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

[bloomzone]

Okay, so I just recognized some mistakes I’ve been doing lately literally just saved myself from repeating them again. And honestly, I noticed a lot of other students are making these same mistakes too. So here’s Part 2 of my “Study Mistakes I Did But Saved Myself Before It Was Too Late.” If you relate to any of these, take it as your sign to stop before it’s too late.

part 1

lesson 1 : the “failure” mindset.

Right now, I’m literally in this crazy state. Like the failure mode. It's insane , I do a million past papers, then I tell myself, “Yes, you did well today.” But I wake up the next day with the same mindset: No, girl, you need to do more. Like, what if all those questions don’t show up on the exam?Yes, stress can help it drives you sometimes. For me, it worked most of the time. That fear of failure push me to study harder. But don’t let failure control you. I really wish I could change my mindset, especially before big exams or finals.We always think, what if I fail instead of what if I succeed? So please, try not to stress too much. Even small efforts count. Stay motivated. I know discipline is important, but we’re human. Especially high school students there’s pressure from everywhere. Everyone expects something from you.So try to motivate yourself. Make your breakfast in the morning. Watch something motivational when you wake up. It will remind you why you're doing this.You’re a student. You need to succeed. But sometimes we lose that passion . So keep some backup motivation ready. Think: What if I succeed? Always and Study hard. Do everything you can so you can feel good and proud about urself later.

lesson 2 : using AI for essays.

Please, please, please stop using AI if you’re still doing it especially for essays idk about u use ai or not it's ur life idc but if u are a STUDENT hear me out If your exams are still a bit far and you’re using AI to do your homework, especially your essays, stop now.I swear, some classmates of mine used AI the whole year. Especially for French essays. I know not everyone is great at French even if it’s our mother tongue , some people treat it like a second language tooThere’s this one girl in my class she used ChatGPT for every single argumentative essay. And our teacher praised her: “Oh my god, I love your writing!” and gave her plus points. I got mad. Like… I wrote my essay 100% by hand, all real. And then the teacher accused ME of using AI? I was like Girl wtf 💀💀💀 this is 100% mine.And in the actual exam, that girl got 13/20 and i I got 19/20 and then the teacher believes me after •́⁠ ⁠ ⁠‿⁠ ⁠,⁠•̀.f you use AI all year, you’ll look so stupid in the exam. So please, even if you need help, don’t rely on AI. Just read articles, watch videos on YouTube, act like AI doesn’t exist.Read more, watch teachers online, documentary anything that helps you build real knowledge and vocabulary. You’ll get better and your essays will show it.

lesson 3 : Not organizing your notes.

This one is real. Please don’t do what I did: I lost every single note from first semester. I still don’t know where I put them.So if you’re someone who writes by hand, please always keep a folder next to you. As soon as you finish a paper, put it in the folder. Keep your folders in a place where no one touches them.The only thing that saved me I take pictures of my notes. So please, every time you write something important and feel like you might lose it take a photo. Just in case.

lesson 4 : Not sleeping early.

I’ve been doing this mistake recently, during prep week when we’re home from school. The stress is too much. Not because I can’t sleep I actually fall asleep in minutes. The problem is I don’t sleep early. I have no fixed schedule.If you study in the morning, you need to sleep early. I wake up around 5 or 6 a.m., but I sleep at midnight. That’s just 4–5 hours of sleep. And it’s not enough. I get headaches. I burn out.Today, for example, I woke up at 6 after sleeping at midnight. I had the worst headache. I made coffee but didn’t even drink it.Also, if you get headaches easily, be careful with coffee. Drink water first. Move around a bit before having it.So then I tried studying but couldn’t. I opened a YouTube video to study, but I couldn’t focus. I ended up lying down, playing the video on my phone, and falling asleep again with the teacher’s voice still playing I felt like a loser fr it made me so sad. So please, if you work best in the morning, be in bed at LEAAAST by 10 p.m.And if you’re a night owl and study until 2–3 a.m., please sleep long enough after that. Your brain needs it.Just be organize your sleep schedule. Everyone has their best time to focus just build your routine around it. The time will pass anyway, so spend it right.

stay healthy everyone 💭

@bloomzone

[thewadapan]

thoughts on Transformers Animated

I would've been the perfect age to get absolutely oneshotted by Animated when it started airing on Cartoon Network, but my parents didn't pay for satellite TV, so after Transformers: Cybertron finished airing on CITV I was pretty much shit out of luck for Transformers cartoons for a while. I remember watching clips from the show on Monkey Bar TV, a section on Hasbro's website. The art style didn't really appeal to me. I do wonder about that alternate reality where I did get to see Animated as a nine year old. Would that have fucked me up?

This isn't a proper essay, I'm not here to tell you Transformers Animated Sucks And Here's Why, it's just some off-the-cuff thoughts I had, having now sat down to watch the cartoon in full for the second time in my life. I am going to have to break out the roman numerals, but only because I cannot shut up. So that's the epistemological status on this one.

I. Be a Hero

The thing with Transformers Animated is that it's a great Animated cartoon and kind of a terrible Transformers cartoon. My friend Jo recently put out an essay taxonimising the two different approaches to writing Transformers stories into Budianskian ("human-meets-robot") and Furmanist ("robots-fighting"), pointing to Animated as an example where the first season is grounded in human affairs and culture clash, only for the show to become progressively more preoccupied with conflicts between Autobots and Decepticons until, by the third season, Earth is basically just a backdrop used to create the illusion of stakes, a damsel-in-distress just offscreen. Well, having now revisited it, I honestly think it was Furmanist from the start?

I think the best way to approach Animated through a critical lens is to think of what it means to be an American boy/tween. What do you find cool? What do you want to be when you grow up? My equivalent to Animated was probably Ben 10, which I thought was the coolest shit; it was probably the best of the overtly-boy-aimed cartoons available to us Freeview plebs at the time. Ben 10 is a very empowering fantasy because Ben 10 can have pretty much any abiliity he wants at a particular moment. As a kid growing up you kind of do wish you could turn your flesh to solid crystal, or buzz around as a mutant bug, or just bowl over your enemies like a human bowling ball. These are normal emotions.

That's how Transformers Animated is written. A big part of Sari's character, as the obligatory audience-surrogate-human-child, is that she has an insane amount of freedom for a kid. She has a palatial penthouse, she's homeschooled, except she mostly ignores her Tutor-Bot, so in practise she can do whatever she wants. She gets given a magic key that lets her make any machine do whatever she wants it to, hilarity ensues, etc, etc. Some of my favourite parts of the show are when it teases out some of the pathos of Sari's character; her disconnection from other kids her age, the way the Autobots sometimes treat her more as a pet than a peer, her distant father with his Tom Kenny racist accent, the overly-mechanised and consumerist world she's adapted to thrive in.

The idea of Transformers Animated as a Budianskian story rings false to me because future-Detroit is about as alien from society as Cybertron itself; which is to say, not super alien, but still pretty unmistakably unreal. It's not trying to feel real. In fact, it's clear that the setting was chosen precisely for the sake of injecting Transformers sensibilities into the "human world" of the story, so that the show can be, on balance, more Transformers. This deliberate homogenisation strikes me as intrinsically Furmanist, which shies away from two-worlds-collide storytelling. Animated definitely has its moments of culture-clash, but they're not The Point, they're set-dressing.

Fundamentally, we're invited into the world of Transformers Animated through the eyes of the (all-male) Autobot cast. Between them they account for most of the episodic "learns an important lesson" character arcs, and as the show goes on, more and more of the screentime is devoted to their affairs. It's similar to how BIONICLE has two audience surrogates: the Matoran, who are weak and stupid like human children, and the Toa, who are cool and aspirational like teenagers or adults; the foundational text Mask of Light is preoccupied with the onscreen transmutation of the former into the latter, as if to say, this isn't just who you want to be, it's who you can be. The Autobots in Transformers Animated reflect the five key aspirational archetypes for young lads, as identified through extensive focus-group testing, these being: combination cop/firefighter, ninja, street racer, Engineer from Team Fortress 2, and angry old man.

Everything in the pitch slate for Transformers Animated is geared towards this being a superhero show that Hasbro doesn't need to pay license fees to Marvel for. It was literally called Transformers Hero at the start of its development. So like, taken as a superhero story in a toyetic kid sense (that is to say, there are no "secret identities", Superman is Superman full-time because kids find Superman sitting in an office boring), it's fine for what it is! This isn't like my Transformers One review where I'm going to try to convince you that the creative team weren't fucking trying, no, they were definitely trying for the most part, and they did a good job. It's purely a matter of taste.

Anyway! So!

Probably what had me be like, "man, fuck this"—and I've never heard anyone else mention this—was actually the Constructicons.

I know, right? Weird! If you're a veteran of the Transformers Animated discourse mines, you probably think of stuff like all the sexism, or the Tom Kenny Funny Accents, or maybe even something more abstract like the undercooked politics of the war. I dunno, maybe I'll talk about some of that stuff while I'm here. For me, though, there was more or less this hat trick of episodes at the start of Season 3, nearly three in a row, where for entirely different reasons I was like "man, fuck off".

II. Beneath the enemy scrotum

When the Constructicons are first introduced in Season 2, there's a genuinely tragic bent to their story. They're born into this alien world as fully-formed New Yoik Construction workers, they form this friendship with Bulkhead, the other Autobots are disproportionally suspicious of them, they get seduced by Megatron, they wind up getting their memories wiped. It's giving "Transmutate". And the arc that this introduction sets up for the Constructicons is like, hey, maybe when it counts, they'll remember who their friend really is, and they'll come back around to the side of angels. The thing with the Constructicons, right, is that they're stupid, and they're lazy, and they're selfish, and they think they're owed something when they're not. They operate on pure id, catcalling at cars, tossing back barrel after barrel of engine oil, and never really doing any actual work. And there's definitely an inherent humour to this image of an alcoholic digger sexually harassing random sportscars. So long as the show seems ultimately sympathetic towards the Constructicons, as if they might have a heart of gold under it all that separates them from the Decepticons, maybe it feels okay to laugh at them, because they're good people who just haven't worked it out yet. It's just a farce, a comedy of errors.

But every time the Constructicons come back, the show just... does an encore. They do more and more overtly evil things, and the show leans more and more on how crude these guys are. In "Sari, No-One's Home", they're cast in the roles of the robbers from Home Alone; if Transformers Animated can be said to have sinned, then it's an old sin, one drawn from a rich tradition of scorn for the working class, the ne'er-do-well, the wrong'un, the layabout. The Constructicons clearly have some valuable skill, when they can be motivated to work; the problem is that they're stupid and directionless. They're often banging on about their workers' rights, and making excuses not to work. While I don't think it's intentional on the part of the writers, the contrivance whereby they are "animated" (lmao) by shards of the AllSpark from regular human machinery does sort of separate them from the rest of the Transformers on an ontological, biological level. Wreck-Gar is similar, portrayed as basically just crazy, not quite a "full person".

Through a lens of writing as observation, the Constructicons are great; they're a distillation, a caricature, a cartoon of lots of specific things you've ever heard a workman say. But through a lens of writing as empathy, they're just kind of cringe, sorry. The show does not afford them the same internality as the Autobots, or even most of the other villains. It's hard to read them as anything other than a mean-spirited stereotype of labourers. On a narrative level, the purpose they serve is related to the Bush-era political morality play of the show; in fact, within the show itself, they provide perhaps the clearest view of who exactly Megatron is, what he believes, how he operates.

Again, I would've been eight when this show was airing. I had some consciousness of who the Prime Minister was, and I was cognizant of the election of President Obama, but it's fair to say that I had literally no perception of Bush-era American politics. Sue me. Most of what I know about it now, as an adult, comes from the spectre of the War on Terror on American culture. What I find striking about Megatron is just how abstract of a threat he is for almost the entire show. He almost never actually gets into fights with anyone. He's always lurking in some hole somewhere, making schemes to compel patsies to carry out acts of terrorism on his behalf. There are some occasions where he talks about Decepticons as a revolutionary movement, but only ever with a sneering self-consciousness that makes it clear that this is all talk, an obligatory performance he puts on in case anyone is dumb enough to believe him. Dude is in it for the power. He wants to be the boot. His complete immorality is what makes him dangerous more than anything—he doesn't care how many innocents get killed in the course of him getting what he wants—because even though he is a powerhouse, he's still just one guy, and he achieves most of his goals by being a liar, a schemer, a coward. And yeah, in the show, we see him take advantage of the Constructicons' stupidity/naivete (take your pick), playing on their sense of entitlement and resentment towards authority, directing their frustrations towards an invented scapegoat, the Autobots, who they've never met and don't know anything about. To me, that's political.

"Three's A Crowd" was what did it for me. Megatron's not even in that one; instead, there's this new guy, Dirt Boss, who forces the Constructicons and Bulkhead to fall in line. For their part, the Constructicons are basically onboard with the whole thing, and the language used in dialogue frames the situation as a workers' revolution (as the Constructicons see it) ruining everything. Scrapper gets something of a redemption later in the season, in "Human Error", but this is kind of unrelated to anything else involving the Constructicons; Mixmaster was always the brains of the operation, and he just exits the narrative after his attempted strike Goes Wrong. To me, the way it reads is something along the lines of like... look, the workers are stupid, and they're looking out for themselves, and wannabe-tyrants are always going to prey on that, so we shouldn't really blame the workers exactly... but also the workers should just stop fucking complaining, they should stop being lazy and contribute to society like the rest of us, and let the actually smart people tell them what's right and what's wrong. Maybe it's not exactly that. But it reads as something basically like that, to me, and sorry, but it just does nothing for me except make me feel bummed.

I realise this is probably more ink than has ever been spilled on the Animated Constructicons. Look, I don't want to get some sort of reputation as the Animated Constructicons crank. It's not that I feel particularly strongly about this, and more that it's difficult to articulate. We'll be going back to more familiar discourse territory for the rest of this blogpost.

III. Green with envy

Moving along, we come to "Where Is Thy Sting?", which is the climax of the Wasp subplot introduced in the Season 2 episode "Autoboot Camp". I think this subplot is typically very well-regarded in the fandom zeitgeist; people like the reinterpretation of loyalist Shockwave as a deep-cover Decepticon double agent in the Autobot Elite Guard ranks (his sick design certainly helps), and people enjoy the reinterpretation of Beast Wars Waspinator as a foil to Bumblebee, and people especially like the twist where you're led to believe Wasp is the double agent, right up until the episode's closing stinger.

Did anyone actually believe that, though? I'm genuinely asking. I can't remember if I got fooled the first time I watched "Autoboot Camp", or if I had already been spoiled on the twist through fandom osmosis, or if I just worked out that Wasp was innocent while watching the episode. On rewatch, it felt to me like the episode was really struggling to sell the ruse; Longarm is overtly suspicious from pretty much the moment he first speaks. This paragraph has gone on too long already, this is a cartoon for nine-year-olds, this probably literally was Baby's First Plot Twist for some number of children.

Anyway, the idea of a Decepticon double agent has a lot of narrative potential, so it's a shame that its largest footprint on the narrative of Transformers Animated is the stock-plot-iest mistaken-identity-slash-doppelganger plot to ever stock. If you ask me to point at one part of Animated and accuse it of Not Even Trying, "Where Is Thy Sting?" is that part. The auteur theorist in me notes that the writer of this one was Todd Casey, whose other credits are the aforementioned "Sari, No One's Home", which is another mid stock plot, and "Nature Calls", which is so forgettable that thirty seconds ago I reacquainted myself with TFWiki's synopsis of it and now all I can tell you is… it's about space barnacles?

And you can totally see how it happened, because on the surface, on the logline level, it seems very fun and clever. Wasp is depicted in the show as a green repaint of Bumblebee… so what if he used paint to literally swap identities with Bumblebee? This is the kind of thing that would make a brilliant Ask Vector Prime entry, but it makes for a rubbish 22-minute cartoon. The problem is it just doesn't work. If you stop and think about how to contrive the situation for more than a second, it becomes immediately obvious that it doesn't work at all.

Wasp swaps helmets with Bumblebee and keeps his faceplate up to hide his face. Their voices swap, but their speech patterns don't; one of the episode's big running jokes is that Wasp-as-Bumblebee keeps making obvious slips like referring to himself in the third-person. He hopes to get rid of Bumblebee-as-Wasp as soon as possible to minimize the risk he's exposed, but he also wants revenge, for Bumblebee to suffer as he did. As for Wasp's plan as Bumblebee… well he mostly just wants to enjoy freedom, kick back and play video games, he hasn't really thought past that.

What makes an identity-theft plotline good (I mean, when they are good), is not what it says about the character being impersonated, but rather how it tests the limits of their relationships with the other characters. What makes "Where Is Thy Sting?" bad is that it doesn't tell us anything about anyone—expect perhaps, "all the Autobots are really fucking stupid?" Is that anything?

Like, sure, if we're imagining a character thinking realistically, it's a bit of a leap for them to start entertaining the possibility of bodyswapping. But one of the first things Bumblebee-as-Wasp says to his friends is "I'm not Wasp, I'm Bumblebee! Wasp swapped our paint jobs and is trying to steal my identity!" And the other Autobots are like, "Pssh, that's crazy," despite the fact that Wasp-as-Bumblebee is in fact behaving extraordinarily odd. It's proper "hollering at the telly like Dad three cans deep watching the Green Rectangle" territory. I think this episode needed like three more drafts.

From an Animated liker's perspective, hey, maybe this is one dud amongst what's otherwise a consistently great series.

For me, this episode is sort of a flashpoint for a wider problem with contrivance in the series. That problem has a name.

IV. Sentinel Prime

As the series goes along, it builds up this kind of hilarious impression of Sentinel Prime as being singlehandedly responsible for everything that goes wrong in the show: from his mishandling of the boot camp that let Shockwave slip into the Autobot ranks, to his Archa Seven field-trip that led to the creation of Blackarachnia, to his decisions as acting Magnus nearly allowing Megatron to snatch victory from the jaws of defeat. Anything Optimus Prime's crew manage to achieve, they do so in spite of Sentinel Prime's actions. In "Where Is Thy Sting?", Sentinel is the last holdout, who'd sooner believe that literally every other Autobot is "in on it" than admit he was wrong about Bumblebee-as-Wasp. The show relies extremely heavily on Sentinel Prime's too-dumb-to-live personality for humour, but also relies on it to contrive conflict.

So yeah, I just don't "get" Sentinel Prime. I am actually doubtful that most Animated fans "get" Sentinel Prime, from the opposite direction, because I know y'all are for the most part, like me, too young to actually remember the Bush administration. Did you know that the title of Season 2 Episode 3, "Mission Accomplished", in which the Elite Guard prematurely declare the Decepticon threat on Earth to be nonexistent, is a direct reference to a famous speech by George W. Bush given at the start of the US invasion of Iraq in 2003, a bloody war that was still ongoing by the time of the cancellation of Transformers Animated in 2009? I didn't know about that speech until just now. Man, I would love to read a long-form, well-researched essay analysing Transformers Animated through the lens of the Bush presidency.

I can't help but observe history repeating itself with the release of Transformers One, where Sentinel Prime is used as an analogue for another idiotic Republican president.

If you squint, maybe there's something to it, in the Animated worldview, where this absolute brain idiot somehow blunders his way into ruling the whole planet by the show's finale, through no particular competency beyond craven opportunism and a delusionally-inflated sense of his own worthiness. Maybe Animated is a show that saw guys like this in positions of power and just wanted to laugh at them, bitterly, because if your president is bombing the shit out of people on the other side of the world, then if nothing else you can depict him as The Tick.

I dunno, it just doesn't do anything for me, never did. It's not particularly cathartic or entertaining for me when Sentinel Prime gets his head cut off—I would just rather be looking at any other character. My gut just tells me that I'm not looking at a character, I'm looking at some kind of narrative voodoo doll, who's getting humiliated to prove some point about something that exists in some other reality altogether. Put plainly, maybe it's precisely the fact that depicting Trump as the blue-and-orange man… didn't stop his election, and certainly didn't stop his re-election. If there can be said to be a culture war, then shit like this was on the losing side, y'know? It's as if we're conceding that all good people can do is console themselves, and pride themselves on their righteousness, while all bad people can do is whatever the fuck they want.

IV. Animated is cancelled

To be fair, Sentinel does get some actual depth at times, shades of nuance that gesture towarads the illusion that he could be a guy who really exists in a three-dimensional world. One of the best examples of this is in "Predacons Rising". Sidenote, weird that they reused that title for the Prime movie, isn't it?

These exchanges between Sentinel Prime and Blackarachnia are some of the best in the whole series:

"I just never knew, never imagined that something this… unspeakable could have happened to you. How can you even live like that?! It's horrible! It's disgusting!" "Okay, okay, I get it! It's bad, but it's not that bad, all right?!" "No. It's worse. You should have gone offline." […] "So that's it?! You just slag your old friend Elita-1?" "Don't say that name! You don't deserve to say that name! You're not Elita-1, you mutant freak. Elita-1 went offline a long time ago."

Sentinel Prime's xenophobia towards organics is played for laughs in most of the show, and he doesn't get many opportunities to actually act on it. This episode is different! In this scene, a healthy reaction from Sentinel would be relief that his old friend Elita-1 is alive after all. But he's so revolted by her mutant appearance—and, unspoken, by his own hand in disfiguring her—that he actually can't suffer her to live! As I've said, Sentinel Prime is often depicted as a delusional liar, an Autobot equivalent to Starscream, and this episode is special because we see him rewrite the narrative in his own mind in real time. At first he feels that Elita-1 should have died. Then he convinces himself that Elita-1 is already dead, so he doesn't have to feel bad about killing Blackarachnia.

I think this dialogue is very raw, and it's extremely distinctive—Blackarachnia's "Hang on, it's not THAT bad!" is hilarious—and it was only after watching the episode that I remembered it had been written by Larry DiTillio and Bob Forward, which certainly explains why. Beast Wars always walked a knife-edge between great comedy and messy feelings.

Ultimately, though, "Predacons Rising" has kind of a nasty aftertaste. It establishes this deliciously fucked-up dynamic… and then kind of doesn't interrogate it at all?

Some of the earliest criticisms I ever saw directed at Transformers Animated concerned its handling of female characters. In terms of recurring ones that matter, it basically boils down to Blackarachnia and Sari, with Arcee and Slipstream to a lesser extent, and the shared thread I would draw between them is that they all have something fucked-up going on with their bodies. Specifically, they exist in this state because of various men in the show. Blackarachnia's hideous mutation was caused by Sentinel and Optimus, frequently framed as "look what you did!" Sari's technoorganic body and abnormal development are effectively thanks to her father, and her relationship with him in Season 3 is coloured heavily by this. Arcee's memory wipe and millennia-long coma were done at Ratchet's hands. Slipstream is implied to be Starscream's "feminine side", defined explicitly in relation to him. There is a sense that female characters are just treated differently by the narrative, and I personally think it's reasonable to term this a misogynist streak, though it's complicated by the fact that both Sari and Blackarachnia have some of the richest characterisations in the show (contrast Elita-1 and Airachnid in Transformers One, who have literally nothing going on).

A curious thing about Blackarachnia is that the show typically presents her deal as being "I'm hideous!", but many of the male characters in the show are depicted as infatuated with her. Cinemasins ding? Derrick J. Wyatt's design for her may not be as horny as the Beast Wars original, but it's still horny. The "mutation" aspect of her design is a little hard to parse out, because despite her supposedly radically altered biology… well, she looks like a cartoon character, same as any other Transformer in the show. Because Blackarachnia is the only female Transformer for most of the series, it's unclear whether the male bots react to her this way because they've never seen a woman before, or if it's a specific factor of her horrible spider swag. I mean I guess it's the latter? And I dunno, it just bums me out. Everyone is into her, but only in a way where it's taboo, she's Othered. Blackarachnia thinks she won't be accepted back into Cybertronian society because she looks like a monster.

And she's right! In "Predacons Rising", Sentinel Prime's view of Blackarachnia is tacitly acknowledged as being basically correct on a narrative level; in fact, at the end of the episode, Optimus Prime surprisingly describes Sentinel Prime as a "good bot"... when the most unusual thing that Sentinel Prime has done this episode is just be very xenophobic. As the show presents it, Blackarachnia is a monster who no longer values the lives of others, and her trauma response has turned her into an evil influence on the universe. At the end of the episode, the problem is "solved" only because Blackarachnia is accidentally shunted into another fucking universe; to Sentinel and Optimus, it literally seems like she's died, and they seem relieved about it, glad they can finally have closure on the whole affair, which was entirely their fault. This was the "original sin" which got Optimus Prime kicked off onto the space bridge repair crew, the entire driving impetus for his arc to prove himself as a hero; but this arc isn't resolved by him "saving" Blackarachnia in any way, rather by him washing his hands of her, this little blemish on his record expelled from the universe. I'm pretty sure Blackarachnia isn't mentioned again.

(You actually see something very similar with Omega Supreme. Animated is pretty clear about the Autobots being fucked up in their own ways, and a big example is Omega Supreme being programmed to heroically self-sacrifice himself if needed. In the Season 2 finale, Ratchet only brings Omega Supreme back online as a last-ditch effort to stop Megatron, and is conflicted over the fact that he's reviving Omega only to have him sacrifice himself again. The resolution to this conflict... is for Omega to sacrifice himself to stop Megatron, because there's no other option, and then Omega pretty much exits the narrative in any way that matters.)

If you're an Animated liker, the obvious argument to make is that the writers did in fact have plans for Blackarachnia… they just didn't get the chance to put them into place. We know that early pitches for Season 4 were very beast-focused, that the show staff were kind of bored of Megatron and wanted to do more with Blackarachnia. It's true! But I dunno, actually watching the show, I just don't see it. I look at the Constructicons, where it seemed like the can was being kicked down the road until they just got bored of it. We have a lot of behind-the-scenes insight into Animated, and it just does not strike me as a meticulously planned show. When Blackarachnia was introduced, I can't imagine there was a strong idea of how her arc might resolve itself, because the tension of leaving it unresolved is in fact the whole point. To me, Animated is a show constructed entirely out of these tableaus, these dynamics, which build towards a season finale but never a series finale. While people generally agree that it was a shame Animated was cancelled, if you probe deeper, you'll find a bit more of a split on whether or not is was cancelled prematurely; more accurately, it simply wasn't renewed. I think part of what confuses people about Animated is that it was never being written towards a definitive conclusion—but rather, with the intent that it it could go on indefinitely.

There's a lot to mourn about the show; it was really the last time—in fact, if you discount the Beast era for the Beast-ness of it all, the only time—that a Transformers cartoon was permitted to radically reinterpret pretty much whatever aspect of the franchise it wanted, to make up new characters, to rewrite the mythos. The "mythos", such as it were, did not exist yet; the Binder of Revelation had yet to be codified. In anything made after Animated, "Prowl" could never, ever, have been a motorcycle ninja. The ossifying brand-alignment that began with Prime and continues with the so-called "evergreen" production bible has stifled innovation in the brand; unless there is a radical change in brand management internal to Hasbro itself, there will never be another take on Transformers as radical as this.

But I guess the necessary flipside of this is that I don't think Animated is really the purest expression of Transformers that many people treat it as. Its writing and visuals achieve a basic level of consistent quality that is otherwise absent from most stories in the brand, sure, but this doesn't make it the "best" Transformers cartoon ever. Perhaps there's no such thing. "Transformers", whatever that is, it's something else. It exists in your mind as much as it exists in mine. True "Transformers" has never been tried.

Just kidding there is a best Transformers cartoon and it's Beast Machines, obviously.

[cozymochi]

Hi hi! I have a question about your OCs. I’m so sorry if this has been asked before, but what are their best and worst classes?

Key: Tia = 🪷, Emilio = 🦜, Cecil = 🌿, Nyoka = 🫖, Tho I think most regulars know that by now. But unfortunately I have zero illustrations to make this format less dull-looking. Also all Tia subjects will ONLY include courses that don’t immediately require magic/relying on Grim.)

Idk how the exact grading system works but going for the classic letter-scale. (with plus and minuses for emphasis. EMPHASIS.)

Best Subjects:

🪷 - Alchemy: One of the few subjects that don’t require magical ability to participate in. She finds it comparable to cooking, and once she could recognize all the crazy materials involved she shined a lot more. (Too bad her grade still middles because she and Grim still count as a single student.)

CURRENT GRADE: B (Would be an A without Grim, otherwise good girl. The other pups could learn from her example.)

🦜- Musicology: Does have a passion for music and the study of it. He mostly keeps that side of himself tucked in his room and when his roommates are gone, though.

CURRENT GRADE: A

🌿 - History of Magic: He studies magical history as a pass time already. ¯\_(ツ)_/¯ So the class is just a series of refreshers to him. It’s been a minute since he’s genuinely learned anything “new” from it.

CURRENT GRADE: A+ (Writes fantastic essays.)

🫖- Summoning: It’s easy for him. There’s not much to report on. He’s not exactly personally interested in it, it’s just easy, so that’s the rating threshold here. He’s an honor student. Otherwise, he has almost equally high grades in nearly every subject except for one.

CURRENT GRADE: A+ (Flawless execution)

Worst Subjects

🪷 - Physical Ed: Just didn’t prioritize daily exercise much in her day-to-day life despite always being “on the move” so to speak. Sports in general were never her thing, but the long treks from Ramshackle to class at least have been building some stamina. She’s kind of pathetic when exerted. Always finished last when forced to run the mile back home sort of energy. (Her athletic friends are “training” her at least.)

CURRENT GRADE: C (Would be D without Grim. BUILD SOME MUSCLE 💪 NEVER HESITATE TO ASK FOR HELP )

🦜 - Alchemy: He doesn’t have a lot of patience for the processes involved. He’d rather they be right on the first try or faster. His usual weaseling doesn’t work as effectively in Crewel’s classes though.

CURRENT GRADE: C (Puppy needs to learn some more patience.)

🌿 - Physical Ed: He’s a pencil. The wind could blow him away if it was strong enough /j. He doesn’t wish to be bad at it, but it’s not like he’s been cautious about physical activity anyway in his day-to-day life.

CURRENT GRADE: C (Coach says BUILD MORE MUSCLES ✨✨REMEMBER! GOOD MAGIC IS TIED TO MUSCLES! Cecil disagrees.)

🫖 - Animal Linguistics: Ironic. Cobra Beastman weak with animal linguistics. Sure, most mammal beastmen have an advantage in this subject, but not when most of the animal subjects they speak to are small mammals or avians, and course curriculum rarely touches on much outside of that.

CURRENT GRADE: B- (Too much focus on woodland creatures and domestic animals :/ Can’t enunciate properly and the animals panic or become defensive when he opens his mouth to speak.)

(…He also takes an extra-curricular that specializes in “limbless-lizard” animal linguistics. There are a lot of Scarabia students in there. He an A- in that version of the course at least.. but still has issues with it.)

[atlantis-area]

#HappyKeyDay 🥳🔑🦊

[psychopomp-namine]

yingdu episode 5 spoilers

ohhh my god this is everything I want from cheng xiaoshi. yes. perfect. sorry, but I'm a cheng xiaoshi whump liker and link click always brings out the best of them in episode 5 of each season.

there's just something cathartic about how when cheng xiaoshi becomes an emotional mess, it's also when he's most disconnected with the people he knows (physically, as he's diving in a photo and his only link to his home timeframe is a disembodied lu guang in his head) but it's also when he's most connected with strangers (when their own personal trauma lines up with his). to me, it's a showcase of empathy and a strange manifestation of his own agency. something about how the disconnect gives him the space to blow up, and the connection heightens it and grants him permission, almost, to express his anger more freely for his own sake and for another person's behalf.

like. listen, okay, I'm gonna ramble now because cheng xiaoshi is my favorite character in this entire show, but listen. sometimes some fans will conflate adjectives to his character that are usually associated with his character archetype, but they aren't necessarily true about him as a character. and I don't mean it in a, "he's not like that because he grows out of those traits" kind of way. I mean it in a, "he was never like that" kind of way.

one of those adjectives, for me, is when people call him immature. he isn't! to me! imo! he's got big emotions, yes, but I personally don't think the presence of big emotions indicates anything about maturity. because you know what? as long as his primary trauma (feelings of abandonment) isn't touched, he is very good at handling interpersonal conflicts, and that's what's interesting to me.

qiao ling hides relevant information from him? he removes himself from the situation to give himself space and sort out his feelings. he tells her he's fine and that he'll be back.

post-earthquake arc? I'll just copy paste what I already said in a previous ask:

what initially got me was when I was first watching S1, I thought the earthquake arc would have devastating effects on [shiguang's] relationship. listen, I didn’t know what I was getting into with link click, but I thought that was expected. it’s ripe for drama! but how do they handle the fight? they put their side business on hold but they still keep being roommates. they still do their day job. they still talk. they’re still upset but they give each other space but not to the point where they can’t stand existing in each other’s spaces. that’s when I realized that oh, they really trust each other. they have a very solid foundation for their relationship that not even the earthquake arc can break. they’re pretty level-headed about this, actually, all things considered? all the doomed yaoi stuff came later, but that’s just the cherry on top. it’s the way they handled conflict and disappointment in S1 that got me.

okay, protect-namine, why go through that whole tangent? BECAUSE! circling back to yingdu episode 5, we finally, finally get to see cheng xiaoshi let out some of his anger. and it's precisely because his primary trauma point was on the table. he can forgive a friend lying, and he can forgive being told not to change the past. because at the end of the day, qiao ling and lu guang stayed. they never left him.

but he cannot handle abandonment. he cannot understand why people leave. he cannot understand why he's been clinging on to false hope this entire time. and more importantly, he cannot understand how someone can be such a hypocrite about it. "a man who'd rather be kind to strangers than face his own son" like fuck man. cheng weimin you fucked up so bad.

it's the disconnect/connect thing again too. thematically, it makes sense. when does cheng xiaoshi blow up? when he's alone, far away from the people that ground him. alone, the feeling he hates the most. he's not even in his own body. he blows up when he's inhabiting a stranger's. he doesn't even get to be angry as cheng xiaoshi.

how fucked up is that. man. I love him so much.

also I'm going crazyyyy over the family themes going on in link click. much to say about the show itself across all seasons (the twins, qiao ling and cheng xiaoshi, even the liu siblings), but for this episode... god. okay this is slight speculation territory now and I'll try to keep this very short, because this is only tangential to the post. but. imagine xia fei getting the good parent figure in cheng weimin that cheng xiaoshi never had. and he doesn't know!! he's bitter inside about his dad and he's having hotpot with xia fei and he doesn't know he was in that school!! fuck that's so good. that's so juicy.

okay, sorry, I have a lot of feelings about cheng xiaoshi. he's my link click blorbo of all time, and I love when he experiences The Horrors™ because it's also when other sides of him gets to shine.

on a brighter note:

VEIN AND CHENG XIAOSHI MEETING AGAIN!!! their greeting was so cute. also omg does xia fei know? that his boss is maybe possibly a cannibal? actually, wait, I don't think I'd be surprised if he does know.

ah and finally. finally:

I've been having many thoughts on how yingdu approaches "friendships" and their transactional nature (mostly with regards to liu xiao) but I mostly thought they're headcanon stuff. but now. I'm so so happy that episode 5 is bringing out more of the quid pro quo theme. liu xiao with the gift giving. wang qing's "friends" (bullies) demanding her to cheat on the exam for them. and now, vein and cheng xiaoshi having a friendly greeting but also exchanging favors. so good. so good. it goes along with how there's so much handshakes and handholding this season (not just with lu guang and cheng xiaoshi, but with cheng xiaoshi and the the antagonist trio too, who have all met him by "helping" him in some way). something something trust and favors. probably something that deserves its own post though, but I wanted to point this out because I am soooo here for that. it's goes hand in hand (ha!) with the whole fraud/lies vs innocence/honesty theme this season, and deals/contracts being an equalizer to the two. very good. very tasty.

edit: ooh they also point to this in the YE6 trailer too. nice, nice. if you knew someone's true colors, would you still be their friend?

man, I love episode 5. it just hits all the stuff I personally wanted to see. the only flaw is that we still haven't seen the older version of wang qing, but yeah I kinda expected that they'll hide her until episode 6. they're giving her the liu xiao treatment from season 2. sigh. really wish she'd keep showing up in S3, we need more female characters in this show 🙏

[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

[sskk-manifesto]

--

[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.

[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!

[ds-angel1]

TEACHERS LITTLE PET

cw: SMUT(18+), teacher x student relationship, hitting it from the back(in the classroom), big age gap(ages aren´t specified), reader is a senior, i´m not american and have no idea how the school system works so please just smile and nod

wc: ~ 5.1k

a/n: tell me what you think of this dynamic and if you want more cause i have some ideas!! also this is the longest fic i´ve ever written, not my best work but atleast i managed to write something?? keep in mind i had a fever when i wrote this

Rafe had no idea how he ended up here.

Well, if he was being honest, he did. He just hated admitting it.

He hated kids. Teenagers weren’t much better. If they weren’t whining about something trivial, they were loud, obnoxious, and bursting with opinions they thought were groundbreaking. And high schoolers? They were the worst of the lot, caught in that unbearable limbo between childhood and adulthood, convinced they knew everything and that the world had been tailor-made to inconvenience them.

He hated his job, too. But after his father had all but shoved him into college, and he had somehow managed to scrape together an art history degree through a chaotic jumble of barely thought-out course selections, he needed a paycheck. He needed something, anything, to make use of the four years he had spent drowning in essays about the Renaissance and lectures on the symbolism of Baroque architecture.

And there it was, a high school history teacher.

He was fairly certain the school had been desperate. Desperate enough to hire the first applicant who could string a coherent sentence together about the American Revolution. And lucky him, that applicant had been Rafe.

The school itself was unremarkable. Small, under 400 students, just two squat brick buildings separated by a weather-beaten schoolyard that reeked of stale cigarette smoke and teenage apathy. Five hours from the Outer Banks, he could visit home whenever he wanted. Not that he did. There was nothing left for him there, nothing worth the drive, and frankly, there was nothing for him here either.

His days were a loop, a monotonous, uninspired cycle of standing in front of rows of disinterested, hormonal teenagers, rattling off lessons about long-dead historical figures far more interesting than any of his students would ever bother to realize. He graded half-assed essays, endured halfhearted excuses about missing assignments, and spent more time than he cared to admit staring at the clock, willing the hours to pass. Then, when the final bell rang, he trudged back to his apartment, a bare, impersonal space that he never bothered to decorate. No photos, no art, and no signs that anyone lived there. Just a bed, a couch, and a kitchen table that mostly went unused.

And then there were the truly miserable days, the ones where he was roped into subbing for freshman P.E., a biweekly exercise in self-inflicted torture. Half the girls refused to break a sweat, acting as if running a single lap would somehow lead to their untimely demise. The other half of the class consisted of cocky, over-competitive boys who treated dodgeball like a blood sport. He spent most of those periods standing on the sidelines, arms crossed, blowing the whistle when things got too heated, and watching the clock even more desperately than usual.

It was a dull, uninspired existence; monotonous, predictable, and entirely void of passion. He lived his life the way his students listened to the outdated documentaries he played in class: half-awake, uninterested, just going through the motions because it had to be done.

Until you walked into his class.

The first day of school after summer break always carried a certain energy; electric, restless, filled with voices overlapping in an unfiltered rush of stories from the last few weeks. As Rafe pushed open the door to his classroom, that familiar wave of chatter hit him like a sudden gust of wind. Laughter, exclamations, the scrape of chairs against the floor—it was all as chaotic as he had expected.

With a quiet sigh, he made his way to his desk, setting his thermos down on the bleached oak surface before picking it up again almost instinctively, taking a slow sip before returning it to its place. His fingers moved on autopilot, retrieving his school-issued laptop from his bag, pressing the power button, and waiting for the screen to glow to life. His gaze lifted, sweeping across the students, his students. The same faces he’d taught last year, now a little older, a little different, officially juniors.

But one face wasn’t familiar.

You.

Rafe spotted you almost immediately, sitting in the third row, right by the window where the morning sky stretched in endless hues of soft blue. You were listening—well, nodding, at least—to Amanda, whose mouth moved a mile a minute. He didn’t have to hear her know she was spewing an endless stream of conversation; Amanda was known for filling any silence, anytime, anywhere. But his attention wasn’t on her. It was on you.

A dark navy skirt draped over your thighs, the fabric shifting in gentle waves with every slight movement. Your top, a delicate white spaghetti strap with tiny baby blue flowers, hugged your frame, lace tracing the neckline, a small bow nestled right at its center. A beige cardigan hung loosely over your shoulders, two buttons left undone as if they had never been intended for use in the first place. Your hair was pulled back into a ponytail, not rigid, not loose, just… effortless. A few strands framed your face, soft wisps that moved when you turned your head, catching the light in a way that made them seem almost ethereal.

And sure, you looked beautiful, undeniably so. But it wasn’t just that.

It was the way your eyes flickered around the room, quietly observing, absorbing. The way your lips parted slightly every so often, murmuring the occasional “Uh-huh” or “Yeah” in response to Amanda’s nonstop chatter, even as your mind seemed elsewhere. There was something in your expression, an almost hesitant curiosity, a quiet awareness, that made Rafe’s fingers pause over the laptop’s keyboard.

He had seen many faces in this classroom. Some familiar, some forgettable.

But yours?

Yours was impossible to ignore.

"Uh— okay, let’s get started. Settle down," Rafe called out to the students, his voice steady despite the chaos. The room buzzed with post-summer chatter, desks scraping against the floor as students found their seats. He rolled his shoulders, forcing himself to exhale. The first day back was always like this, full of energy, distractions, and the struggle to rein everyone in. But today, there was another battle brewing beneath the surface, one he wasn’t prepared for.

He hoped that once the lesson began, he could shift his focus, and force himself to look anywhere but at you. He clung to that hope like a lifeline, but the moment he commanded their attention, he had yours.

And when your eyes locked onto him, he was trapped. Hypnotized. His breath hitched, pulse stuttering in a way it had no right to. For what felt like an eternity, he couldn’t tear his gaze away, couldn’t shake the invisible thread tightening between you. His fingers curled into his palm, nails pressing against his skin.

Shit.

Swallowing hard, he forced himself to snap out of it, dragging his attention back to the board. He took a measured breath, gripping the chalk like it might anchor him. "Alright, I know you’re all still in vacation mode, but we need to get talking about history."

The usual grumbling came, but it was muted, fading as students settled into their seats. Good. The routine was safe. The routine was predictable. The routine wouldn’t let his mind wander to places it shouldn’t.

"Before we dive in, we have a new student joining us this year from the senior class," he announced, keeping his tone even, impersonal. His gaze flickered back to you, just for a second, just long enough to acknowledge you without giving himself away. "Would you introduce yourself?"

A brief silence. You hesitated, shifting under the weight of so many eyes before murmuring your name.

"Great," Rafe said, far too quickly. He cleared his throat, turning back to the board. "So, what do we know about American history from the Industrial Revolution to the modern age?"

The next forty-five minutes passed in a blur of discussion, textbook readings, and writing exercises. Normally, this was when he’d catch up on grading or chip away at whatever administrative work he had. But today? No. Today, his focus splintered, frayed at the edges every time he felt your presence in the room.

His eyes kept drifting.

To you.

It was reckless. Stupid. He knew it was wrong, knew exactly how it would look if anyone noticed. He wasn’t blind, he’d found students attractive before, but it had always been a fleeting thing, a passing thought dismissed before it could take root. A moment, nothing more.

But this?

This was different.

This wasn’t just acknowledging that you were pretty, though you were. Incredibly so. This wasn’t just an absent-minded recognition of beauty. No, this was something deeper. Something that twisted in his gut and settled in his bones, something that made his breath catch when he wasn’t prepared for it.

Something dangerous.

His fingers raked through his hair as he stared down at his keyboard, typing nothing. He could tell himself it was just a dry spell, that he’d been avoiding distractions for too long, that it was simply physical. But that would be a lie.

Because it wasn’t just about desire.

It was about you.

And that was a problem.

The shrill chime of the bell split the air, and the classroom erupted into motion. Notebooks snapped shut, chairs scraped against the tile, and a low hum of voices swelled as students shoved books into backpacks, eager to escape into the chaotic freedom of lunch. You swung your bag over your shoulder, weaving through the shifting maze of desks, your focus locked on the door. The cafeteria was called, an oasis of noise and anonymity where you could blend in, and where no one was analyzing your every move.

But just as you stepped forward, a voice cut through the chatter behind you.

"Hey."

It wasn’t loud, but it had weight, like an anchor dropping into the sea of departing students. Something in the tone made your stomach twist. You turned, pulse hitching slightly, to find Mr. Cameron watching you from behind his desk. His expression was unreadable, calm but not necessarily kind.

"Yes, Mr. Cameron?" you asked, hesitating.

"Can I speak to you for a moment?"

It was phrased like a question, but you both knew it wasn’t. He gave a small nod toward the door as the last few stragglers trickled out, a silent instruction.

With a quiet sigh, you nudged the door shut behind them, the click of the latch sealing you in. The classroom, so full of life just seconds ago, now felt cavernous, the quiet pressing in around you. You hesitated before making your way back to his desk, each step feeling heavier than the last.

Mr. Cameron leaned forward slightly, elbows resting on the surface of his desk, fingers steepled together. "So… I wanted to talk to you about last year." His voice was measured, and neutral, but something about it put you on edge. "You were in Ms. Wallace’s class, right?" His eyes flicked to a sheet of paper in front of him, though you were certain he already knew the answer.

You shifted uncomfortably. "Mhm." A simple answer for something far more complicated. Your history with Ms. Wallace wasn’t just a class; it was a long, exhausting battle, a relentless tug-of-war between frustration, unmet expectations, and a sinking feeling of inevitability.

Mr. Cameron studied you for a moment before speaking again. "Can you tell me what didn’t work? Was it her? The material? Her teaching style? Or was it something on your end?" His head tilted slightly, voice smooth, probing.

You hesitated, suddenly hyper-aware of the way your fingers clenched the strap of your bag. "I guess I was just… kind of unfocused last year," you admitted, your voice barely above a murmur.

"Mm." He hummed, eyebrows lifting just slightly. "Just last year?"

Your stomach tightened.

"Because judging by today’s lesson, it seems like you're still a little… distracted. More interested in doodles than in history, huh?"

Heat crept up your neck, shame pooling in your chest. Your gaze dropped to the floor as if looking anywhere else might soften the weight of his words.

"You’d think," he continued, his tone carrying the faintest edge, "that after the school let you pass the year and only required you to retake this class, you'd put in a little more effort."

His words landed like a slap, sharp, deliberate. He knew exactly how unfair that was. Knew how it would make you feel. And yet, for whatever reason, he didn’t stop himself.

The silence that followed was suffocating.

“You want to pass, yes?”

His voice was low, almost teasing, each word curling around you like smoke. He leaned forward slightly, elbows resting on his desk, dark eyes locked onto yours with something unreadable, something that made your stomach twist.

You swallowed hard, your throat suddenly dry, and gave a quick, eager nod.

Rafe watched you for a lingering second, dragging it out just long enough to make you shift where you stood. Then, with an exhale that was almost too casual, he pushed himself up from his chair. He didn’t simply stand, he moved. Slow. Deliberate. A quiet display of control as he braced one hand against the edge of his desk, his weight settling into a lean. The aged wood creaked under him, but he didn’t seem to notice, or maybe he just didn’t care.

His focus remained entirely on you.

“And what do you think I could do to help you achieve that?”

Smooth. Measured. But there was something else beneath his tone, something just sharp enough to catch. Playfulness, maybe. Amusement. Or something more dangerous.

His gaze flickered, sweeping over you in a way that felt too quick at first, like a reflex he hadn’t meant to act on. But then, you saw it. The hesitation. The way his throat bobbed, how his fingers flexed at his sides before he rubbed the back of his neck as if trying to shake off whatever had just slipped through the cracks. But it was too late.

You had seen.

And by the way, his jaw clenched a second later, the way his lips pressed together, you knew he realized it too.

Your heart hammered. You didn’t answer him. Couldn’t. Instead, your fingers fidgeted with each other, twisting and untwisting, your bottom lip caught between your teeth. The silence between you stretched, thick and electric, heavy with something unspoken, something neither of you dared name but both of you felt.

Rafe inhaled deeply, the sound filling the quiet space between you. The air itself seemed different now, charged, like something unseen was pressing in, urging one of you to break.

He let the breath out slowly, his chest rising and falling in a rhythm that somehow felt… controlled. Intentional. And then, his eyes moved again.

This time, there was no rush. No flicker of hesitation.

Now, he studied you.

It was slow, almost methodical, th

6e kind of look that made heat crawl up the back of your neck, the kind that lingered just long enough in places that made you second-guess every inch of yourself. When his gaze reached your thighs, a nervous jolt ran through you. Almost instinctively, you gripped the hem of your skirt, twisting the fabric in your fists, your knuckles turning white.

A nervous habit.

One he noticed.

One that made his eyes darken, not dramatically, not in some exaggerated, obvious way, but just enough. Just enough for you to catch the shift, to see the amusement flicker across his face like the hint of a smirk he didn’t fully let through.

“Hm?” The questioning hum he let out brought you back to reality, back to his question, and back to the answer that you had yet to give.

“Um… I- I don’t know…” you stammered out.

His eyes flick down again, taking in your upper body, eyes practically circling in on your chest. As if your body has a mind of its own, you straighten your back, puffing out your chest.

Rafe’s eyes flickered up to yours, and for a second, he didn’t move. Didn’t blink.

The air between you had thickened, dense with something unspoken, something dangerous. His tongue flicked out to wet his lips, slow, almost pensive as if he were considering something he shouldn’t be. He exhaled sharply through his nose, a breath that almost sounded like a laugh but carried no humor, just tension.

“Yeah?” His voice was softer now, quieter like he was testing the waters, like he was trying to figure out how far this would go before one of you came to your senses.

Your lips parted, but no words came. Your throat felt tight, your skin burning where his gaze traced. You felt like you were standing on the edge of something vast, something that couldn’t be undone.

His fingers tapped once, twice against the desk, a steady rhythm that contradicted the barely concealed restraint in his posture. His body language told two different stories, one of hesitation, and another of inevitability. He was too close, and yet he wasn’t moving away.

Your breath hitched as he shifted, his body angling just slightly towards yours. It was a minuscule movement, one that could’ve been mistaken for a simple change in weight, but you knew better. It was deliberate. Calculated.

“You want to pass this class?”

The question was a mere whisper, his voice dipped in something that made your stomach twist. Your throat bobbed as you swallowed, nodding, too fast, too eager.

His lips twitched, almost smirking like he knew exactly what he was doing to you. He leaned in just enough that you caught the faint scent of his cologne, something dark and musky, something entirely him.

“Then you’re gonna have to focus.”

The way he said it—low, deliberate—sent a shiver down your spine. His words weren’t inappropriate, but the way he looked at you, the way his voice wrapped around each syllable, made them feel like something else entirely.

Your knees felt weak, your heart pounding against your ribcage as your grip tightened around the strap of your bag. The classroom, once suffocating in its quiet, now felt electric, charged with a current that neither of you dared acknowledge aloud.

Rafe exhaled again, this time slower, measured. His hand moved, not towards you, not touching, but close enough that you felt the shift in air between you.

“You’re nervous.”

It wasn’t a question.

Your breath shuddered. “I—”

His head tilted slightly, watching, waiting. His pupils were blown wide, his expression unreadable but entirely focused on you.

His jaw ticked, his fingers twitching at his side like he was fighting something. A beat of silence stretched between you.

And then, Rafe moved.

It wasn’t rushed. It wasn’t forceful. It was a slow descent, a moment stretched into eternity. His lips hovered just above yours, close enough that you felt the ghost of his breath against your skin, close enough that your lips parted in anticipation before your mind could catch up.

He paused—just for a fraction of a second, just enough to give you the chance to pull away. Just enough to make it clear that if this happened, it was your choice, too.

But you didn’t move away.

Neither did he.

And before you could let a single other breath out, his lips met yours.

Soft at first. Testing. A barely-there brush that sent a sharp current through your veins, igniting something dangerous and uncontainable in your chest.

He exhaled against your mouth, and in that moment it seemed like something in him snapped.

His hand found your waist, fingers splaying against the fabric of your cardigan as he pulled you just slightly closer. His other hand lifted, skimming along your jaw before his fingers tangled in your hair, tilting your head just so.

The kiss deepened, slow but demanding, every movement deliberate, every touch igniting another spark beneath your skin. He wasn’t rushing—no, he was savoring, taking his time like he wanted to memorize the exact way you fit against him. He knew this was a mistake but couldn’t bring himself to care.

Your hands found his chest, pressing lightly against the fabric of his dress shirt, feeling the steady rise and fall of his breath beneath your palms. His fingers tightened slightly in your hair at the contact, his grip on your waist firm but careful, as if he was anchoring himself as much as he was anchoring you.

The sharp sound of footsteps in the hallway shattered the fragile haze that had settled between you two, yanking you both back into reality.

Rafe was the first to react, pulling away, but only just. His forehead remained pressed against yours, his breath still ragged, chest rising and falling in sync with yours. His fingers, warm and possessive, lingered at your waist a second too long before he finally, finally, let go, stepping back just enough to put a sliver of space between you. But not enough to erase what had just happened.

His eyes searched yours, dark blue depths swirling with something unreadable, something dangerous. His exhale was sharp, tension coiling through his jaw as he dragged a hand through his hair, his fingers gripping at the strands like he was trying to ground himself.

“Shit,” he muttered under his breath, voice rough and uneven. Then, with more force, “Fuck. Fuck.”

His eyes shut tight, his head shaking in frustration as if the motion itself could erase the last few minutes. When they opened again, they were filled with something even more intense. In two strides, he was in front of you again, his hands gripping your upper arms, fingertips pressing just a little too hard, just enough to make you feel trapped between the heat of his body and the reality of the situation.

“This didn’t happen, okay?” His voice was firm, but there was a slight tremor to it like he wasn’t sure if he believed the words himself. His grip tightened before loosening again, as if he was at war with himself as if he didn’t trust his restraint.

You didn’t answer. You just stared at him, your pulse thrumming wildly, your breath uneven. His eyes flickered down to your parted lips, then back to your eyes, and something in him cracked. His hands slid down your arms in a slow, deliberate motion, his touch leaving a trail of heat in its wake. When his fingertips finally settled at your hipbones, pressing in lightly, his resolve wavered even more.

“This…” he exhaled sharply, shaking his head. “I don’t know.”

His voice was different now, lower, more raw. His fingers traced absent patterns along the fabric of your skirt as his mind spiraled, thoughts tumbling into a chaotic storm. Why was he doing this? This wasn’t like him. He had met you, his student, his goddamn student, less than an hour ago, and he had already crossed every possible line. And yet, even knowing that he wasn’t pulling away. He was moving closer.

His hands ghosted up your sides, the touch sending shivers across your skin. His lips brushed against your ear as he whispered, “Don’t tell anyone. Can you do that for me?”

If someone had asked you that morning how you thought your first day of senior year would go, never in a million years would you have said this? Sure, you’d heard the whispers in the halls, and seen the way every girl’s eyes lingered when he walked past. Mr. Cameron was the forbidden fantasy, the subject of countless rumors and stolen glances. But he was also your teacher. And he had just kissed you.

You knew it was wrong. You should run, tell someone, do the right thing. And yet, as your mind battled between logic and desire, only one thought rose above the rest: he had kissed you.

Mr. Cameron, the man every girl in school lusted after, had kissed you. Had he done this before? Had he chosen others before you? Or was this different?

Even as doubt twisted itself into a tight knot in your stomach, you found yourself nodding, unable to speak, afraid your voice would betray you with the high-pitched, breathy sound of a girl who had just been touched by fire and didn’t want to step away.

“Good.”

His voice was barely a whisper, almost more breath than sound. The tension in the room grew, thick and suffocating, but you didn’t want to breathe anything else in. His fingers glided upward again, teasing over your waist, grazing over your ribs, leaving a trail of heat that made your entire body burn with anticipation.

Then, gently, with a tenderness that contradicted the fevered hunger in his eyes, he cupped your face. For one impossible moment, you thought he was going to kiss you again, that he was going to throw every bit of logic and control out the window and claim your lips as he had minutes ago. But instead, he tilted your head slightly, his breath warm against your throat.

Then his lips were on your neck, barely touching, soft and slow.

A sound, something between a gasp and a whimper, escaped you, and his hands tightened ever so slightly, grounding you, making you feel small under his grasp. His mouth moved lower, pressing another kiss, and then another, each one more deliberate, more intoxicating than the last.

You barely registered the moment he turned you around, your back now facing him. Your hands trembled as they found purchase against the smooth surface of his desk, the dark wood cool beneath your fingertips.

Then, with the kind of confidence that sent a shiver racing down your spine, he placed his hands on your thighs, massaging them slowly, possessively.

His voice, low and dripping with something dark and dangerous, ghosted over your ear.

“Stay quiet for me.”

You sucked in a deep, long breath, letting your head fall and your eyes close.

The feel of the Rafe´s fingers slid under the skirt and the pads of his fingers started tracing along your panties, each tiny motion making your body stutter and tremble.

“You´re… you´re real special, you know that?” He spoke from behind you but you couldn’t respond, still holding your breath as if letting out the air would make the situation you found yourself in truly real.

When he had had enough of feeling the warm, twisted feeling in his stomach as he let his fingers glide over your clothed cunt, he pushed your underwear aside with his thumb, letting the tip of his index finger dip into your already quivering hole. The action intensified the feeling and buried it even deeper in his gut.

As if a shock of lightning had hit you, you bolted away from his hand a few inches, clenching your thighs tightly as you finally relieved your lungs of the air they were keeping trapped.

“M- Mr. Cameron…” You started to sputter out but stopped when you felt long, gruff fingers curl around the sides of your panties before pulling the black lace material down tantalizingly slow.

A cold rush of air hit your most intimate body part, making you gasp and pant. When you heard rustling and what you could only assume was the clink of your teacher´s belt, you shut your mouth and froze as you waited for the man´s next move.

“Listen,” he whispered your name like it was a sin he committed and you were a pastor, “You understand that this stays between us, yes?” His large hands massaged your ass and thighs, cursing under his breath when he saw how soaked you were.

“Mhm,” you hummed in agreement. You weren´t sure why. He was your teacher and by the looks of it and the feel of his hands on you, apparently a pedophile. But god did you want this; you wanted it, him, so bad.

Before you could so much as even let another thought pass through your head, he thrust forward, burying his cock inside you as deep as he could with multiple rapid movements of his hips. You moaned and practically screamed, the sounds of pleasure from you making Rafe reach around and cover practically half of your entire face.

“Fuck, you´re so tight,” he muttered sharply next to your ear as he started moving inside of you again, dragging his hips back only to snap them back forward less than a moment later.

“You like that, huh? Like being fucked by your teacher. Little teachers pet.”

He knew this was wrong, you were his student, and you probably didn´t even actually want this but for some fucked up reason that made it even better for Rafe, and as the thought crossed his mind it only made him thrust into you faster. At that point, you were damn near choking and sobbing into his hand, his palm making it hard for you to get a deep breath of fresh air in.

With a sense of panic taking over you, you tried to move your hands off of the desk to claw him off of your face but your attempts proved futile when Rafe pushed you flat onto the desk, forcing you to take his cock even deeper.

His free hand which wasn´t taking away your ability to breathe, found its way between your legs, his index, and middle fingers drawing squiggly circles on your clit. At the shock of pleasure that ran through you as he teased your extremely sensitive bundle of nerves, you clenched around his pipe and arched your back. You felt that familiar coil spring up in the depths of your stomach, your body rocking slightly backward against Rafe´s to help you relive the press soon.

Rafe pushed into you harder than he had any of the other time before then, hitting your sweet spot with a force that would have made you cry out, had you had your mouth free. His fingers applied pressure to the shapes they were making on your clit. The mix of heightened attention and force made your pussy squeeze around him and pushed you over the edge, coming with tears in your eyes.

After a few more brutal thrusts into your soppy cunt, he came as well, unloading into you, his thoughts barely registering anything at that point except for you and your body bent over his desk, his cum dripping out of your used up hole and onto your thighs.

Slowly he took away his hand from your face, a trail of spit following. As soon as you got a few much-needed breaths, you collapsed onto the desk, your body falling limp. Rafe pulled out of you, not wasting any time before he pulled his pants back on and redid his leather belt around his hips. He leaned over you, his body covering all of your sweaty skin as he dressed you in your underwear again.

“You did so good, darling. So, so good."

[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*