have to keep it a secret. And I'd want something in return.”

You couldn't believe your ears. A chance to pass. You'd have to be positively insane to say no. But what did he want in return?

“I'll do it. Whatever it is, I'll do it. And I won't tell a soul.” You couldn't believe your own mouth. This was basically cheating. This would make you a fraud. The kitsune seemed to recognize where your mind was heading. And he acknowledged it in his next statement.

“It's not cheating. I'm a professor. I would know. The greatest minds weren't just people who were good at things. They were people who were passionate about things. You, my dear, have passion. You have drive. You have perseverance. Is it really cheating? Or are you just getting acknowledged for your work?”

You felt strange. He had praised you. Maybe he was right? I mean, you did work hard.

“But, even more amazing, is the fact you know how to work the system.” You looked at him. What was he talking about? “Wearing that short skirt you know would drive men crazy.”

Your eyes widen. You open your mouth to protest, to explain, but his hand slips under your skirt. It catches you so off guard that you don't even get a word out. Luckily, he only rubs your thigh before withdrawing his hand.

“I-” He cuts you off.

“You said anything, remember?” He's smiling at you. “What I want is simple. I want you to let me stuff your pretty little cunt with my cock. Just this once. After all, that's what you offered when you said anything, yes?”

He had a point. You did say anything. And maybe one time was worth it for a good grade?

“Okay. I consent. Just this once.” The professor didn't hesitate. You could barely process anything before you were bent over his desk. Your underwear were pushed aside as he roughly shoved a finger in. It stung slightly but quickly faded as your cunt lubricated itself.

It would help if you didn't enjoy it. If your cunt wasn't sending waves of pleasure into your brain, making it short circuit. When his thumb found your clit and a second finger joined, you moaned. It was loud and filthy. It made you feel disgusted with yourself.

He fingered you until you came around onto his hand hard. It was the most intense orgasm of your life. And it was given to you by your professor. Your way older professor. But you didn't care anymore.

He made you beg for his cock. Made you plead. And you did. He didn't even bother to undress you nor himself. He just pulled his growing erection out and kept your underwear pushed aside. He shoved into you in one swift motion that made you cry out and see stars.

He fucked you rough and hard, his pace unforgiving. And when you came, you gushed around his cock. If you thought the orgasm earlier was intense, this one was unreal. You became practically boneless. Your vision went white. You could have sworn you passed out for a brief moment.

And then he came. Buried deep in your cunt. You felt the warmth of his seed fill you. And something strange happened too. It was like he got bigger. Like his penis expanded, locking him in. You had expected him to pull out. You had assumed incorrectly.

It wasn't even a minute after his penis went back to normal that he fixed your clothes and ushered you out. Something about office hours being over.

You walked back to your dorm on wobbly legs, your professor's cum dripping down your thighs. You pressed them together to hide it as much as possible.

When you arrived back, you showered and checked your grades. You now had a B in his class.

[atlantis-area]

#HappyKeyDay 🥳🔑🦊

[somegrumpynerd]

HEY. POINTS FINGER… any thoughts on how everyone reacted when the other joined the team? as in how did killer react when dust came, how did he and dust react when horror came, how did they all react when cross came, etc. i love love LOVE your bad sanses thoughts way too much they make me so happy. if i write hurt you write comfort and it’s awesome. also how do you think they slowly started to get closer? just.. bah give me your thoughts on them!!!! any thoughts!!!!!!!!!

You fool!! You’ve given me a chance to ramble about my special little guys and now this post will stretch on forever!! Mwahahahahah >:3c

No but seriously this is probably gonna be wicked long cause I have 1 million thoughts about these guys joining and meeting each other so uh, readmore for everybody’s safety and sanity

(^ I wrote that in the document before I started typing out my actual thoughts and uh

yeah no kidding, this is like a fucking essay so proceed with caution)

OKAY SO

I’ve said before that Nightmare got Dust for two reasons; one being that Dream had just recently started working with Ink (and soon Blue) so he and Killer were no longer able to gang up on Dream. He wanted somebody else to bulk up their numbers and give Killer a little back up. He also was starting to realise that Killer didn’t handle being alone very well, since this was when he most often got worked up and broke things around the castle (and sometimes tipped over into stage 3). Dust would be a perfect fit since he had the same amount of lvl and fighting experience as Killer, and since they were so close in circumstance they would be practically like brothers right?

The irony that he thought this about a guy he was recruiting to help kill his brother was apparently lost on him.

They absolutely hated each other. Like, it was instant. Killer saw him as a replacement, why would boss go out and get another sans - one with almost the same backstory as me - when I’m right here? Does he think I’m not good enough? Am I disposable and this is the backup for when I die in combat? He didn’t take it well. He took it all out on Dust too, not cooperating in battle, trying to start fights in the castle, etc. He couldn’t outright kill him because Nightmare had given him strict orders not to, but Killer loves a loophole. If he roughed Dust up down to 1hp and something else happened to finish him off, technically he’d followed orders.

Dust just straight up didn’t want to be there. Nightmare just showing up and yoinking him had worked fine with Killer, but Dust had wanted to sit in his empty au and die, he had no intention of joining a team or doing work of any kind - good or bad. The only reason he didn’t just lie down and refuse the entire time was that he had to fight back against Killer, as much as he wanted to die he refused to give this ass the satisfaction or lvl. He didn’t intend to be any help out in the field either, but again, Killer was making sure he got fired at so he had to retaliate to stay alive.

Eventually it got bad enough that Nightmare had to pull Killer aside and demand answers. In the year or so of knowing him Killer had never willfully disobeyed orders before, so Nightmare needed to know what had gotten into him. He dispelled the replacement rumour right away, he still wasn’t quite softened up enough to be sappy about it but he made sure Killer understood what a good worker he was and that Nightmare had no intention of losing him. It didn’t help a lot, they still hated each other for other reasons, but it eased a little.

Killer still had pretty frequent dips into stage 3, except now he would go straight for Dust usually. Nightmare had tried to explain what he’d learned about it to Dust, but he didn’t really believe that it wasn’t just Killer deciding to try and kill him for funsies. He only accepted it after a particular episode where he attacked Nightmare instead, which Dust knew Killer wouldn’t try in his right mind.

After he came back to his senses he sought Dust out. The air around Killer was very different after a stage 3, sort of sombre and almost calm, so Dust let them sit together and Killer apologised for giving him such a hard time. They actually talked for the first time in months while Killer was still calm (or tolerable, as Dust describes it), and it didn’t magically fix everything but, things were a little better. They still fought and argued and bothered each other but it wasn’t as sharp, there was a lack of real murderous intent in it all, and sometimes after an episode they would talk a little bit. It was the best Nightmare was going to get for now, so he took it.

They were still completely incompetent about taking care of themselves though. Neither of them would eat unless prompted and Nightmare didn’t have good enough knowledge of mortals to know when that should be to stop them passing out from hunger on the job. Not to mention the stars were now a full team, and with the way Killer and Dust would sometimes rather target each other on the field he could do with more backup.

Horror was the first of the group to get a choice in joining. Nightmare had taken note of how much Dust didn’t want to be part of things, and while it was in his best interests in the long run given his situation, Horror’s au was still mostly intact - though a little in disrepair. Horror was also the first in the group to have a good (and ongoing) relationship with his brother, so Nightmare knew he couldn’t just pop in and steal him, he had to be a bit more diplomatic with this one and offer a deal.

He gave Horror some time to think on his proposal - he would set up regular deliveries of food to Horror’s au in exchange for him joining their team - and was quite surprised when Horror agreed, with some stipulations. Horror was equally surprised when Nightmare agreed so easily to his terms (that he didn’t want his brother to know what he’d be doing, and that he wouldn’t kill). A little down the line the terms were altered to add that he would also be left to visit his au every week or so.

Horror was not impressed meeting the other two. He didn’t need his power as judge anymore to sense the lvl coming off them both, and given who they were working for he was instantly distrustful of them both (the uh, brother situation did not help). He was also in a place that had an abundance of food for the first time in probably years, so he was doing a lot of going hog wild in the kitchen and then getting very sick as a result.

Dust didn’t particularly feel anything for him. This guy hated him, sure, but it wasn’t forward and slashy like with Killer, it was just quiet loathing which was fine. That’s how Dust felt about himself so, y’know, mood. He did kind of feel sorry for him though, not just because of the whole famine and everything, but also because he was watching this guy eat like his life depended on it and then get sick and undo it day after day. He was the one who suggested Horror getting his food in moderation to Nightmare, which did help but was an absolute ordeal to enforce. Y’know how some people get hangry? Imagine that but you haven’t had a proper meal in years and now these people give you tiny amounts of food and don’t let you eat more for hours. The hunger mood swings were a sight to behold, you would never have guessed in those days that Horror specified not wanting to kill.

When his ability to eat had evened out and he was in better shape, Horror made a point of apologising to Dust for being aggressive with him. Over time he’d kind of softened up on him from his initial impression, since he could see plainly how wracked with guilt Dust was over his situation. It was a little easier to imagine that whatever he’d done was truly out of desperation and not just for fun, as Horror had assumed at first sight. 

They also both retained that classic sans laziness, so it was easy for them to share a space while saying and doing nothing. It made Horror the first person that Dust willingly spent time around in the castle (and vice versa since Horror was still largely suspicious of Nightmare and Killer - the deal seemed too good to be true and the stage 3 episodes didn’t help). As time went on, Horror kind of became Dust’s emotional support skeleton in a way. Dust had become quite averse to touch in his solitude and Horror very slowly brought him back out with casual gentle touches, until not only did he no longer freeze or stiffen at being grabbed but Dust would seek him out to flop next to on the couch. Horror claimed it was just returning the favour for helping with his eating situation, but really it was nice to have something resembling a friend here.

Killer, for his part, was going through This is My Replacement 2: Electric Boogaloo. Not to the same degree as with Dust, since Horror was quite a bit different, but Killer was still wary of this new addition. He didn’t really instigate anything though since, to be honest, Horror had the intimidation factor. He was like a foot taller than both of them, he had a cracked skull and completely different magic and it seemed like every time Killer saw him he was eating bread like a wolf eats a deer. So while he was going through his food moderating, Killer mostly just stayed quiet and kept his distance.

Horror had not softened on him like he had with Dust, since Killer didn’t openly show remorse. He still watched him with distrust, especially after seeing the way he scrapped with Dust for seemingly no reason other than for violence’s sake. Killer was still mostly targeting Dust in his stage 3s, but Horror had to be careful to stay out of his way since he was still working with much lower hp than the other two. What did start to convince him was seeing how similar Killer and Dust were after a stage 3 episode. Once Killer was slightly more composed (ie stopped crying), he became so tired and quiet and blunt about things he normally joked his way around. It was a little startling, but also started to bring Horror around to the idea that Killer might regret his actions too, just buried under several layers of whatever the hell is also wrong with him at any given time.

Killer and Horror only really started interacting after talking about Dust. Killer was asking how he got Dust to like him since he seems to hate everyone and everything else, Horror told him very pointedly it was because he wasn’t trying to kill Dust. Killer admitted he wasn’t trying to kill Dust, at least not anymore, he just wanted to fight for fun. It opened up a better channel of understanding, knowing that Killer did not actually have murderous intent behind his swings (stage 3 notwithstanding). It made it easier for Horror to occasionally get involved in the roughhousing which Killer delighted in, knowing that the other two knew how to hold back enough to keep him from dusting.

Speaking of stage 3, it was around this time that Killer and Dust made a very important deal. After a particularly rough episode with a little too close of a call, Killer showed up in Dust’s room and begged him shakily to make a promise - that if he ever got too out of control during one of his stages, Dust would kill him. He’d been told over and over by Nightmare that it was impossible for Killer to hurt him since he was immortal, but now there were more people around him where that wasn’t the case, and he wouldn’t be able to live with himself if he came out of a stage and found himself alone. Dust promised.

It’s also worth mentioning that, once they were all close enough to be on speaking terms, Horror started bullying the shit out of these two about eating. Now that Horror knew neither of them were going to kill him, he felt safe enough to pick them up by the scruff and set them at the table to say they weren’t leaving until they had at least a snack. He let them pick what they would eat - he wasn’t that cruel about it - but he had to see them eat at least 3 times a day or they would hear about it.

It was by no means perfect or regular, but after about half a year Nightmare finally had henchmen who ate food and worked together (mostly).

Now here’s the problem… I still haven’t really figured out how or why Cross joined the team. Like, obviously there’s some kind of point in the events of underverse where it splits off into an alternate timeline, but I haven’t really figured out where yet so. Leave that one with me just a little longer. Cross joins.

Nightmare really truly didn’t intend to take anyone else in. They were (mostly) getting along, they were pretty well matched to fight the stars, he had no need of more mortals.

…but he was also pretty soft at this point. Every one of them had taken a blow to his I’m immortal I’m an island I don’t get attached to others persona and he’d gotten pretty damn fond of them all. This was why when he felt the sheer weight of loneliness radiating off of Cross, he just couldn’t bring himself to leave him.

So Cross entered the castle. 

He did not particularly intend to stay or make friends, he was trying to get his world back and nothing more. He even revealed a little down the line that he outright refused to kill, and was quite surprised to find that Nightmare was fine with that. At the start he was polite but not friendly with the others and mostly kept to himself.

Dust, as is often the case, did not really have an opinion. Another new guy, this one was self sufficient and didn’t bother him so he had no reason to get involved. He was content to be in the same room as Cross but didn’t start up any conversations.

Horror felt the need to speak to Cross, since Dust would happily stay silent for years and Killer was, well, Killer. Horror was somehow the closest thing to normal they had, so he was the one that made small talk. Mostly asking what Cross would like for meals and encouraging him to pick something he liked when he got the answer of “anything is fine”. As Cross settled in a bit more and actually opened up, they bonded over being the only two to enjoy food. Horror made a point of adding chocolate to the stock they kept in the kitchen and making tacos here and there for Cross.

Horror was also the first Cross kind of warmed to, mostly because he was the one devoid of lvl and Nightmare had mentioned he’d also said he wouldn’t kill. Learning a little about his au’s situation only softened Cross to him more, especially seeing that he still cared a lot for his brother and was trying to protect his home (even if Cross found it unthinkable that he lived away from it). It was through Horror that he also got accustomed to Dust, how being quiet and distant was kind of his default and that he also felt deeply haunted by the loss of his world. They weren’t exactly friends, but it was comfortable enough.

So now boss had taken in another new person, someone who takes orders like a soldier and fights with knives and ruthless precision and aims to be his righthand man, and Killer was ecstatic. By now he’d mostly put his fears of being disposable behind him, Nightmare had gotten a bit less subtle in showing how important they all were to him and Killer felt confident he wouldn’t be replaced. Which was a little bit funny, because the only guy he didn’t feel threatened by was the one who absolutely competed for his spot.

Cross needed to prove he was useful, he had to feel like he earned his keep and that all the training and suffering he’d done was for a reason. When Nightmare sent them on missions, Cross aimed to be the fastest and the most efficient and to report to Nightmare without question. Horror and Dust looking on would have expected Killer to see this 100% as a threat to his position as (self proclaimed) Nightmare’s second in command, and to go for this guy’s throat when nobody else was around.

But Killer was fascinated. Cross was completely different from any of them, bar Nightmare whose au is a whole different kettle of fish, so he had a certain element of unpredictability to him. Horror and Dust were both based on classic sans just like him, so to a certain degree he knew how they would feel about most things and what they might say, the only differences being in what they had experienced through their own timelines. Cross was based on a swap sans and his au had taken wild twists and turns away from usual events, so Killer had to learn everything about him by poking and prodding for answers or observing from a distance, much like back when it was just him and Nightmare. Cross was something new to be studied and Killer loved taking notes.

Cross did not see this as friendly. He was competing with Killer for approval, not realising Killer was playing their contest like a game. When he saw Cross training he would jump in to spar for fun, but Cross saw his rival trying to get a jump on him and take him out of the running. When Killer would hang around and pester Cross in their off time with questions, it didn’t seem like someone taking interest, it seemed like someone being nosy and looking for weaknesses to exploit. When Horror mentioned that Killer was being surprisingly contained and friendly, Cross really thought he was fucking with him.

The first time Cross was willing to even consider this was the case was when his locket came loose on the field and Killer ran back to find it, since one of the notes he’d taken was how the locket wasn’t something Cross would play about (the same as Horror with food). It didn’t make sense for someone who was seriously competing to have him kicked out to just hand his necklace back, no ransoms or attempts to crush it to upset him, just some vague remark about “owing him one” and then right back to Nightmare for orders.

Cross had to give him something of a chance after that, Horror helped a lot by telling him “he doesn’t want to hurt you, he just doesn’t know how to be normal”. It was mostly a playful jab at Killer, but reframing their interactions changed it significantly for Cross. Now they were sparring playfully and having friendly competition on jobs. He wasn’t as put off when Killer went into stage 3 because he knew he could match him in combat and the others were always on hand to help restrain or distract him. Cross also took note of how Killer calmed down a lot for physical touch, not unlike how Dust had warmed up to Horror. It went a long way into not only making him a little less combative for attention every day, but it seemed to put longer stretches between his episodes (which Cross had also started tracking so they wouldn’t be caught out by them as much).

For his part, Killer has disobeyed instructions in the past to benefit Cross, usually ignoring the task to help him if he’s hurt. He’s also given Nightmare nudges towards praising him because he’s noted that that’s what Cross needs in the same way he needs touch (not that Nightmare doesn’t praise them normally, but when Cross is going through it and needs something). He also doesn’t particularly like chocolate but has made a point of not admitting this to Horror so he can give his chocolate to Cross.

(It’s also worth noting that Cross is the only one, besides Nightmare, that has been to Horror’s au. He offered to help out during the food delivery and got to meet Horror’s Papyrus (who he is a little intimidated by but ultimately friendly with, even though it’s a little weird since he’s a good bit different from his own Papyrus). Dust and Killer can’t really visit for a few reasons, mostly because everyone will notice their lvl immediately and know what they’ve done. Dust especially doesn’t know how he would react to having a Papyrus in front of him again and doesn’t want to put Horror's family at risk to find out. Whenever he visits, his Papyrus asks about Cross now and sometimes tries to make tacos for him (key word tries, he’s still a Papyrus after all). He may have joked that seeing Cross sometimes is “like having another brother but younger and less lazy” and when Horror told him this Cross may or may not have cried.)

And that’s where we are now!

They’re a very strange group who’ve been through some inexplicable events and have all changed each other in one way or another. And whether or not it can be admitted, they are a family c:

Now onto how Nightmare was made emotionally open by each of them!! In this essay I will no just kidding could you imagine this is already like 7 pages long

If you got to the end of this post please drink some water and get yourself a snack

[thevegetablewhichnoonedaresname]

I'm starting Mission to Zyxx Season 5 now, and I have feelings about that.

First, it generally scares me when people hype anything up at all because there is no guarantee that anyone values the exact same thing I do to the same degree. Even if I trust the creators of a thing to value something and try to do right by it, that doesn't always necessarily mean it will be successful, especially if that involves doing something wildly different than what made it good in the first place (I have been burned this way before). I guess I'm just hoping they continue the format of goofy improv shenanigans for the majority of it with something more planned and emotional in the finale if they want, like they've been doing all along. I'd think they would, and I've heard nothing bad about the ending, but I guess it still makes me nervous because I'm so close to the end and I want it so badly to stick the landing. I'm setting my expectations on the floor so I can be surprised instead of disappointed, but honestly, I don't need it to be better, I just need it to be on par with the rest.

Second, and more briefly, I'm happy it's (hopefully) ending before it has a chance to decline. I am so on board with that philosophy. But on the other hand, finishing a thing that I really, really like and knowing there's not another one out there gives me a special kind of heartache. Like, I know there will be other good media, and stuff that's good and unique in other ways, but I know for a fact that there are no other podcasts out there that have the same mix of a balance of off-the-wall improv and structured narrative, quality comedy, fantastical sci-fi setting and loveable characters, and high quality production. There are other things out there with many of those qualities, but nothing that checks every one of those boxes. It's a lightning-in-a-bottle thing that very much feels like the right people had to be in the right place at the right time to do it. Attempts to do it again would feel hollow because it had to be born out of necessity and passion and the talents of the people involved, so if you switch out the people it loses the reasons it's great, and if the same people tried to do it again it'd feel tired. That makes me so, so grateful it exists, but also so, so sad that it doesn't, and I'm 80% of the way done. When it's over, it's over.

Anyway. Now that that's all out there, I'm just gonna finish listening and have fun. Wish me luck.

[mobius-m-mobius]

I find it so funny that Owen's creative process really is just: 1. Be handed a sandbox, sometimes already good, sometimes subpar. 2. Say, I can make this little guy so much better. 2.5. Actor's prayer. 3. Ad-lib on set and blow everyone away. 4. Refuse to elaborate. 5. Leave. What do you mean he has to explain his """acting choices"""? They all come to him in a moment of brilliant improv, isn't that enough? Aren't you having fun? You should be! *bikes away*

Anon you've summed up his entire dynamic in a way that's about to make it impossible for the entire world not to fall desperately in love with him as we speak, but hopefully for his peace of mind and probably ours too things don't get that far 😂💖

Honestly his mind and approach to acting amaze me more and more each day and after becoming a fan and learning more about him I was genuinely shocked there isn't more general discussion about how naturally talented and hardworking he is?? Which probably has a lot to do with him being the type who doesn't like to call attention to himself or play the press game but I always find myself hoping he really does know how incredible he is since everyone who interacts with him on and off camera is left in awe of what he brings to a production and makes a point of mentioning his unique perspective is responsible for the best parts of everything he works on.

Also can I just add it's not only his improv in the moment that impresses me but how carefully he crafts a backstory for his characters?? This goes back to him constantly improving the sandbox and we don't get to hear as many details as I'd like but it's often mentioned he shows up with scripts noted with novels his characters could like/relate to, past jobs that suit them, literary passages relating to their state of mind, etc, and so on which is so cool and again not mentioned enough that he seriously puts time and effort into expanding the universes his characters live in simply because he loves telling stories and is one of the best to ever do so in my opinion 🥰

Then on top of all that he wraps then rides his bike into the sunset while the sound of radio silence echos until we inevitably see him weeks later picking flowers or grabbing a newspaper or some green juice in some random town like the example of living your best life that he is, truly couldn't ask for anyone better!

[fluxweeed]

hey. hope this message doesn't bother you. I love you. I love your work. you are one of my favorite fic authors, I am absolutely obsessed with everything you write. reread everything ten times over, drarry or not, fluffy or angsty - even when it absolutely shatters my heart (e.g. for lack of wanting, SUCH a great fic btw i'm so obsessed with it). the four doors? life changing. two to lie and one to listen? engraved into my brain for eternity. what's mine is yours? what a ride holy shit, im VERY normal about it. wrapped? my comfort read. and so it goes.

if I could aggressively smother you with kudos and love I WOULD!!!

awhile ago you said that there's no such thing as "big deals" in fandom and I 100% agree but at the same time you are a big deal TO ME!!! not in the sense of any kind of hierarchy but purely based on the fact that I think you are such a cool person and your writing is amazing and poignant and your presence in fandom makes it so much better. it's been a pleasure following you here on tumblr and just reading your tags and posts.

idk I just think you rule. that's it. thank you for hanging with us. MWAH 💛

ahhhh anon sorry for leaving this message sitting in my inbox for a couple of days but !! i have zero idea how to react to this!! you're so kind!! thank you!! please discard any and all inclinations u have that i am a cool person bc i can assure you i am NOT!!

[ocdhuacheng]

I have… lots of thoughts on milsiril and kabru and the commentary on mixed-race family/adoption, in particular white parents with children of color. I think it’s really cool kui incorporated this into the story because lots of (particularly white) people just think adoption is this pure altruistic thing and don’t think about the negative affects it has on kids (again, kids of color) to not have people of their own culture to grow up with.

[throes-of-warm-tornadoes]

it’s me and these 2 cookies against the world

[will-o-wips]

It is 4 am. I'm staring at the ceiling of my bedroom, coincidentally having my phone right in my line of sight, and write this with the exasperation and intense focus that I probably won't ever have again. I'm about to attempt to make any sort of sense of the latest Hayao Miyazaki movie, The Boy and the Heron (or rather, How do you live? in Japanese), that I watched for the first time in theatres a day ago.

I cannot claim to be right, or to know everything about this movie. Actually acclaimed critics and people with obviously more braincells than me have probably better takes than I do. But I must speak, lest the insanity truly take over my brain, lest I really end up combusting because of how much I want to talk about this.

Prepare yourselves for the most incoherent train of thought and line of consciousness you will ever experience.

FILLED WITH SPOILERS READ AT YOUR OWN RISK. YOU WILL NOT UNDERSTAND UNLESS YOU HAVE SEEN THE MOVIE.

Before I start with my actual thoughts, however, I'll state my personal feelings about the movie, because I feel that matters too, and this is my post anyway so! But I personally left the cinema feeling somewhat mellow. I was not insane about it yet. It was,,, "meh". The impression of the ride was great; I was giggling along with the funny and even sometimes not purposefully funny moments, I enjoyed the animation to the point I would genuinely flap my hands in excitement at how good it was, I understood the story in great lines by noticing small details and going "oh so does this mean x?". But I did not cry. Not a single tear during or after or before the movie. I did not waver with my opinion on it as I rambled about it to my friends online and irl, much to their annoyance. I did not hesitate when I put it in my silly little Studio Ghibli movie tierlist maker that I update whenever I watch another one of these films together with my friends, categorized (in)discreetly under "all vibes no plot but there's a witch/wizard". I still don't, in fact.

So, given all of this, you'd probably say that I disliked the movie. That I would not have so much to say about it, after doing my mandatory ramble and update. Wrong. I still have more to say, somehow.

Despite that, I didn't rewatch the movie itself. I read an entirety of one (1) review of it, together with one (1) random video essay of 8 or so minutes, covering the basics of it. I reblogged one (1) post about its protagonist on tumblr and otherwise kinda read through the rest of the posts on here. I did not re-experience or re-examine this movie again. I cannot (again) accurately reference anything besides that what I vaguely remember from watching it a day or two ago. It's not playing anywhere near me anymore/not out anywhere else yet, so really, I don't even know what possessed me to write about this, or even say anything. The most fascinating thing (to probably all of us here) is; what made me change my mind about it?

It might've been the review on IndieWire. David Ehrlich and his well-written review, bringing things into much needed context as to why this movie was created. It could've been the fact that I've actively processed the movie better, now a little bit of time has passed. [Honestly it deserves a second watch/view for something more concrete, but I'm repeating myself with this, you get it.]

But I don't even really understand it myself. I felt and still feel so detached from this movie in a sense. I appreciate the artistry that went into it, and I adore the way it simply tells the story and leaves it up to interpretation. It references every single film Hayao Miyazaki has ever made before, and elements of other Ghibli films can probably be found in there too, if you looked hard enough. The vibes were similar to those of Spirited Away, and Howl's Moving Castle, given how inexplicably fantastical the world was. It just existed and breathed, and we as the audience jumped straight into it. We never got more exposition than what was needed; honestly I have a feeling that the second half of the movie was the vaguest piece of media I have ever consumed in my life. But it also had this perfect balance of the more drama-focused Ghibli films. The Boy and the Heron, in my opinion, is like the golden middle between reality and fantasy, both in terms of its narrative as well as comparison between other Ghibli movies.

This might also be the reason why I felt confused. The lines between reality and fantasy were so effortlessly blurred, that you could only process a singular picture. And when things are vague to me, I constantly need to pick them apart and analyse them, simply to satisfy my own curiosity.

The moment before I stepped into the movie theatre, my friend who watched along with me told me they heard it was a film about grief. I nodded along and said "yeah, okay, that just means it's another one of many Hayao Miyazaki and Ghibli films. Most of them are about some kind of loss, and dealing with it, either way." I sat down together with them; row 9, chairs 17 and 18, with my two bottles of water (one carbonated, one stilled) and the bag of terribly sour packaged chocolate pretzels I bought at the theatre itself. Horribly overpriced for the quality, I must say. My friend held onto the popcorn, and we sat through the ads, talking and laughing, anticipating something that was supposed to blow us away.

I cannot speak for my friend, but I think they really liked the movie regardless. They didn't cry at it either, even though we both know of each other that we always cry at such things. Somehow this movie evoked a certain stillness in us both; a stalemate between emotions and confusion. Maybe delayed processing. Maybe something else entirely. We both, or at least I, hid it until later.

It was midnight, and right before we stepped on our train home, I was excitedly going on about the references and animation, the things I did appreciate. I bragged a bit about how I recognized Kenshi Yonezu's voice in the final credit song that we didn't get to listen to entirely, because it was so late and we had to rush to get home. They laughed at me and told me to take some time to actively formulate any coherent thoughts on it. I disagreed (lovingly and jokingly of course), and we left it at that.

In the train itself, the same high dimmed into a simmer, the excitement replaced with contemplation, and I kept talking.

I told them: "I believe that this truly is his last film. This felt like a goodbye." And in return, they replied: "It's crazy how this is the last time we'll ever get to live in such a moment. The release of the final Ghibli movie in theatres.

"I'm glad we got to go."

I was too.

I got home, rambled about the intrinsic way The Boy and the Heron referenced other Ghibli movies to my online friends who had yet to see it. Followed by a heated tangent about how When Marnie Was There truly could have had better direction in regards to the narrative, as well as how Only Yesterday was the most boring out of all Ghibli movies. It was a nice night. I didn't think about the movie again.

The following morning, I contacted other friends, who told me about how Robert Pattison voiced the Heron in the English dub, which I hadn't seen or heard at all. He did a great job, judging by the trailer. This led me to another opinion, namely the video essay (I will try to find it and put it in the notes later if you are curious), which claimed something similar to this (of course, paraphrased):

"This is a farewell. The one true movie to tie such an expansive career. It is another movie where you are allowed to explore the magical together with the main character, while sticking close to the processing of it all."

The review I read said it was a swan-song, that it was the question and title of the movie in Japanese, posed at us, after The Wind Rises left it open to interpretation at the end of its run. That this was a story about the legacy that Miyazaki is leaving behind, how reality and fantasy coexist together, possibly influencing each other (not explicitly said but what I interpreted that review saying, so no this is also not completely like this).

Other tumblr posts I've seen on here say it was a film most likely dedicated to his son, Goro Miyazaki. That it was a gentle "I'm sorry, the shadow I leave behind is huge. I know that you will try and fail to fill it. It's okay; you don't have to. You can leave it behind. It's alright if this legacy dies with me."

Some other sources I've seen compare the main protagonist to Miyazaki himself, trying to grapple with the ending.

Yet somehow, all of these interpretations seem to fail to explain the entirety of this movie. The bigger picture if you will. These themes and moments and interpretations are not wrong, but to me, they're not satisfying enough.

Because maybe I am the only one who actually was insane about this moment, but I will never forget the delivery room scene between Mahito and Natsuko. How Himi addresses the magic stone, pleading to let the two go, saying "Natsuko and the boy who is to be her son". (Again, paraphrased, I cannot remember the exact line.) Maybe I am the only one who witnessed the whimsical fire witch and the going back in time plots and the fact that a younger Kiriko and Himi were there, already part of an ecosystem. How we already know from the other grannies in the house that Mahito's mother disappeared once for a whole year into the tower, and then came back the same as before. How the pelicans were BROUGHT there, that they did not belong there, and yet were forgetting how to fly. How they ate the Warawara, these creatures that were rising above to be born in the upper world. How the Heron's weakness was his 7th tail feather (or something along those lines), and how the fish and the frogs chanted for Mahito to join them in the tower. That the great-great-uncle was hoping for Mahito to succeed him and build a new tower, yet the king of the parakeets butted in and haphazardly did the job, resulting in it immediately toppling over, as well as the stones getting cut.

I think about the final scene where the Heron says "It's best to forget. Do you have any keepsakes?" And Mahito shows not only older Kiriko's figure, but also a piece of the stone paths they walked upon in order to get to the centre, the beating heart, the magic stone and his great-great-uncle.

How this is taking place during a war, that the timeline goes from his mothers death that Mahito cannot get over, to the welcoming of his stepmother and his new younger sibling. Them moving back to Tokyo. The way the tower completely collapsed. Completely and utterly collapsed and perished; not even a trace of it left behind. The way that older Kiriko keeps yelling it is a trap to Mahito in the beginning, but that both he and the Heron know. That it is inevitable to tread this specific path. That he must see for himself, whether his mother is truly alive. The way she both was and wasn't; first a mirage of her older self disappearing into a puddle of water, and second a firey spirit of her younger self coming to help Mahito. The way that he reads and cries at the book she left him, the way he hits himself with a rock after his big fight with his classmates; the way Mahito in general drowns consistently in the beginning of the film. He drowns in the fire that he lost his mother in. He drowns in the mud and the dust when he tries to enter the tower at first. He drowns in his dreams, in his tears, drowns right into his quest to find Natsuko (straight through the floor, by behest of his great-great-uncle), drowns in pelicans trying to eat him, nearly drowns in the actual sea until younger Kiriko fishes him out.

Now these things may seem like me just randomly naming shit that happens in the movie. Hopefully in a slightly poetic way, possibly. I could go on and on about the imagery, truly. But my point is, this movie may have been Miyazaki's last movie, his way of closure, his way of speaking to his son about his legacy, his way of describing the grief of losing his mother (idk if this is autobiographical or not. It very well may have been), yet...

Even so, it doesn't really fit the entire picture. It feels incomplete. The analyses always focus on the true meaning behind this movie, what happens behind the scenes, this one key climactic moment between Mahito and his great-great-uncle. But that's as if you would ignore the rest of the movie in general. As if the fantastical aspects weren't there to abstractly tell a story besides just being a symbol of closure for the person that directed it.

Personally, this is a tale of rebirth. Of losing yourself, and then rediscovering yourself in a way. I associate it with my own personal loss of my grandfather; the family member I felt closest to out of everyone.

The way you look back at such a traumatic stage in your life, something that irrevocably changed you for good, something that you probably don't ever want to relive again, but also mustn't forget. The way you instinctively are afraid to learn about who the person you love and grieve was, before you were in their life.

To this day, I still cannot speak to my mother about whether my grandfather had a favourite song before me forcing him to sing along with my favourites. A favourite book before he read out bedtime stories to me tirelessly. Who the boy in him was, and what wisdom and life lessons he carried on, into his grave, into the hearts of his children.

This movie depicts so much more than just grief, it's so much more than just legacy, even. It directly reflects the way I know I would have felt had I dared to actually see things for myself. If I actually dared to go through my grandfather's old things; the books he wrote and dedicated to me, the books he read when he was young. This movie depicts not how to live, but how to live on.

And the only way to live on is to move forward. To look at the foundations upon which it was built, to evaluate whether you truly want to have this be your burden to carry for the rest of your life. Mahito's abstract grief in regards to his mother, and the solace he finds in the fact that he at least knew who she was; that he at least had her in his life as both his mother and the girl that his stepmother knew, that at the very least he knows his mother would do it all over again, if she could. That despite everything, she did not regret a thing, and that she was not afraid. That somewhere, in the past, she lives on, happily marching toward this fate, because she knows that Mahito will be there to meet her again in the future.

And Natsuko, god, she worries relentlessly about whether Mahito will accept her. She worries to the point she yells at him, telling him that she hates him and his existence, because he rejects her so coldly and yet still bothers to show up in front of her during her most vulnerable moments. That he only takes and takes and takes; he steals her cigarettes in order to learn how to sharpen a knife from one of the servants. He uses those techniques to create a bow and arrow, a weapon. He gets into fights at school, he gets gravely injured on the side of his head, leaving a lasting scar.

If I were in her shoes, I would be furious at him too. Especially if he walked straight into the delivery room, trying to drag me out of bed while I was doing my damn best to keep the other child in my belly alive.

That scene, that sheer rage, and the way it ALL FUCKING SUBSIDES the MOMENT Mahito accepts her and calls her mother. The moment Mahito understands that through the literal whirlwind of plasters, things used to tend to wounds, none of those pleasantries/guards will truly allow him to reach her. The way he tries to nurse his own wounds, as well as try to nurse hers, over the loss of their shared connection (Natsuko's older sister, Mahito's biological mother), will NEVER allow him to make a connection with her. By being careful, by being polite, he will never get to be her son.

And he realizes, in that moment, that he wants to.

The magic stone tries to stop this. The magic stone dislikes disruption; dislikes things changing, dislikes breaking traditions (the taboo of entering the delivery room). The parakeets in the tower flourish because they follow the magic stone's whims more or less. They agree to follow its rules, even if it means they are prone to its abuse, because it gives them an advantage, a place to stay. The pelicans have to eat the Warawara, because there is no other food available to them.

The way younger Kiriko says "you reek of death", and how they establish this place is mostly made up of death and dead people. Dead people, or dying people, creatures that are begging to survive another day. Creatures that are begging to be reborn. That want to change, that wish to fly once more.

My mother once gave me a poem dearest to her heart. We have always been a family filled with literature and stories, but my mother was always the best at both writing them and reciting them. She used to read them out to me, back when I was in a particularly bad spot mentally, to the point I could not get out of bed for weeks on end, to try and reach me. She read with the sincerest passion in her voice, a small plea to get me back to the girl I was before.

I cannot explain or remember the poem by heart, but once I was at my true rock bottom, she told me to look it up. A Serbian poem, written by Miroslav Antić (I will add the name of it later), that was about growing up and growing into your own person. It made me weep, for it had a phrase I think I can only translate to this:

"Run and don't look back."

Somehow, whenever I look at all of these birds and creatures in this fantasy world, trying to fly desperately, trying to get to the skies, trying to get to even live, and think about the fact that the only way they can is by leaving this place. That the only way they can fly and survive as themselves is by leaving this tower, this stone, this foundation. By leaving and being born, by leaving and being reborn.

And, after all of this. Somehow I'm not even done yet. I haven't talked about the great-great-uncle in depth, nor the king of the parakeets, nor the heron whatsoever. I have not yet even touched upon what I might think the magic stone is, and the sheer amount of like symbolism I picked apart in my brain because of my insanity.

I'm probably not the only one who noticed these things. But so far I haven't seen anyone actively share these things, so, I will do my best to continue and genuinely wrap it up as best as I can. So that this can also bring the same amount of closure as the movie does.

The magic stone is like a shooting star that came onto the earth. It realizes dreams and worlds of whoever dares to walk into it and claim to own it; like how Mahito's great-great-uncle got obsessed and built a tower around it, caging it, taming it. And yet he still had to play to its whims, consistently making sure his own tower of blocks did not fall, that all of his work did not amount to nothing. Personally, I do believe the great-great-uncle could represent Miyazaki himself. That Miyazaki is trying to express how he built Ghibli and that now it has been going on for so long, and it has become unmanageable to continue upholding it. That it is time to retire.

A thing I find interesting and remember pretty well is the conversation between the parakeet king and the great-great-uncle. How they talked about Mahito's transgression, breaking into the delivery room (side note: he broke in and broke through to Natsuko with his mother's spirit. Mahito became Natsuko's son with the blessing of his mother; with the sheer love she had for him being carried on and through), and how the great-great-uncle says something akin to this:

"It is why I wish for him [Mahito] to succeed me."

"I cannot overlook such a transgression."

I feel this is important. It is key to how the great-great-uncle views Mahito in this. Because Mahito was not sent out on this quest to find Natsuko out of pure selfishness. Sure, his uncle would have wanted him to succeed him, but the entire reason WHY he believed in Mahito to begin with, is the fact that this boy was able to break the foundation and the traditions in the first place. Mahito inherently disobeys from the chosen path. Mahito inherently does not believe the Heron when he says that all herons lie. Mahito doesn't waver when the heron flies straight at him, he doesn't sway when the frogs or the pelicans overwhelm him. Mahito stands firm in who he is, even if he is trying to deal with new circumstances. Mahito inherently goes to places he should not be in (his curiosity for the tower). Mahito has enough power on his own to create a new tower, but only by rebuilding it from scratch.

This ready acceptance that the great-great-uncle has towards Mahito's decision NOT to inherit his legacy, is what makes me believe this is what this movie is supposed to represent. Break away from the old, off into the new. Closure. Moving on.

This is also reflected in the sentiment that Mahito truly DOES move on. He goes back to his family, his father, school, he goes back with Natsuko as his mother and a new younger sibling to Tokyo. He returns there where he came from, but he is not the same anymore. He is reborn into a new Mahito.

And god I feel like I'm repeating myself to death here; I really should have thought about the structure of this, but give me some slack okay. It's like 6:30 am already and I'm still not done, despite continuously writing and labouring at this.

So, the tower that immediately falls apart by someone who always follows the whims of a dream (the parakeet king and the stone respectively). God it is just such a momentTM. Because in the end even this shows that the parakeets, too, even though they by far had it the best in that goddamn tower, had to leave. For they could not build something on their own without learning who they were outside of the already established. Outside of just following the rules and all.

They had to leave, my GODDDDD.

As I'm getting progressively more unhinged, we shall move onto the most unhinged character in this entire fucking movie. The Heron himself. God there's too much to unpack here, really, but the truth is, the Heron was supposed to be the guide to Mahito. The Heron was supposed to be Mahito's biggest, most aggressive enemy, the direct antagonist to Mahito's protagonist. The Heron doesn't want change. The Heron tries to bribe Mahito with the fact that his mother is still alive, that he need only enter the tower, and lose himself to illusions and dreams. That fantasizing about his mother being alive won't only drown him more, that it won't just let Mahito sink into the deepest pits of his despair and anguish about such a death, that losing yourself to the belief that something is there when it is not wouldn't only be counterproductive. The Heron masks himself consistently; he says that all herons lie. He says that he only has one weakness, his own feather, that allows the arrow to automatically target him. In essence, the Heron shot himself in the foot beak. He himself slipped up in his mirage world, and came out to be who he truly was, this weird little man with a huge nose and a conniving demeanour. He adamantly cannot disobey the dream, for then his true nature comes peaking out (a small detail I absolutely love is the fact that the Heron's feathers also disappear out of Mahito's hands when Mahito is called back to reality by the grannies. The grannies protect him in the dream world too, by being his tether and support system while he gets over himself and starts trusting Natsuko). The Heron doesn't WANT to be a guide, for in order to be a guide, you must tell the truth. You'd need to know some facts about the world around you and share this information with the ones seeking guidance. This is how I believe Mahito understood the Heron before we did.

It's not that all herons lie; it's just that this particular one does not want to face the truth/reality.

Another interesting detail: the whole reason why only Mahito was able to cover up the hole in the Heron's beak was reminiscent about how only those that called you out can really patch up your old image. Only those that have poked holes in your false narrative are able to fill them back up again, and even then it is not the same, and even then it will not always be comfortable/reliable.

Either way, the Heron, after this wings partially turn into hands, his true nature, is unable to fly all that well for a while. He relies on Mahito's corkscrew thing in order to relish in his comfort zone of lies again. But throughout the movie, the Heron slowly starts to ignore the corkscrew completely; simply opting to stay in his (frankly, freakish) half gremlin man half heron costume form. The Heron changes because Mahito inspired him to change. Even though his image used to be spotless before, and he tried to deceive Mahito, after a while, he stopped doing that. The mutual trust both Mahito and the Heron had grew. The Heron became a person, although his heron-ness would never go away.

The Heron thus warns Mahito that he should want to forget. That he will forget, either way. That this struggle of his to grapple with the reality of his situation, and the fantasy that he was delving into, will become a far-off memory that Mahito should not revisit. The Heron, I believe, is genuinely trying to look out for Mahito.

"Don't dwell in what you have already overcome. Don't revisit the things you have already outgrown."

And this is where the movie more or less ends. Mahito still keeps that stone, and his mother's book, and he goes back to Tokyo; the only crucial difference is that he has overcome his own grief.

Now, I've said this like a billion times now, but this is the rebirth. This is what I think this movie stands for. What it means, at its core. This is what it means to live; to move on and to cut ties with that what has no place in your life anymore. Miyazaki, I think, is trying to give us closure, a final farewell to Ghibli altogether.

Now I don't know about any speculation that he might come back again, and personally, I don't think it really matters. If he does come back, good for him. I just don't know enough to say anything for sure, so I'll just say I cannot say.

Either way, I think, even though Miyazaki conveyed the need for a new start/a rebirth, he didn't really end on the complete abolishment of all that used to be. You are allowed to keep mementos of it; even though the Heron advises not to. Mahito is allowed to reflect upon this experience, to see it as another stone in his foundation/formation, to say that, yes, the spirit of this change will always stay with me, although it has passed.

Just like how Mahito's mom was someone who returned to the past without regrets. She never came back. She was a spirit that pushed Mahito forward, and he will always remember her, but it's better that she stay a memory than become a fantasy.

This is why I'm so impressed by this movie in general. I'm so thankful that I was able to witness this with a friend of mine. I'm glad that I was able to see this, even though my insanity knows no bounds, and the fact that I didn't even think about any of this until I really sat down to look through the options of interpretations.

I'm so glad I got to go. Now it's time to run towards the future, and never look back.

[cream-and-tea]

yknow i talk a lot of shit about pallas but i WILL say that everything they add to the character relationship web is absolute GOLD truly no one is doing it like them. mutual dependence and obsession and maybe even tenderness forming w their narrative foil/fellow protagonist until their character arcs become inextricably linked. hamlet n hortatio dynamic w their deadbestfriend. You’re Just Like Me For Real (derogatory) gayass rivalry constantly happening in the background. You’re Just Like Me For Real (affectionate) tragic attempted mentorship also happening the background. they have mommy issues from a character that isn’t even technically related to them.

[serpentinegraphite]

OP is absolutely correct on all counts (I mean, it's not that uncommon irl for two siblings to have drastically different opinions of their parents), but I want to add another angle. An excerpt from prev tags by @ragnarokhound that really highlight something important in the good/bad dad Bruce debate:

#whether bruce is wrong or not often depends on who we're supposed to be in the shoes of#but regardless of all that op is making a great point about how a man can do both#he can be a great dad in some ways but a shit dad in others. one hug doesnt outweigh all the bullshit but it also happened#and i really think the point about comic writers thinking its okay to hit adult sons is just#oigh. oufgh. ouch#like you can make excuses for the genre. its a beat em up superhero bang pow wham. these are men of action and thusly talk with their FISTS#but thats fucking bullshit lmao and always has been. even in this genre there is a distinct difference#between using a sparring match to add action to a scene and oomph to an argument#and striking someone out of anger.#and like. you cant have it both ways. if you tell me bruce and dick are father and son then when bruce hits him--#he is hitting his son. just because they are violent people that does not erase the weight of that action#batman as a franchise is so interesting to me because it exists in this strange limbo between wanting to be for adults but also for kids

I cannot emphasize enough: I really think the genre and intended audience of the Batman work in question is huge in determining how good/bad of a dad we're supposed to see Bruce as.

E.g., a lot of the campy older Batman stuff is aimed at families/kids. The Animated series also obviously targeted at children. So these are eras of works more likely to handwave Robin getting into fights because Robin is the audience expy. Children are meant to relate to Robin, and Batman is set up to be a Hero first and foremost.

In contrast, darker eras of comics and movie adaptations emphasize what kind of adult lets a children do vigilante crimes and fight strangers in a mask? and takes that question to its logical conclusion. (I think it's also relevant to point out that a lot of the edgiest Batmedia came out in the 90s-00s, an era of media that really leaned into edginess overall for a while.)

The baseline genre conventions of one's preferred canon drastically impact how good/bad of a dad Bruce seems! (WFA and BTAS being at the top of the Very Dad scale and UTRH era and esp some of the Tim comics being at the other end of the Very Bad scale).

Reading Bruce as a flawed but nuanced character is kind of the only way to meaningfully reconcile such drastically different readings of the character.

There are vast amounts of people on the good batdad/ bad batdad debate completely lacking nuance because no one seems able to grasp the idea that a parent can be loving and protective of their children and still do other shit that is questionable or straight up unacceptable. On one half you have like tiktokkers or whatever who take “bad dad Bruce” and run with it and act like he’s the devil incarnate and make up scenarios where he’s like selling Tim to one direction or some shit. And then on the other half you have people who see that and go “no you’re wrong he’s a great dad” and show a panel of him being nice one time as if that negates all of the numerous canon instances of Bruce’s being certifiably insane to kids. He isn’t awful all the time but that doesn’t mean he’s never been awful. Another thing this conversation neglects to take into account is that they don’t all get the same dad. Dick’s experience is different from Jason’s/Tim’s/Cass’s/Damian’s. Bruce has never hit Damian because comic book writers think it’s only acceptable for him to hit his adult sons!!

[carolinanadeau]

Embarrassing, ridiculous TMI under the readmore (not gross! just way too personal!)

I do not have PTSD and I don't want to be a part of the "flippantly using the word 'trigger'" problem at all, but I think I finally found a proper name for this harmful behavior I've wrestled with since at least high school, and it's called self-triggering.

Again, I don't have trauma... well, everybody has some trauma, but that's not the thing I'm triggering myself about here. And if I explained what I had actually been doing to myself (which may be obvious to someone who's reading between the lines but I don't want to talk about it for reasons I've stated before), it would sound laughably, mockably trivial. But the results are still an acute increase in depression and obsessive negative/angry thinking and distress and alienation from something that usually gives me joy... so it's still harmful to me, no matter how stupid and frivolous it sounds. Perhaps it's an OCD/depression self-triggering instead of a PTSD self-triggering.

I reiterate, what I'm discussing is not trauma, not EVER claiming it is, but:

In a similar vein, one set of case studies (De Young, 1984) conceptualized approaching situations reminiscent of the trauma as “counterphobic behavior” (i.e., an attempt to master anxiety by repeatedly approaching its source, resulting in a greater sense of control).  

I understand this, the "maybe if I keep looking I'll become desensitized", and "I need more information so I can better avoid this thing and people associated!" Or even "well maybe it wasn't really that bad, maybe I'm remembering it as worse than it was" (I'm not, if anything I've forgotten just how bad it was!)

Likewise, if trauma survivors perceive reexperiencing symptoms as inevitable, they may wish to decide the time and place of their occurrence, affording them a sense of control.

...is that the irrational "gotta get it over with" compulsion??  

Alarmingly, many users also report being unable to stop this behavior once they have begun despite the dysregulation and distress that it causes.

This is how it goes: I will read or even just skim through something that causes me serious emotional distress, whether that is a fanfiction with something horrible happening to characters I find comfort in, or a really nasty article full of harsh, baseless criticisms of something I love so much. (Again, these things sound laughable but to the way my mind works, it is not. Though I also do something similar with actual bad memories from my life [I think everyone does], well, you can't "reread" or refresh those. And I also have the power to delete/destroy any physical records I have of those.)

So, I will vow to never ever let this wretched thing enter my eyeballs again. I will ruminate about it and quietly seethe about the fact that it exists, and that some people even like/agree with it! I won't be able to get certain upsetting phrases out of my head and I will obsess and it will ruin my enjoyment of related things whenever I get reminded of it.

Maybe I will find ways to block or blacklist to lower my chances of seeing it. And I will be very vigilant about this for a long time and will successfully avoid it, even if I see reminders here and there that make me mad. Slowly, I'll only remember a few specific sentences from the thing, and even those may be unclear.

And then I'll suddenly develop the belief that I "have to" look at it again for some reason, and my heart will start pounding as I start bracing myself for this "inevitability".  And eventually the irrational, self-destructive side will win out and I'll do it, believing that it's like ripping a bandaid off for the greater good. Gotta get it over with, you see. I'll only glance over it, of course, because this time I already know how bad it is - I'll just read a few sentences here and there on my way to do something "sensible" like block the url or check who liked it so I know it wasn't my friends - but it will be enough to make me feel like absolute shit for days again, and now I have these fresh memories in my head to contend with and the cycle of trying to forget these bad bad thoughts and be able to freely enjoy the thing I love starts all over again.

and that's what you missed on Glee!

[koobiie]

bestowing my highest honor as an artist to ffxv (drawing the characters in fun outfits)

thoughts under the cut

RREAAAGHHHH SO EXCITED TO BE DONE WITH THIS!!!!! it took me forevarrrr but i soldiered through as an act of love. now excuse me. yap time

OKAY SO the concept behind this was originally specific fashion subcultures for everyone!l ike noct emo ignis dark academia etc. but then decided i didnt want to pigeonhole it all and just freestyled outfits i thought would look nice on everyone

noct - i do think noct would still be emo-ish but also opt for comfy baggy stuff a lot. something you could just fall asleep in on the spot. note the details of bass pro shop shirt (of course) XV necklace, little moon + stars accents, carbuncle + fish keychains. i also wanted his metal band logo shirt to spell LUCIS but i forgor some letters but its not very readable anyways

ignis - ignit ooohghh ignos ignaurs. sorry i made him serve so much cunt it will happen again. i drew him first cause that kind of inspired this whole thing i love him so bad if i didnt draw it id explode. not much detail to note except his collar pins are like his double blade thingies

luna - lunaaa the concept was “clean girl aesthetic” idk if that happened but im actually really happy with how it came out! might be my favorite of the bunch just because she looks so pretty and happy. your honor she should have been able to just be a normal girl and just. chill

prompto - prompotoooo i had trouble picking his vibe!!! my first thought was techwear?? because weeheeeehee he loves tech and well... you know... but then i realized i didnt really like the look of anything i saw + it was so bulky and dark and serious for him! ending up going with some more youthful and baggy. i was considering something more loud and colorful but ended up not going with it. i feel like in canon he'd be too nervous to have such a flashy fit and would want to just look "cool" to fit in with the boys lol. itty bitty details here - chocobo keychain, pompompurin and bi miku buttons, and his lanyard is kings knight themed! i also thought it was funny to write LUCIS on his shirt like you know those shirts that just say BROOKLYN or TOKYO or SAN FRANCISCO and thats it. thats what its like

gladio - okay i know this is going to sound like a lie but im not horny for gladio like at all, hes my least favorite, i think he's just alright. but also i KNOW in my heart of hearts that he would LOVE being a leather daddy and so i had to make it happen. main detail to note here is that his tank top has the motifs of a cup noodle! i didnt know what else to add cause you know.. hes the cup noodle guy.. but also i didnt want it to be so in your face about it with a big as logo so kept it subtle!

(side note the leather daddy gave me an idea for a post where its like noct and prom go to a gay bar all nervous but then they run into gladio and its like "p: GLADIO YOURE GAY?" "n: nevermind that PLEASE dont tell ignis we snuck out" and then ignis walks up and theyre all like WHAT THE FUCK!!!! caption would be "the gang finds out theyre all bisexual." probably wont draw it but i think its very funny lol)

iris - iris my sweetheart.... definitely leaned into the scene vibes here and also that one image of the blonde emo anime girl. details here - of course the moogle big ass backpack and keychain (can you tell i love keychains), but also her buttons are an iris (the flower) and also a crown with hearts (haha symbolism)

anyways oh god i didnt mean to write an essay down here. usually i keep this in the tags but this time i just had Too Much To Say. can you tell i put a lot of thought and love into this . anwyays. *walks off into the sunset and fuckig dies*

[nereidprinc3ss]

relax

in which spencer helps university student reader de-stress after a particularly exhausting assignment

18+ (smut) warnings: fingering, overstimulation, happy crying, lowkey softdom spencer, slight d/s dynamics, reader is referred to as a girl, ????idk i've never had to tag for smut before lols wc: 2624 a/n: been doing some insane literary cooking. lots of smut AND more fluff in the works (all uni reader... lol... ). idk if i love this but again need to fucking get it out of my word doc so here u go, PLEASE lmk if you like it!!

You don’t even realize the room has gone completely dark until Spencer comes in the front door and flicks on the light. 

“Why did you do that?” you snap immediately, looking up from your laptop screen for the first time in potentially hours, blinking hard as your eyes painfully adjust. Your boyfriend gives you an odd look. 

“Hello to you too...” 

“I’m sorry. Hi. How was dinner?” 

“It was good,” he says, crossing the room to the couch that has been your entire world for the past five hours. You sigh, releasing some of the tension in your shoulders when he leans down to kiss your head and set down a to-go box on the coffee table. “Have you moved since I left?” 

“...no,” you admit, moving your eyes dejectedly to the keyboard.  

“You made progress,” he appeases, leaning over you to angle the laptop upward. Immediately you wrench it away, holding it protectively against your chest. 

“Stop! I don’t want you to read it yet!” 

“I could help you with it though,” he pleads, bracing a hand on the arm of the couch. You look up into his hazel eyes, where he’s definitely playing up the puppy dog factor. His tie brushes your stomach, and he smells like lavender and clove and-- 

“You need to go away,” you realize, snapping back to reality and shrinking into the couch, away from him—trying to escape his all-encompassing sensory presence.  

“Wh- I just got back!” he scoffs, straightening. 

“You’re distracting me,” you accuse, throwing him a baleful look. 

“I’m literally offering to help you.” 

“And I’m respectfully declining because I care too much about your opinion to show you this essay until it’s less terrible. I really just need a couple more hours to finish it, please?” 

Spencer sighs, regarding your pitiful state before moving to sit down next to you. Automatically you move your legs out of the way before settling them in his lap and damn it he’s supposed to be going away. Your iron grip on the laptop involuntarily loosens a little as his hands begin to run back and forth over your legs. No—you must stay focused.  

“Spencer,” you whine, flopping your head back. You let the implied complaint hang in the air. 

“You’ve been writing all day. Your brain is exhausted, and your synapses aren’t firing at a rate that is intellectually productive.” 

“What is the point of having a brain if I can’t even use it half the time!” you almost-shout, pressing the palms of your hands into your eyes until you see fireworks.  

The couch shifts and you feel the warm, robotic weight of the laptop unpin you as Spencer lifts it from your lap. “Don’t read it,” you beg, watching through parted fingers as he sets it on the coffee table, and relaxing slightly when he settles back into the couch.  

“Come here,” he says, holding out an arm. Too mentally exhausted to do anything but comply, you pull yourself up just enough to fall into him. Immediately he wraps his arms around you, one hand slipping under your shirt to rub your back in hypnotizing passes. “I think you burnt yourself out,” he mutters. 

You nod into his shoulder, surrendering yourself to his warmth, letting yourself sink into a lavender-clove fog, wanting nothing more than to dissolve into it. The darkness behind your eyes glows an inviting amber, threatening to pull you under...  

But the essay... 

“Stop thinking about the essay,” he demands. 

“But I have so much to do,” you sigh against his jacket, the words coming out muffled. 

“The best thing you can do now is give your brain a rest. I promise you you’re not making that paper any better if you’re exhausted.” 

“I am not exhausted,” you insist, although your eyes are still closed, “I’m just really stressed.”  

Spencer hums, continuing to rub your back.  

“Do you need me to help you relax?” he says innocently. 

Oh? 

One of your eyes opens to peer up at him suspiciously. He sweeps some of your hair out of your face. 

“Because I would be happy to.” A moment passes—him looking down at you fondly; you wondering if you’re picking up what he’s putting down. 

“And how would you go about doing that?” you ask suspiciously. 

“Orgasms reduce tension and stress and improve brain function.” 

Damn. Why did the nerdiest, most un-sexy pickup line ever just turn you on?

You groan, burying your face further into his shirt—mostly to hide any trace of a blush. 

“You know what else would reduce stress and improve brain functioning? Taking an Adderall and finishing my fucking essay.”  

“Angel, you're such a smart girl, and you are fully capable of doing whatever you set your mind to—but I will lock your laptop in my gun safe before I let you look at that essay again tonight.” He speaks so softly, and his fingers are still gently combing through your messy hair... all in all, you put up a good fight, right? Maybe you should just listen to him...

“... fine.” you say eventually, reluctant to give in too quickly even though the idea quickly has filled your stomach with butterflies. 

“Fine?” he says, pausing his motions as you turn your head just enough to look up at him. “Sounds like you don’t really want it, baby. Maybe we should just go to sleep. Or I could take you back to your-” 

“Spence,” you whine, gently grabbing the front of his shirt. Now he’s going to make you beg? As if it wasn’t his idea? Those puppy dog eyes of his are deceiving. 

“You’re gonna have to do better than that,” he sighs, hand moving from your hair to your outer thigh. 

“Please?” you whisper, dignity forgotten as you look up at him imploringly. 

“Lean back, sweet girl,” he says, helping you adjust your position til you’re lying against his chest, legs sprawled across the couch. Your head lolls on his shoulder, intoxicated by his close proximity. “Perfect. Such a good listener.” 

Normally, you’d be quick to make a defensive remark, but with the way he’s slowly hiking your shirt up, running his hands over your sides so lightly it gives you goosebumps—you're really in no position to argue. Your eyes flutter shut as his hands grow bolder in their explorations, crossing your stomach, fingers just slipping under the waistband of your shorts and skimming over your hipbones before coming back up. 

“Does that feel good?” he murmurs, and you nod lazily, apparently losing access to your language facilities after running them dry all day. Unfortunately, that doesn’t seem good enough for your boyfriend. “Do you remember when the last time I touched you like this was?” 

Through the hazy blur of your exhaustion, you try to think back. Was it... two days ago? Three? More? 

“Almost a week ago,” he supplies the answer for you when you take too long. What? That can’t be right. 

But when you think about it harder... it is right. It was right before finals week started.  

An errant hand straying up your torso distracts you. “Do you remember what I did?” 

You flush. 

“You... yeah,” is the best you can offer, too flustered to say exactly what he did to your body. That stray hand moves over your breast. Your back arches just slightly at the stimulation through the thin fabric of your bra.  

Thankfully, he lets you off the hook.  

“I made you cum three times, right?” 

“Mhm,” you hum through closed lips, tense with anticipation as he finally slides both hands down to your shorts and wordlessly directs you to lift your hips so he can pull them all the way off along with your underwear. 

“You’ve been so busy lately, huh. Working so hard.” 

You unconsciously drop your bent legs open, brain too foggy to be insecure about how utterly bare you are—allowing him to slowly rub up and down your inner thigh. 

“I’m gonna make you feel good, honey. I don’t think three times was enough for such a stressful week.” 

You gasp when his fingers finally brush your clit, whimpering slightly when they just barely skim your entrance before tracing the wetness back up.  

“Give me your hand,” Spencer says, taking his own from between your legs and holding it up. You don’t even think about it, releasing your grip on the arm he now has wrapped around you and holding it out for him. At this point, you’d do anything he tells you to without hesitation.  

He takes the proffered hand, gently guiding it back between your legs. Your fingers meet slick, soft warmth. “Do you feel how wet you are?” 

“Yeah,” you breathe, seeing how your fingers glisten when you pull them away. His remain, running slowly up and down your clit. Your brain seems to be vibrating in your skull as warmth spreads throughout your body. 

“Who’s that for?” 

“You, Spencer,” you whimper. He hums in approval before the room falls into silence as you both watch his teasing intently, your breath baited as you try to be patient. But your body isn’t with the program, you keep twisting slightly, your hips cant upward. “Please, please,” the words escape on a held exhalation as you finally break, arching your back against him as your search for more friction.  

Without warning, he sinks two fingers inside you. The slight stretch after not having taken anything in a week scratches an itch you didn’t even know you had, and you let out a broken moan. 

“I know, honey. You’re so good, I know.” Spencer kisses your head as he speaks over your cry, barely moving his fingers for a few moments while you get comfortable. 

Still you’re not ready for it when he withdraws and pushes back in. 

“Look at that,” he breathes. 

“Oh, fuck,” you choke, watching how your arousal completely coats his fingers as he slowly, slowly begins to fuck you with them. 

Again you feel the vibrations in his chest as he laughs slightly—probably at your earlier insistence that you didn’t desperately want this. The laughter fades as you both become entranced by the sight of his fingers disappearing into you, and your stomach twists with pleasure. His pace remains languid, and he seems to delight in the filthy, wet sounds his hand is producing between your legs.  

“You okay, baby?” he asks after a moment, seemingly snapping out of some trance. 

“Uh huh,” you whimper. One particular drag of his fingers at just the right angle has you dizzy, and then he’s speeding up. Your jaw drops at the change in pace and your hips chase his hand, wanting even more. 

“So pretty,” he mutters as his other hand moves to spread you open.  

You attempt to shut your legs around his wrist, but instead he just ruts his fingers deeper into you, palm pressed against your clit. You attempt to twist away from the extreme stimulation, but he doesn’t allow it. 

“Too much,” you squeak, bucking your hips inadvertently. 

“No it’s not,” he states, like you’re talking about the weather. 

“Spencer, I really c- ah- can't!” 

“It feels like a lot, huh?” he asks soothingly, not letting up one bit. 

“Yes!” you cry, eyes stinging as tears begin to well. 

“You’re okay, angel. It’s just been a while.” 

You are so completely fucked. Each stroke of his hand feels like an electric jolt through your whole body. It is too much, but at the same time, pleasure is pooling deep in your stomach and at the base of your spine and you never want him to stop. You throw your head back onto Spencer’s shoulder, eyes screwed shut.  

“Relax,” he mutters, carefully bearing down the pressure across your waist with his arm to try and keep you from squirming. 

A rhythmic whine breaks through the barrier of your sealed lips as you focus all your energy into taking it, when the all-consuming need to kiss him hits you. You twist your neck to look up at him, observing the furrow of his brow and the way he’s tucked his bottom lip into a bite. Thankfully he notices your movement—his eyes dart from your own half-lidded gaze to your lips and he understands what you want. 

The kiss is messy and the angle is awkward and you’re moaning into his mouth half the time anyway, but it feels so good to have his lips moving on yours that you don’t care about any of it.  

“I—ah,” you cry into him, unable to form a coherent thought as your stomach drops like you’re mounting the peak of a roller coaster. 

His fingers again change their angle and he finds the spot inside you that makes your legs spasm. Attempting to hold in whatever noises you were making is now futile—the whimpers and pants turn to full-fledged keening moans interspersed with taut silences as you fail to breathe properly.  

Your wrench your gaze and lips away from Spencer to watch through a blurry haze the rapid movement of his hand between your bare legs, the way your hips buck and twist and the way your leg bends as he hooks his free hand under your knee and hoists it toward your chest. 

“You’re doing so well, honey. Being so good for me.” 

Moisture spills over from your eyes, tracing down your cheeks and down your neck as you begin to come with no warning and a desperate, broken cry. 

A string of praise from Spencer underscores your pleading moans, but you can’t focus on anything other than the buzzing warmth emanating from your core, the bright, pulsing white that blinds you and the feeling of stardust flowing through your veins. 

Your boyfriend continues pumping his fingers slowly in and out of you for a blissful few moments, before sensing the tail-end of your orgasm and bringing his fingers up to rub lazy circles over your clit. Aftershocks resonate from the hypersensitive area and make you clamp your legs shut around his hand as your toes curl and you attempt to squirm out of his grip. 

“Done! I’m done,” you squeak, rocking your hips back and forth to try and escape his toying. 

“Okay, okay,” he soothes, relieving the pressure of his hand between your legs and moving it to run over your stomach as you come down. 

You lie in silence for a minute, enjoying the liquid sensation weighing down your muscles and basking in the warm afterglow of your orgasm.  

“Shit,” you breathe shakily after a moment. Spencer chuckles. You manage to turn yourself over, laying your cheek on his shoulder and slipping your arms under his waist. He looks down at you as he moves on to massaging your back and bare hips, eyes full of warm adoration.  

“Feel better?” 

You hum an affirmation, wiping your eyes on his shirt. 

“Oh, honey, did I make you cry?” 

You laugh into his chest and nod, a few stray tears leaking from your shut eyes. “It’s okay. Not sad tears.” 

“What kind of tears?” 

“Orgasm tears,” you mumble, a tidal wave of exhaustion you’d been fighting all day finally washing over you. 

“That makes sense. Orgasms can be cathartic or even therapeutic depending on your head space. Major losses and life changes are often associated with sexual dysfunction but the opposite is actually just as if not more common. A spike in libido can—” 

Spencer pauses, looking down to see that you’re either asleep or close to it, and smiles to himself. You’ll probably be mad about it when you wake up, but he had to get you to stop thinking about that paper somehow. 

[nobodyfamousposts]

Scarlet Lady Top 10 Favorite Characters: Number 10

For @zoe-oneesama

Okay, I realized as I was writing these that there is way way WAY too much to each of these and why to be able to put them all into one post, so I'm breaking them down into individual essays focusing on each one to keep them palatable.

So without further ado....

Number 10: EVERYONE

Yeah, I know it may be cheating but at this point it was the only choice I could make.

I came to regret making this list, specifically because I couldn’t seem to make up my mind as far as who all would be on it. I reread the entire series. I kept switching people in and out as I was reminded of characters or scenes I loved. And I came to a realization that there is no character in the whole of this series I didn’t enjoy to some extent that they didn't deserve some love in this list and I kind of wish I could have added all of them just to give them all some spotlight.

Yes, it is partly because everyone is vastly improved compared to Canon. But as I reread the series, it came to mind that if Canon didn’t exist and I didn’t have the comparison between the characters, I still very much would have loved this series and everyone in it.

Cause and Effect Exist

It's important to have a setting in which the characters and their actions make sense for the world they live in. When the setting is supposed to be modern day earth, we need the people to be able to show that they are capable of surviving in it on a day to day basis without being so massively incompetent that they would do something like accidentally ingesting poison. Or forgetting how to breathe.

I would think it would be obvious, but sometimes Canon makes me wonder. Which is never a good look for a show that is supposed to have some level of seriousness and involve superheroes.

Here’s the thing Canon can’t seem to get: when a majority of the things that go wrong in a plot are because of everyone having to be stupid to make the plot work, you have a problem with the writing. Changing the material in a story so that younger people can enjoy it does NOT mean dumbing down the characters and throwing in arbitrary lessons with no real reason to them. Even if the show itself is geared towards kids, you can’t treat the audience like they’re stupid.

In Scarlet Lady, the people aren’t stupid.

Silly, yes. Wrong, often. Overdramatic, definitely. But while they may make stupid choices sometimes, they aren’t so dumb that anyone should have concerns about their ability to function at a higher level than an overcaffinated 2 year old.

They’re fooled initially the way many of us would be with a biased story that hits the news first. Oblivious to the problems in a situation that they logically wouldn’t have much direct insight into. Prone to making mistakes and incorrect judgement the way that anyone would. That's normal. That's expected.

But they’re not so incapable as to forget things that happen right in front of them between one day and the next. Or even between one scene and the next.

Things carry over. We see cause and effect. We see consequences—bad and good. And those consequences extend not only for the episode or season but for the entire series.

Aurore KNOWs Alec cheated her before and maintains a tight control over him and prevents more of his antics.

Adrien and Alya maintain a cold attitude towards Lila for some time after her reveal as a liar. And it even remains a point against her as used by Chloe as herself and as Scar to discount what she says.

The boys of the class remember Adrien’s “love letter to Marigold” and try to win him her merch because they’re bros like that. 

Adrien himself remembers the instances of his dad being a massive prick and instead of being surprised and “sad boi uwuwu” each time it happens like it’s supposed to be a surprise that the massive prick would choose to be a prick, he very clearly moves through the stages of grief to the point of a sort of acceptance that involves planning around and even for him.

Gabriel’s horrible parenting and general lack of concern for Adrien or his wellbeing as he ends up a casualty of various akuma attacks was played off for laughs when such incidents occurred. Then they were brutally called out against him in the Finale as a way to counter his claims of doing everything for Adrien’s sake. And the big reveal of the Birthday Scarf…utilized in the last way anyone would have wanted.

And Chloe is perhaps the biggest example as her antics ARE NOT forgotten or ignored by anyone. The classmates still interact with Chloe and are relatively nice to her, but they don’t just forget that she’s treated them horribly. They don’t act surprised when she does anything horrible. Nor does anyone just laugh it off or excuse it as “just who she is”. We see follow up to her behavior—the class fully expecting her to cause trouble and actively try to plan around it. People calling her out on past behaviors. And even bigger consequences as time goes on. Such as Adrien breaking off the friendship. And a blink and you miss it fridge logic moment in Ikari Gozen when you realize that when they said she was banned from all future Gabriel-involved competitions, they meant it.

The fact that by the time the big reveal happened that Chloe was Scarlet Lady, no one was shocked.

Story-wise, this is showing the passage of time and the effect the events of the story are having. It’s showing that there is lasting impact and that what happens to the characters matters.

Meta-wise, this is Zoe rewarding us for paying attention.

Continuity exists in Scarlet Lady. Time exists. The people exist. When anyone does anything, you get the sense that they aren’t operating in a vacuum. The things they do matter. There are consequences. There is an impact. And if there is an impact in the story, there will be an impact on the audience.

Which leads to…

Character Depth/Character Growth

Usually in TV shows of this nature, if there ARE character arcs for the side characters, they only occur over the course of a single episode devoted to focusing on them before moving on elsewhere. 

Canon didn’t give us that much at all in favor of having every episode that should focus on other characters learning and growing instead forcing Marinette to be wrong in some way and learn an arbitrary lesson that often would have better served for someone else.

In Scarlet Lady, the arcs we get are impressive for all that they’re relatively unobtrusive. They aren’t big. They aren’t world-ending. And the thing is, most change in life isn’t. It can just FEEL that way.

Like the way it felt for Kim when he first found out Ondine liked him and then had his confession to her screwed up.

And the way it felt for Kagami when she lost that first match against Adrien.

Then there’s the way it felt for Chloe when she was dismissed by her mother, had her popularity go downhill, and ended up losing her Miraculous.

…or the way it felt for Adrien when he discovered his dad was Hawk Moth.

The reactions we witness are in a great part due to actions outside of the characters’ control, but are ultimately a result of the experiences they have had and the ways they have changed as a result.

The question becomes: are the characters that we meet at the beginning pretty much identical to how they are at the end? Is the world?

The answer in Scarlet Lady is no.

Whether because the characters themselves change or our perception of them does, we can see that they have all undergone some sort of events that create a difference between the start and end points.

Not all of them HAVE to undergo some big emotional arc. Not all of them NEED to. But the characters still mostly go through some sort of growth by the end that I feel make them stronger and healthier people.

You’ve got the big life-altering changes like Lila and Sabrina.

You’ve got the little changes like Nino and Ivan.

You’ve even got the most minuscule, beginning stages of change in Chloe.

You’ve got growth that creates such perfect setup with Mylene when she starts off scared and traumatized by how things went with Stoneheart then is the one who confronts him in the end. And the parallel between the finale and the beginning when she returns him to normal by kissing him just like they did in that first episode to change him back then, too! (Just….GOD, I CANNOT GET OVER THIS!)

You’ve got them reaching out and making friends and relating to people they hadn’t before.

And by the end of it all, we get characters who feel like people rather than props.

They don’t all have to change. They don’t necessarily need to go through an entire emotional arc and back again. They just need to be part of the world they’re in.

Nino doesn’t just pop into existence when Adrien or Alya need someone to interact with. Kagami isn’t just a non-horrible or non-evil love rival for Adrien or a stepping stool for him to “practice“ at being in a relationship before it’s time for him to try the “real thing” with his endgame pairing. Luka isn’t just a decent guy who is the only actual form of support for the female lead and yet only lacking that precious “male lead” title or all around just not “Adrien enough” to fill the role.

Adrien isn’t just a “sad boy” meant to be a main love interest, Villain’s Morality Pet, and the one everyone idolizes and chases after just cuz he’s the male lead and that’s how you show he’s desirable I guess. Marinette isn’t the atlas keeping the story alive because no one else is apparently capable of learning lessons and changing, or even just the bare basics of functioning as individuals. Chloe isn’t just there to be horrible for no reason and get away with it so she can continue to be horrible until the writers suddenly need her to be sympathetic.

And the rest of the classmates aren’t just some Greek chorus there to fill the background.

We see them interact. We see them making jokes or jabs. We see them even…*gasp* having different opinions!

And on something as major and life-controlling as feelings about the “Hero of the City” no less! Why, that’s the sort of thing that would break up friendships and determine who you can sit next to at the cafeteria! The horror! The scandal!

And…oh hey. This puts the characters in different groups. It links them with characters other their Canonically designated pairings and groups. This lets them disagree on things and not need to vilify any of them. This creates implications that add depth to the story and to the people in it.

The characters can disagree without being enemies. They can be wrong without having to be evil. They can make mistakes without having to be stupid. And they can change and grow—both for better and worse.

And we see both and in different ways. SO many different ways.

Adrien goes from excited and impulsive to buckling under the forced responsibility and weight of a partner who hinders more than she helps.

Lila goes from selfishly bad and self-serving to selfish but friendly with better direction of her talents in a less self-serving way.

And Chloe just goes from selfish and bad to selfish and worse..

I mean, it says something that the combination of Lila’s growth and Chloe’s fall from grace resulted in Hawk Moth being unable to use Lila as a tool for his Heroes Day plot like he originally intended.

The key is that whether they necessarily grow or become better people, these characters are still IMPACTED by the events around them and AFFECTED as a natural result of the world they live in. 

You can’t help but feel for them in some way as a result. It’s part of why I love them.

The other part of why I love them is a bit more epic though…

Crowning Moments of Awesome

If there’s one thing I love, it’s seeing characters be awesome. I love it when characters get to be awesome. I would love to see more of it. Especially when the ones involved are characters you wouldn’t normally expect or get to see have a chance to shine.

And it’s when you see these characters be awesome that you really get the sense that yes, this character would work as a hero.

Seeing Max help against Robustus. Seeing Kim help against Odine. Alix stepping in during Pharaoh, calling out her brother’s fan fiction, and helping the heroes escape the security system at the Lourve. Alya stepping in during Copycat to clue Chat in to what’s going on and later keeping Anansi distracted to keep her away from Chat while he’s trapped. Rose kicking Nightmare!Chat in the face to defend Marinette even when she’s on the run from her own nightmares in Sandboy. Luka leading groups twice to stepping in and helping the heroes deal with akumas. Nathaniel standing up for Marinette and Sabrina when they’re accused in Rogercop and then helping the heroes in Reverser.

These little moments of support make such a big different and really make it make sense that the heroes would trust these people with magical jewelry to help them in battle.

And the little moments of characters being petty or strong or smart or turning the tables or just showing off what they’re capable of. Even without superpowers.

Adrien getting petty revenge for Nino and finding a tactic to counter Gabriel in the future.

The Police Force in Rogercop just saying “Nope” to obeying an obvious akuma. 

Zoe manipulating akumas twice to help the heroes. Her two Reasons You Suck Speeches to her mom and Bustier.

Every instance of payback that Tikki gets against Chloe.

Everyone in the Finale. Just…EVERYONE in the Finale. The characters who manage to avoid akumatization by either spotting the flaws in the illusion or refusing to give in to fear and even protecting others. Nora smacking any akuma that enters the home. Claudie pulling off Power Mom and ordering Max to stop attacking the city then helping to calm him down. Prince Ali and Juleka freeing Rose by kissing her! Chris, Ella, Etta, and Manon saving Mylene! Mylene saving Ivan with a kiss in a direct callback to how they first got together in Stoneheart! (Yes, I am still stuck on that!) Ondine saving Kim! Lila and Sabrina saving Alix! Luka facing Riposte alone and unarmed and then Kitty Section saving Kagami! ALL of the Heroes making a final comeback to help take down Hawk Moth for good! Just—AAAAAH!

How could Miraculous have peaked with this in Season 2 when this is Grand Finale material? Because there are few things more awesome than getting to see ALL the characters the heroes met and befriended and helped throughout the course of the story stepping up at the final battle to help take the Big Bad down!

Like…can we just take a moment to appreciate how everyone gets a chance to stand out in some way? Not all of them necessarily good, exactly (looking at you Andre). But still stand out and be memorable. Even characters who didn’t originally get much focus. Especially characters who were originally functioning as cardboard cutouts to fill a scene.

Anyone remember Aurore? How for the FIRST akuma in the pilot of the series and one who is quite frankly the most interesting and noteworthy, we don’t really get to see her again except in the background.

In Scarlet Lady, we got to actually look in to the contest and how she lost as well as the aftermath. She wasn’t some arrogant showoff who deserved to lose to the “sweet down to earth rival”, she was a girl who legitimately tried her best and had valid reason to be upset. Seeing her get revenge on Alec for cheating and humiliating her on live TV was well worth it.

Or how about the Photographer? Just there to take photos of Adrien in the park for a photo shoot or be the school photographer, but otherwise has no personality and is only remembered for his weird “spaghetti” line.

In Scarlet Lady, his role is two-fold. He acts as a sort of supporter for Adrien in his crush. Taking really good pictures of him being happy with the girl he likes. Taking more class photos at the behest of this girl for the sake of a friend who missed out on the class picture. And then there’s his OTHER role as a sort of antagonist to Chloe. He becomes one of the only ones in the early seasons willing and capable of dismissing her tantrums.

They’re both given more character. They get moments to stand out and BE awesome. So is everyone.

EVERYONE. From the classmates and big named characters we see regularly to the side characters who only appear once or twice. They all get some good scenes and focus that give them their own identities. All of them are memorable. None of them can really be ignored or forgotten. And part of what made making this list so difficult was that I found myself getting attached to pretty much everyone as I came across each of them that I couldn’t quite make up my mind.

Everyone in this fic has done something to make me happy and warrant my approval. Even the characters I normally wouldn’t like at all had their moments to shine and elicit an “okay, that was cool” from me.

Thus I grant this spot to everyone. To all the characters I don’t get the chance to mention. To all the ones I like albeit somewhat less than others. To all the ones I know are horrible but can’t help but like regardless. To all the ones I fought with myself for THREE MONTHS over which one would get this spot.

I love all of them.

[auroracalisto]

Hey can you do a fiyero x reader where the reader is afraid of being vulnerable and he helps them?

yes, superfartninja, i think i can.

to be changed.

movie!fiyero x gn!reader, 3.4k words summary: to be vulnerable meant to be defenseless. it was a liability and that's all it ever would be. fiyero couldn't have that, now could he? a/n: please remember that i only have movie knowledge, so this will be based solely on what i saw in the movie. :P also, shout outs to house song by searows (was on repeat for this fic). erm. this kind of got away from me. i started it was 12 AM and now it's nearly 2 AM. hope it's coherent.

It wasn't like you to be vulnerable. It just didn't happen. It was like... asking a fish or an elephant to climb a tree, or some other weird analogy that you heard oh-so-long ago, when vulnerability aged you more than it helped.

To be vulnerable meant to be hurt. To be ridiculed, to be laughed at, to be made a fool in front of anyone who cared to look your way. It was something that you knew was not needed. You would be fine living by yourself. You came into this world alone and screaming, and you would leave this world the same way.

If you cut out the wound before it began to fester, you solved the problem immediately. Or so they say.

So that's what you did, long ago, when you swore to yourself that the pain you felt would be the very last time. It would never happen again. It couldn't happen again.

Oh, Oz, it couldn't. Your heart couldn't take it.

What was left of your heart, anyway. Sometimes you feared you no longer had one, especially when you feared the pain that would haunt you if someone else came along and made you feel that way again.

It's not that you were afraid. No, fear of being vulnerable was foolish. At least... you believed that you weren't afraid of being vulnerable.

Perhaps that was an act of foolishness in itself. Pretending that you weren't afraid. Pretending that having few friends and few moments of happiness didn't pierce your heart with every passing second.

Perhaps you needed to be better. To be vulnerable, to swear off that silly promise you made to yourself so many years ago.

But it was so difficult.

Being vulnerable was to be in pain. To be lost to a world of sorrow. To be... hurt by the very thing you swore you'd never be hurt by again.

It wouldn't happen.

You wouldn't let it.

He existed in the back of your mind. His beautiful blue eyes, the way those pretty locks fell in front of his eyes when he actually studied his books (if he ever did, of course).

When was the last time he actually tried...? No. You couldn't think of him like that. Too much thinking about his pretty face would ruin you.

You had only talked to him a few times here and there, and the first time was to merely ask him to move out of the way. He took up quite a lot of space—or at least, maybe it was his confidence. It oozed from him like an air of upmost superiority.

No...

You were just being cruel. He was just standing in the way, out of breath from singing to Galinda in the library (because of course—who didn't sing to pretty girls in libraries anymore?).

The second time you spoke to him was over the essay you had to write in your literature class. Peer reviews were the bane of your existence, and this essay, because of course it did, had a simple prompt in response to one of your readings: Taking into account the author's sheer disdain for the idea of magic, write what you believe Oz would be like without magic.

Thought-provoking, yes. You wrote a decent two pages, handwritten of course.

He gave you a paragraph.

If the world of Oz existed without magic, perhaps we would all be better off. No more bickering over the usages of it all, no more idiosyncrasies, no more debates on whether you are intelligent or mediocre if you hadn't the ability to wave a wand or utter a simple spell. If we didn't have magic, perhaps life would be far more difficult, but I also feel as if we should see what it would be like. Maybe there would be less heartbreak. More happiness to go around.

Okay. A piss-poor paragraph that made you wonder how he was even passing Madame Lillabet's literature class.

Maybe he wasn't.

You didn't feel pity for the man—nobility had the ability to do so many things that you would only ever dream of. Why should you feel pity—vulnerability—for a man you didn't know, let alone understood?

Oz, even now, his essay haunted you. You did your best with your review, pointing out the obvious things missing—a decent thesis, body paragraphs that proved his thesis, and just in general, an entire essay that was expected of the entire class.

He merely read over your essay and made one simple comment: Excellent.

Oh, yes, excellent. It was excellent to know that he was just trying to help your essay, yes? Leaving that little comment, even though you didn't make full marks—how was it supposed to help you?

Pity be damned. He was a fool, through and through.

Things muddled in your mind like they often did. Thoughts racing, heartbeat close behind the quick pace.

If you had magic, you'd be sure to quell it.

These thoughts were the one thing that you wished you could squash under the heel of your boot. They were the bane of your existence, the utterance of a foolhardy penance to the god of whatever looked down upon you and wished for pain.

Perhaps that was what was meant for you.

A life of pain—of pity from others, of the amenability to be swayed by those around you even when you tried, desperately, to stay away from those who may catch your attention.

Like him.

Oh, Oz, just like him.

Fiyero.

The man who'd lose his head if it wasn't attached to his shoulders. The man who once told you in passing that if he hadn't a brain, perhaps classes would be easier—then he wouldn't truly be all there, and he'd easily get around the... well, specifics of it all. The man whom you felt tugging at your heartstrings, even when you told yourself no.

It would not happen.

It could not happen.

You would not let it.

In typical, terrible luck fashion, you found yourself wandering the halls of Shiz late at night, unable to sleep. The thoughts racing through your head of so many things, not just him (although they kept leading back to the fool), they just weren't stopping.

An exam was to be held tomorrow. Perhaps you could create a distraction—keep the professors from being able to do as they needed. There were a box of fireworks hidden in one of the many corridor closets, kept for special occasion. You could whip a few of them out and create so much chaos that they'd surely have to cancel the exam!

You leaned against the railing, looking down at the stonework of Shiz's courtyard. A chill ran down your spine from the cold breeze, and for once, all was silent if only for a moment.

His voice brought you out from your thoughts.

"Y/n," he said, an obvious smile playing at his lips.

You squeezed your eyes shut and glanced back at him. Without saying a word, you acknowledged him.

"Doesn't look like your dorm," he continued. "What are you doing out here, all alone?"

"Thinking."

His eyebrow quirked. "Thinking? Oh," he softly hummed, coming to stand beside of you. "Well, that's no fun, now is it? What are you thinking about?"

"Nothing."

He snorted softly. "You're thinking about... nothing?"

"Whatever I'm thinking is none of your business," you retorted.

He stared you down for a moment, tilting his head curiously. He hummed again and looked out at where you had been staring moments prior.

"You are right," he softly said, voice much quieter this time. "Let me lead you back to your room. We have an exam tomorrow, remember? You at least need to pretend to sleep."

You paused. Since when did he care about exams? You glanced at him, fighting the urge to question him. You let out a soft sigh and shrugged, allowing him to lead you to your dorm.

The walk was quiet, and you almost questioned how he knew where your dorm was, but you didn't. He seemed to pay attention better than most (it was part of that aloofness, you've noticed), and it wasn't the first time he had seen you near your dorm.

It was at least the third. The number had to be easy to memorize by now. 133.

As you opened your door, Fiyero spoke. "You know, I've been thinking..."

"Dangerous thing for you, isn't it?" you quipped, not looking at him as you stepped inside.

He let out a soft chuckle. You amused him to no end.

"Yes, perhaps," he softly said. "But besides. I was still thinking. I've been... well, wondering if perhaps you would—"

"—no."

He blinked slowly. "What? No? Y/n, you didn't even hear what I had to say—"

"—the answer is still no," you said. You glanced up at him from the spot you had been staring at, frowning. "I don't know what this is, but we are not friends. Do not ask me for favors."

"Not friends, hm?" he softly hummed, leaning against the doorway as he locked eyes with you. So knowing your dorm number was just a fluke.

"Not friends. Now if you'll excuse me, I should probably go and pretend to sleep."

His upper lip quirked in a faint smirk. Not friends, but you still joked with him as a friend would do. He rolled his eyes and gave you a rather joking half-bow.

"Of course," he said. "Do not let me keep you up. Perhaps I should find my dorm as well."

"You should do that," you simply said, shutting the door right after.

You didn't give him a chance to say anything else, quickly locking the door and heading back to your bed.

Heart pounding, mind still racing, but not with the thoughts of earlier. No, dear reader, your mind raced with thoughts of him.

So impressionable, so—so kind, so—well, was he really kind?

To you.

He was kind to you.

Nearly a week passed you by. The exam went rather well, without any kind of distraction. Passing marks and a somewhat decent night sleep.

You do everything you can to try and avoid Fiyero. Running this way and that, going through all of the longer corridors instead of the shortcuts you knew by heart. You did everything you could to avoid his handsome face.

You did everything you could to avoid the vulnerability that plagued your heart every time you thought of him.

If you simply embraced the wants of Fiyero, perhaps not having a brain would keep you from thinking this way. You'd still have a heart, sure, but it was much better than keeping yourself on your toes wondering if you'd see the damned man at any passing second.

On the hour of the rising moon, almost exactly on the dot, Fiyero spotted you. And this time, you were not evading him.

He practically took off after you, leaving his friends behind. They scoffed and called after him, but he didn't look back. His focus was on you.

He grabbed onto your wrist as you went to leave, not letting you go.

"Y/n! There you are," he softly said. "I have been looking everywhere for you. I wouldn't have thought it would be so difficult to find you, but—"

"—there you go, thinking again," you blurted, unable to stop yourself. Your tongue was wagging faster than your brain was working.

He weakly smiled. "Yes. I know. How ironic, hm?"

You watched as he stared you down.

"Look," he softly began. "I truly—I do not know what I did to deserve you ignoring me at any which way, but I wish you would tell me why. What did I do, Y/n? I thought—well, I assumed that we were friends, but perhaps I was wrong. I find myself wrong quite often nowadays."

"I—well, Fiyero, I—" you paused. You squeezed your eyes shut and inhaled a deep breath. "I don't have friends."

He blinked slowly. "You don't have friends? What of the one girl you were with the other day? Milla?"

"I do not have friends," you repeated. "I have... acquaintances. People I do not get attached to."

"That is sad."

"What?"

He raised an eyebrow. It seemed like a commonality when he spoke with you. The staple eyebrow raise had to happen or else he wasn't really chatting with you.

"It is sad. Why wouldn't you want to get attached to people?"

"I don't want to have meaningless relationships," you said. You avoided saying, I don't want to have relationships at all. "Not everyone can be as friendly as you, Fiyero."

He rolled his eyes. "Friendly. Yes. I talk to people, but I would rather not have all the attention that I do."

"Oh, that's rich," you said, scoffing. "You play the popular little prince and then claim you do not want it? What is that, Fiyero?"

Fiyero pursed his lips. "It is just—this is not a conversation about me. I wanted to have an intervention for you since you seemed as though you were avoiding me every which way. Now. Just—"

"—an intervention? What? Please. You sound ridiculous."

"So do you!" he returned, hands to his hips like an older man scolding a child for something they broke. "You vex me, Y/n! You act as if you are interested in me, then run away hiding like a scared little pup. You act as if you are afraid to get close to anyone."

You stared at him, lips parted ever-so-slightly. But it was enough. You were done for.

He let out a curt laugh. "You are."

"What?"

"You are. Scared. I can see it in you. You listen to what I have to say, even when the others don't. I've made an effort to pay attention to you. To see what you—"

"—Fiyero, stop."

"Do not tell me to stop, Y/n," he said, voice low with conviction. "Not now. Not when I've finally figured you out. You are scared. But of what? Being close to someone? Having a friend?"

You frowned. "I am not scared—"

"—you look at me like if I were to touch you, you'd melt."

"That doesn't mean anything!"

"I can see it in your eyes, Y/n," he said, not looking away. He held eye contact with you and hoped that you would continue to do the same. "You—you're scared. To open your heart to the people around you."

You frowned, again. It was perpetual anymore. "And you're a sad man who dances and pretends everything is fine because Galinda said you looked pretty one day."

He blinked slowly, a smile quirking on his lips. "Maybe. But this—this isn't about me, Y/n. This is about you."

"What even is this? I didn't agree to have you psychoanalyze everything I've ever done."

"Neither did I, yet here we are," he said. "I've had a lot of time to think, to mull it over, and I know it. I know it now. You are scared. I don't know what happened to you. I don't know who hurt you in your past, or if something tragic happened to make you so cold inside, but there is absolutely nothing wrong with being... with being vulnerable, Y/n. There's something... magical, even, about opening up to others."

"Oh, and you would know, wouldn't you?"

He frowned. "Y/n—"

"—no. Absolutely not. You do not get to sit there and ridicule me for not wanting to be close to people and then not take what I give you," you said. "You do not let anyone close to you. Sure, Galinda, but what does she know about you? Does she know how you half-ass everything? How you hardly even talk to your 'friends' and just let them float along with you like everything is fine and dandy? You're as sad as I am, if that's what you're trying to say. Don't try to fool yourself."

"I am not trying to fool myself," he softly said. "I am only trying to make it known that I see you. I see myself in you."

"Oh, that's rich," you said, scoffing. "The rich, popular boy sees himself in little ol' me. That's perfect."

"Y/n—"

"—no. Don't. Stop. Just. I don't want to talk to you anymore. We're not friends. We never were friends. Just leave me alone."

It's simple, but it shuts him down. And with that, you run from his side, rushing to hide away in your dorm.

You couldn't believe what you did. Blowing up at him instead of listening to what he had to say. He read you like the children's book your heart truly was—while everyone else focused on the words, he focused on the pictures. The minute details that seemed to pass by everyone's mind because the story was flowing far too quickly.

He saw the delicate brush strokes, the intricate colors, the pieces of you that the words did not show.

He knew you.

And it scared you.

Only you knew yourself. If anyone else were to know who you were, deep inside, well, that would be disastrous.

It couldn't happen.

You couldn't let it.

Fear.

Perhaps fear was the best way to describe the way you felt.

You sat by the edge of the lake in the forest just beyond Shiz's campus, fingers gently brushing against the water. The surface rippled, sending small waves to the end of the shore.

You were afraid.

Of what?

Of a man knowing you?

Of Fiyero knowing you better than even your family once knew you?

You sat there, thoughts racing through your mind. It was as if you couldn't avoid them anymore.

Days had passed since you blew up at Fiyero and ran. You couldn't avoid him forever, you knew that, but it seemed as if your thoughts believed the same.

Tears pricked at your eyes. The warm, salty tears began to fall before you could even try to stop them, and a soft sob bubbled at the back of your throat.

"Y/n?"

Shit.

You quickly wiped your tears away and looked back at him—at Fiyero. But your tears wouldn't stop. A soft sob rippled through you and you turned your head away.

Fiyero came to your side, kneeling down in the soft earth beside of you. He inwardly grimaced at the dirt, but he said nothing of it. He'd bathe in mud if it meant you would stop your tears.

He reached forward, gently placing a hand to your cheek. He turned your head to face him.

"Y/n," he softly said. "It's alright. You... you're alright."

Another sob.

He pulled you into his arms, and you let him. You didn't pull away, melting into his embrace as he said you would before. He pressed his chin to the top of your head, situating himself so he would be more comfortable near you.

He softly hummed a soft tune—you remembered it. The one thing he hummed quite often when you caught him alone, or trying to focus on his school work.

Dancing through life, skimming the surface... Life's more painless for the brainless.

He was just a sad boy with needs of his own, much like you were scared of being seen. Of being known.

Of being loved.

Oh. Oh, that's what it was.

It terrified you to no end.

Fiyero pressed a soft kiss to the top of your forehead, gently cupping your cheeks in his hands.

"What's got you so upset, love?" he softly asked, wiping your tears away gently with his thumbs.

You shook your head. "I... later," you mumbled. You leaned into his grasp, and you could have sworn you saw his eyes soften.

He released a soft, shaky sigh of his own, before he pulled you back into his arms. He'd hold you until the end of the world if that's what you needed him to do.

Being vulnerable—it was the one thing you had told yourself you would never do. Ever again. And here you were, letting this man hold you and practically lull you into a calmness you'd never felt before.

Is this what it felt like? To be... weak? To be... frail?

No.

Vulnerability... it didn't mean that.

It meant that you were... open. That you had managed to open your heart to a more... malleable form.

To be changed.

To find the one thing in life that you knew would keep you going for as long as it could.

To be vulnerable meant to be loved.