#I honestly didn't do much

[arabella-s-arts]

Scenes/Things in Supernatural that genuinely don't make sense to me if Dean was straight:

The confession booth scene.

Sam just rolling with the fact that Dean's siren is a guy while still thinking sirens infect people through sex.

Dean being flustered by several men: Gunner Lawless, Aaron, Doctor Sexy, etc.

All the parallels between Destiel and other couples. (A big one being "last night on Earth" bc how do you do that accidentally.)

Having all the gay jokes be on Dean instead of Sam.

Paralleling Sam meeting his childhood celebrity crush with Dean meeting Gunner Lawless.

The boner Dean got when Cas cleaned up.

Dean gulping after Cas does an impression from a Western movie.

Charlie, a lesbian, calling Castiel "dreamy."

The way Mary looks at Dean and Cas when they hug.

Dean wondering why everyone assumes he's gay, while Sam not caring.

The logic that Charlie can't flirt with guys because she's only attracted to women, but then having Dean flirt with the guy for her.

Dean seeming disappointed when learning that Aaron's flirting was fake.

The amount of time Dean and Cas spend staring at each other.

Dean canonically having an orgy with Crowley.

A woman saying that she knows when someone's pining for someone else to Dean, just for us to learn that Dean was never in love with Amara.

The set design and script choices that lead to a cross in the background while Dean said "I do." to Cas after he came back to life.

That time when Dean wanted to say something and Cas was like, "It's okay, I heard your prayer." But Dean still looked like he wanted to say something important.

Amara: [about Dean] "I can see inside your heart. Feel the love you feel. Except, it’s cloaked in shame.” (Thanks @adeptune01 I honestly forgot about this one.)

[0fps]

JANE DOE ❖ undercover r&b

The big bad daddy who cussed you out every day is gone and yet you still miss him. What are you, a bunch of daddy's boys?

[essektheylyss]

I'm also still laughing that he really showed up, introduced himself as an Archivist of the Cobalt Soul, and then insinuated that they were going to go extrajudicially hunt down, capture, and "interrogate" a Cerberus Assembly Archmage. Sir, archivists do not do that kind of thing, least of all on their own, LEAST OF ALL with a bunch of random hooligans they were just sent to collect for an unrelated excursion. Quite honestly, that was the thing I kept going back to in evidence of, there is absolutely no way this is a legit archivist.

[myoonmii]

I think the downright most horrific and brutal detail in the show is that Kilgharrah actually used Merlin to make sure Arthur's death happened with the pretence of protecting him

[sysig]

Ah, childhood memories (Patreon)

[rottmnt-residuum]

Hi, I've read the Residuum comic, and I think the characterization of the boys is really good. I was wondering if you have any tips on how to write them? Especially Mikey, please.

I'd actually recommend re-watching the show with one character in mind. All my notes on the turtles come from doing separate re-watches for each of them. The key is to ONLY watch the character you are focusing on.

In the end, you'll probably be happier with your own personal interpretation. As we are with ours lol

TL;DR

Massive post under the cut

To preface: we'll be contrasting (this Mikey) against the fandoms version of Mikey, as our interpretation is very different. Don't worry if you prefer the fandom version, there's nothing… wrong per se with writing him this way. We just find him flat and uninteresting. (Main author: not me, I just hate him, lol).

Every reader or fan comes into a story with their own biases and experiences. A ton of our view of Mikey is based on how our siblings acted. We see Mikey as the young sibling that got preferential treatment from the whole family, simply due to being the youngest, but is now aging out of the privilege. Which all youngest siblings do at some point or another.

The fandoms version of Mikey is empathetic, naive, vulnerable, co-dependent and quite often a door mat who cries at the drop of a hat. And as much as the fandom like to say that people love him… when this particular character archetype is in other media, they seem to attract the most criticism. Mable pines, Bolin from Korra, people rag on Aang all the fucking time, and Steven Universe is a whole other bag. These characters don't deserve it, and yet it happens anyway.

To flatten Mikey to simply 'the baby' is a disservice. We don't see or write Mikey as the fandom “baby” version (cinnamon roll uwu). Part of this comes from having multiple siblings, so we interpret the times when Mikey does the puppy dog eyes as typical younger sibling bullshit, mostly by the way that the other turtles rarely react to it, if at all.

The other turtles traits can also get projected onto Mikey. Mikey being the fandom therapist is in the same category as this. He isn't a therapist, he's a psychology nerd who likes to psychoanalyze people and meddle in their relationships. (Donnie and Shelldons relationship, Splinter and Draxums...) he's not trying to resolve your emotional issues. Of the turtles, the character that cares the most about people's feelings is Raph. And Leo is more of a consoler than Mikey ever is. It flattens all the turtle's characterizations when you start doing this because you are ripping out parts that are integral to another characters' complexity.

Co-author has told me that they've seen people become confused when going into the show after only reading fan fiction or coming from the movie. They see his characterization as inconsistent and become upset when their view of him is contradicted. This also happens when a fandomized version of him becomes the primary characterization that they use. Sometimes when this disconnect happens (or if they just don't like the character), Mikey characterization is swung in the complete opposite direction.

They make him manipulative and abusive, or someone who is hyper violent and avoids being held accountable for anything. This is an uncharitable interpretation of him and can come off as pretty racist depending on the circumstances. (like if someone considers the turtles black or not)

Every version of Mikey is a shithead (affectionate), even this one. Especially this one, really. When Mikey not doing the "baby schtick" hes mean. If you pay attention to what he's saying, and just not his tone of voice, he's consistently saying pretty mean or condescending stuff. (You could take this as simply naïveté, but he still says mean shit pretty often regardless)

The times he does say genuinely nice stuff the turtles don't exactly expect it from him, at least, in the early season. And while he is mean, and seems to find saying mean things to be funny, Mikey isn't cruel. Nor will he ever be.

This shit-headery behavior is found in both 2003 and 18 Mikey. They have a degree of social intelligence that lets them use it to annoy people into doing what they want. 18 just has the advantage of being baby faced and having better tonal control. He's good at using people's perception of him to get what he wants.

Let Mikey have his problematic traits, but don't overexaggerate them. He doesn't revel in fooling people. He loves doing character bits, and the baby faced one just happens to be one of them. However, to infantilize or to deem him incompetent is to piss him off, he wants to be viewed as a competent part of the team and competent as an individual. He's not insecure about being young, he just doesn't want to be treated like he can't do anything.

Mikey above all is an optimistic character, he sees the brighter side quite often and is conscious of the harm his actions have on people. Mostly after the fact, but he consistently attempts to rectify the harm he has personally done to peoples lives. (Todd, Bullhop, Draxum). Food and shelter seems to be a thing that he considers to be a right. He doesn't cross a boundary twice once he learns of it, and he never pushes people too far (if he likes you, that is. if he doesn't know you or doesn't like you, he doesn't give a singular shit. But that is standard to most people.). He doesn't care about people's stuff, though. He breaks things all the time.

Mikey understands boundaries, but he doesn't automatically recognize them. He needs them to verbalized or for there to be a very obvious reaction to the boundary being crossed (unfortunately, for Todd and Donnie). Sometimes people mess up (esp. younger people), and it can take a while for teens to learn where boundary is, but he fully respects the boundaries he does know about. He doesn't act petulant when he's told about boundary, he apologizes, accepts it, and moves on. He doesn't dwell.

Mikey doesn't hold on to distressing emotions. He bounces between emotions quickly, but isn't effected in the long run. One thing Iv'e seen people often conflate is the difference between sensitive and vulnerable. Mikey is sensitive, but I have never seen him vulnerable to others. To be sensitive is to be easily influenced by the current situation. To be vulnerable is to hold that influence for a long time. Characters can have one, both, or neither of these traits. But Mikey is not vulnerable. It is the difference between compressing memory foam and a piece of metal until they deform. One will pop back, the other does not.

Those who are vulnerable but not sensitive will take longer to effect, but once you do, they will hold on to that emotion for a very long time. The vulnerable, are grudge holders. (leo). But like I've said, Mikey bounces back. What a character does has an effect on his emotions, but it doesn't make a lasting impression.

Forgiveness is another thing people like to push on him. It is not that Mikey forgives people easily, it's just that he doesn't hold grudges. He neither forgives nor forgets, but he does not ruminate. He's generally affable, first impressions seem to be a big part of how he views people. He is idealistic, and doesn't assume people are unchanging and/or evil, but he's not a mark.

Mikey isn't so much as naive or overly trusting… it's just that he's inexperienced. He doesn't get fooled by anyone in the series except meat sweats, and that's because Meatsweats is on Todd drugs. Mikey just didn't notice when he started faking. He's not… actually all that aware of people's emotional states, passively. He has to tune in to notice things like that.

Mikey isn't someone who really tries to regulate others emotions, either. The fandom like to make Mikey afraid of his brothers fighting and others being upset, but Mikey doesn't actually care. The most distressed we ever see him in a fight is in the movie, and he's not SCARED, he's just concerned (and then alarmed once it turned physical). If anything, outside extenuating circumstances (like the movie), Mikey actually seems to find their fights annoying.

(Mikey actually seems to have a pretty short fuse, but his bounciness doesn't really let it linger very long, lmao)

(One pet peeve of fandom Mikey is the constant crying, crying at fights, crying at insults, crying for no reason all the time. Sure, he tears up when he gets emotional, but when Mikey is genuinely crying It's when he's desperate, like when he's hungry, or when he's trying to save Leo from certain doom. Same thing, really.)

Mikey respects no one (we love him for this). He admires people, he admires his family: April, the turtles, his dad, Lou Jitsu. He admires Rupert Swaggert, but he respects none of them. No one is sacrosanct to the Mikey.

Above all, the way we write characters is to give them a past that informs how they act now. We view Mikey and the other turtles as teenagers that were kids, and that will be adults. Yes they all have “problematic” traits, but 1) good characters need flaws, and controversial traits are one of the best to use, and 2) they're teenagers, don't expect adult behaviors from them, also don't expect them to be kids. They're minors, not toddlers.

This is getting as long enough as it is, so we'll stop here, but this is a very broad overview of how we characterize him. There's a lot we didn't cover here, but if we even started on hobbies, or the real minutia of his quirks and ticks, or even how he feels about other specific characters... we'd be here all day. So I hope this is good enough lol

If there was something you wanted to know in particular, you'll need to get specific. Feel free to ask again ahahh

[solarmorrigan]

Open Doors, Part 1

Ao3

Everyone was so kind about the first fic I wrote about Steve and Eddie's neighbor adopting them that I had a few more thoughts about it! I owe you all thanks for the inspiration and I hope this is also an enjoyable read <3 Part two will be up later this week

Tags: POV Outsider, Steve Harrington Has Migraines, Protective Eddie Munson, past minor character death, car accident mention, the looming specter of period-typical homophobia

-

Gladys isn’t a churchgoing woman. She’s never even been particularly religious, beyond a performative sort of faith for the sake of her God-fearing mother (God rest her soul, Gladys supposes), but Sundays are sacred, all the same.

Sundays are for Murder She Wrote. And, more recently, they’re for dinner with her boys.

Neither Eddie nor Steve are the religious sort, either (she’d brought it up once, just to see, and they’d laughed a little in an uncomfortable sort of way that had told Gladys all she’d really needed to know), but Steve is a fellow fan of Jessica Fletcher, and Eddie is happy enough to join them on the couch after a good meal and watch them compete to see who can guess the solution first.

It’s something they all look forward to, so Gladys isn’t sure why she’s been left standing in front of the boys’ front door a full minute after she’s knocked. They ought to be expecting her, after all; they take turns hosting, and Gladys is sure it had been her turn last week. She knocks again, a little louder this time.

After another few moments, she hears the thud of hurried footsteps coming towards the door, and then Eddie’s voice is hissing out at her before he’s even finished opening it.

“I’m here already, now will you keep it–” he falters when he sees her standing before him on the doormat, “–down?”

“Well, if I’d known that was the kind of welcome I’d receive, I would have stayed home,” Gladys says dryly.

Eddie’s face morphs quickly from irritation to confusion and, finally, to a kind of horrified understanding.

“Oh, shit, it’s Sunday,” he realizes, voice still pitched low.

Taking in the state of him, it seems as though Gladys has interrupted some kind of lazy day; his hair is a mess (more so than usual), and he’s in pajamas and bare feet.

It smarts a little to think their evening has been so easily forgotten.

“It is Sunday,” Gladys confirms, maybe a little sharply. “But I can see you’ve had other things to do, so maybe we’ll just try again for next week.”

“I’m sorry, Gladys,” Eddie sighs, rubbing a hand over his eyes. “Today’s been… stressful. I swear I meant to call, I just got distracted.”

Gladys softens. She doubts if she could stay mad terribly long even if they had forgotten, but it’s nice to know they hadn’t, exactly. “It’s fine, Eddie,” she says, reaching out to pat his hand.

“It’s not, I seriously meant to let you know,” Eddie insists. “We can make it up to you next week? Or maybe, like, Tuesday? Tomorrow’s not gonna work, but–”

Whatever else Eddie has to say is lost when the door at the end of the hall, the one Gladys knows from the layout of her own apartment leads to the larger of two bedrooms, swings open with a creak. It’s dark beyond the threshold, but Steve is standing in the doorway, holding onto the edge of it and looking far more disheveled than Eddie.

With a faint flush of embarrassment, Gladys wonders if she’s walked in on some sort of… private time between them, but then Steve takes a few unsteady steps into the hallway and has to brace himself against the wall, and she realizes that something else altogether must be going on.

“Hey, hey,” Eddie says softly, leaving Gladys at the front door to rush down the hall and support Steve. “What’re you doing up?”

Steve, also clad in pajamas, his face almost shock-pale and his hair flatter than Gladys has ever seen it, makes a little noise of discomfort as Eddie pulls him away from the wall. It’s jarring to see when Gladys is so used to Steve moving with the confidence and easy grace of the athlete he’d told her he once was. His eyes are scrunched shut, but he moves from leaning heavily on the wall to leaning heavily on Eddie without hesitation.

“You were gone,” Steve mumbles, his head falling to rest on Eddie’s shoulder.

Eddie glances down the hall to where Gladys stands at the still-open front door, something almost like nervous, but he doesn’t make Steve move away. Instead, he moves his hands to Steve’s shoulders, kneading gently. “I had to get the door. Gladys is here.”

“Gladys?” Steve mutters, and then, after another moment of silence, groans, “Oh, shit, it’s Sunday.”

Gladys almost laughs at the way he unwittingly echoes Eddie. Eddie does laugh; just a little breath of a thing, something helplessly fond crossing his face.

“It’s fine, Steve. We’ll take a raincheck,” Gladys says, just loud enough that she’ll still be heard from the other end of the short hall.

Steve makes a protesting noise, straightening a little so he can face the front door. He opens his eyes just enough to squint at her, and it really only serves to make him look more pained and tired. “’m sorry,” he mutters, his words stumbling worryingly into each other. “Wasn’xpecting this today.”

“It’s fine,” Gladys says again. “You just feel better.”

He’s still frowning, and Gladys gets the feeling it’s as much out of displeasure with the situation as it is out of discomfort, but then Eddie tugs gently at his shoulders, turning him back towards the bedroom.

“C’mon, ba– Steve. Let’s get you back to bed.” Eddie glances down the hall at Gladys one more time before leading Steve away.

Silence falls over the apartment, and Gladys takes the opportunity to invite herself in, shutting the door behind her. She won’t stay long, of course, she just wants to be certain that Steve—and Eddie, who had looked awfully stressed—will be alright. The low tone of Eddie’s voice drifts out of the bedroom, quiet and indecipherable, followed by a grumbling that must be Steve, and then Eddie is slipping back out into the hall, shutting the bedroom door as he goes.

“Everything alright?” Gladys asks, keeping her voice low.

Eddie sighs. “He, uh – he gets migraines, sometimes.” He raises a fist and raps his knuckles against his temple. “Took a couple’a knocks to the head when we were younger and– yeah. Today’s a bad one.”

Gladys itches to ask, to press for more information, but she does actually possess a filter; she knows when to hold her tongue, even if she usually chooses not to. Instead, she says, “But he’ll be alright,” not really sure if she’s asking or reassuring.

“No, yeah, he’ll be fine, he just needs to rest.” Eddie nods, as much to himself as to Gladys.

“And you’ll be alright?” Gladys goes on.

Eddie shoots her a funny little look. “Yeah?” His voice quirks up at the end, like he isn’t sure why she’s asking. “I mean, I’m not the one whose brain is staging a full-scale revolt.”

“But you’re here with him,” Gladys says. “It’s hard to watch someone you care about be in pain.”

It had been a car accident that had taken Avery from her, not illness, but the few days she’d spent in the hospital with him, keeping vigil until his damaged body had given up, had been some of the worst of her life.

“I guess.” Eddie sighs, rubbing roughly at his chin. “It’s– They make medication for this shit, but it’s expensive, so we can’t– Sleep is really the only thing that helps, and it just sucks to sit around knowing I can’t do a damn thing for him while he’s– he’s suffering.”

“You’re here with him,” Gladys says again. “It seems like he appreciates that enough that he came looking for you when you’d gone.”

The ghost of a smile crosses over Eddie’s face. “Yeah…”

“I think you’re doing just fine.” Gladys reaches out and gives Eddie’s arm a little squeeze, and his smile grows.

He reaches up and twists his fingers into the ends of his hair, half-ducking behind it, as if he’s trying to hide the smile from her, but she can hear it in his voice when he tosses out a quick, “Well– thanks.”

“You just keep taking care of your boy, and I’ll see you two later in the week,” Gladys says, and Eddie nods.

“Yeah, I’ll–” he stops, blinking at Gladys as the full sentence hits him. “Uh–”

Gladys offers him a smile, seeing herself out the door. “Let me know if you need anything,” she tosses back over her shoulder quietly as she can, and shuts the door on his confounded expression.

She doesn’t know much about migraines, but she supposes she could learn. In the meantime, she decides that no matter what the ailment is, chicken soup is always an appropriate answer.

[puppetmaster13u]

One of my favorite tiny headcanons for superbat is that they at some point while both concussed, end up with nicknames for each other. Bruce half jokingly calls Clark Sunshine, and again they're both concussed, their mental faculties are not all the way there. So Clark jokingly calls Bruce Moonshine.

No one else has this context. And everyone else is very confused.

[starrystevie]

eddie figures out that he likes steve all because of nancy fucking wheeler.

it isn't often that they find themselves hanging out just the two of them, quite the opposite. this is the first time they've ever done it and the only reason nancy is even stepping foot inside the munson's new government-provided trailer is because she's having a crisis.

"but what does it mean," she asks, voice muffled as her lips wrap around the opening of her beer bottle before taking a swig. her cheeks hollow and her eyes shut against the feeling of the carbonation bubbling up before she fixes eddie with a glare that he doesn't think is for him. "it didn't... feel this way with barb."

and eddie's just sitting there on the couch, rolling a much needed joint for both of them, trying to follow along with what nancy is saying. she's pacing a hole in the carpet and her hands are flying around in a way that eddie himself does when the wheels in his brain are spinning too fast.

"... what didn't feel what way?"

nancy glares at him again and he gets the feeling that it's directed at him this time. he feels himself shrink under her eyes and wants to raise his hands up in surrender (he gives in and does indeed raise his hands in surrender).

"i think i'm in love with robin, please try and keep up."

eddie stills, his hands in the air and mouth open in shock. nancy's still muttering about something but his brain is stuck on the being-in-love-with-robin part of her tirade. it's not an issue, not in the slightest, and sure he's heard of people who... but he's never met someone who actually-

"are you even listening?" nancy asks, her tone firm. she has a hand on her hip while the other is clenched tightly around the neck of her beer. "what am i supposed to do?! am i just supposed to kiss her and tell her that her eyes are my favorite color and that i miss her when she leaves a room even for just a minute?"

"how should i know?! i'm not in love with robin!" eddie responds and he knows it's the wrong answer by how nancy's whole face falls in the span of .02 seconds. she looks like she's on the brink of tears, frustrated or hopeless or sad, and eddie doesn't know what to do with that either.

"but... you know. what about steve?" nancy's voice is soft now, and paired with her puppy dog eyes, eddie almost doesn't process what she says. "how'd you know with him?"

and if eddie thought he was stunned before, this takes the cake. a nervous laugh bubbles out of him, his face hot and heart pounding. his arms feel a bit like liquid and he doesn't know if he's even breathing anymore.

"nancy, i'm sorry but i think we're on two different wave lengths here." he needs to do something with his hands so he starts to fiddle with his lighter, flicking the zippo open and shut until the clink of the metal sounds too loud in the quiet room. "i don't.... love steve."

tears start to roll down her cheeks and yeah, eddie definitely messed up somewhere. she's wiping the drops away furiously like she's surprised they even dared to show up and she's biting her lip in a way that looks like it hurts.

"what are you talking about? of course you do." her eyebrows furrow which makes her look even angrier or disgusted and eddie feels like they're on a tightrope in his living room that's about to snap away from underneath them.

"well yeah, i... love him," he stutters over the words, "like i love you and rob and everyone. but not like... love love."

nancy's laugh sounds way too harsh for it to have come out of her. "are you sure? you stare at his ass more than i stare at robin's." she takes a deep breath, ignores the gasp of indignation that her statement gets out of eddie, and tilts her chin up like she's taking the high ground.

"i do not!"

"do too! and you're always looking for him when you walk into a room, like it doesn't matter if we're there, you only look for him. and you sit right next to him even if there's an open seat that's more comfortable. and you have this little, i don't know, tic when he smiles that makes you wiggle your fingers and you-"

"wheeler, you gotta stop."

"-always listen to him and he does all of that back for you and it's so obvious. i can't believe you didn't know you were in love with steve! you do everything that i do for robin and i'm in love with her so it must mean you're in love with steve and- holy shit i'm in love with robin."

the silence after nancy stops rings loud in his ears. honestly, he hadn't really given it any thought before but it makes sense.

the very idea of steve has his heart feeling a way it hasn't since he was nine and tracy nichols gave him a shiny rock on valentine's day. he does always look for steve when he enters a room, his very presence calming and dependable. he does sit next to him no matter what, their sides pressed together, heat radiating between them like a blanket. and god, when steve smiles, he does have to move his fingers, something to get out these jolts of energy that he feels licking through his veins.

steve is good and steve is a bit of an asshole but eddie likes that and suddenly the line between platonic and romantic seems to have vanished because holy shit, how did he live for the past year without spending every day loving steve harrington?

eddie reaches for the half rolled joint, licks at the paper to close it and lights up quickly. he holds the smoke in his lungs for probably too long but couldn't care less because he's now having a crisis of his own thanks to nancy.

"goddamnit," eddie hisses out as he exhales. "i'm in love with steve."

nancy looks smug, her arm extended as she waits for eddie to pass the joint to her before taking a hit. "that's what i'm saying."

"but i'm not... you know."

nancy rolls her eyes. "it's not going to bite you if you say it, eddie."

"i'm not gay."

the silence seems louder now as the paper on the joint sizzles. there's a dog somewhere in the park barking and he can hear his own heartbeat pounding in his ears.

"neither am i." nancy responds quietly with a shrug of her shoulders. "but i am for robin. and you are for steve."

she passes the joint back over to eddie and stands up from the couch, wipes off imaginary crumbs from her pants like she didn't just turn eddie's world upside down.

"i think i'm gonna go. i have a lady to woo." nancy looks happy. it's a good look on her, one he doesn't see all that often what with everything that's happened to them in the past year. she deserves it, he thinks, happiness.

"let me know how it goes," he calls to her as she stops at the trailer door.

"i will." with a tilt of her head and a with a gleam in her eye, she gives eddie yet another look that he doesn't know if he wants to try and decipher. "you should call him."

eddie snorts and takes a hit, rolling his eyes as he stares up at the ceiling so he doesn't have to look at nancy's all knowing eyes. it isn't that he's scared to call steve, it's that he's terrified. petrified. what would he say? what would steve say? he just figured out that he loves him, he hasn't had time to prepare a whole speech to declare it and-

"eddie." nancy's voice is sharp but certain and part of him thinks that robin is a lucky woman to have nancy wheeler falling in love with her. "trust me. call him."

after she's gone, he finishes the joint. he sits in the silence of his trailer and pulls hit after hit of sticky smoke until it's down the end and burning his fingertips. he stares at the ceiling some more, contemplates what to say, how to say it, how to do anything without throwing up.

he wonders if wayne knows, if he saw what nancy saw, what he thinks of eddie falling in with a guy. he wonders if this will change everything. wonders if it'll change for better or worse. wonders if he'll have to skip town and change his name like he imagined doing after he was cleared of murder.

picking up the phone is easy, dialing is easier when he has steve's number memorized like the back of his hand.

"hello?" steve mutters like he's been roused out of sleep. his voice is scruffy and somehow soft and eddie knows he's going to throw up.

"steve."

"hey, man. is everything okay?"

and it makes eddie's heart flutter in a way that a generic question shouldn't but damn it, he's in love. he's allowed.

"yeah, yeah. everything's good i just-" eddie sighs, scrubs a hand down his face to stop from twirling the phone cord in his fingers. "do you wanna maybe come over? watch a movie or something?"

eddie can almost hear the smile in his voice when he breathes out a yes, thanking whatever higher powers there may be for nancy wheeler.

[robntunney]

Staring at the sky, come back and pick me up .°˖✧

[screwpinecaprice]

@glowweek Day 5 FAMILY | FRIENDS

Peridot and specially Lapis do not trust the racoons.

Specifically chose this angle so I don't draw feet. _(:,3」∠)_

Mi own connverse kids Ebony and Rohini are there! And technically Sakura and Zachary. (Please until now I don't know what else to name them. 😭)

And sorry the older Maheswarans aren't there. I don't know where to put them and I already had character overload. 😞

Hibiscus print on Bismuth's shirt is from ManMadeOfGold!

Speaking of shirt, another thing I avoided was thinking of their outfit designs. 😅 It's somewhere a little over a decade of timeskip since SU:Future and I'm sure at least one or two would've reformed during the time. So I'm gonna say they wanted to keep the vibe of a casual outdoors picnic-type event so they wore the casual themes.

[itsallaboutbl]

Jes Jespipat as Tyme 4 Minutes, ep. 5

[chirpsythismorning]

Can we talk about how Jonathan might've been able to clock Mike simply because of what happened with him and Nancy in season two?

This will be a long post, so you might want to strap in or save it for later.

In Will and Mike's case, it would obviously be much different from Jonathan and Nancy's situation, given that you know, they're gay. But we still have Jonathan arguably going through a similar experience as Will, while Mike is going through a similar experience as Nancy.

In s2, we see Nancy confront Jonathan about how she waited for him before getting back with Steve, which is a revelation to him. Then they're at Murray's and she's struggling to say she loves Steve, after a handful of moments between them that felt like she might return Jonathan’s feelings. And you can clearly see it in his eyes, listening to Murray imply that they have feelings for each other, with him looking back and forth sort of in awe of what's happening, like he's starting to question if she might actually like him back.

Will doesn't have that same affordance as Jonathan to really hope, at least not anymore. Which is why these relationships in s2 and s4 end differently for these two brothers.

Based on all the signs he was seeing that Nancy felt the same, Jonathan decided to take the plunge to admit to Nancy how he felt, and at that same moment Nancy had the courage to show how she felt. In Will and Mike's case, Will wasn't ready to take the plunge to admit to Mike how he felt, at the same moment Mike didn't have the courage to show how he felt.

What's so painfully hilarious to me about all of this though, is that Jonathan arguably starts the season in the same shoes as most of the audience, where from his perspective, it's becoming obvious to him now that Will like's Mike, but that Mike does not feel the same way.

First at Rink-O-Mania, Mike appears a little uncomfortable upon hugging Will. Then as the happy couple continues on their adventure into Rink-O-Mania, he watches Will lagging behind moping. And then unfortunately he's out of commission for the rest of the evening...

But once he's sober and back to being an attentive brother the following morning, we see him watching them at breakfast, with Mike barely sparing Will a glance, all while Will is blatantly staring, almost like he's waiting for Mike to look back, only for Mike to get up and walk away.

All of these instances gotta be SCREAMING unrequited gay love to Jonathan. He's already gotten signs for years that Will is gay, these are now just the signs that are instilling his suspicions that Will has feelings for Mike. He could have easily interpreted their relationship in the early seasons as young best friends, with Will seeming to have a crush on Mike, and with them growing up and that potentially including Will's straight friend distancing himself from him because he doesn't feel the same. It's not the most unexpected thing in the world considering.

But then there's a shift.

Suddenly he's creeping up on them talking in his room. And we know he was listening in on the conversation because he brings up Owens when he sits down. As he's eavesdropping, he's probably thinking something innocent like Aww they're making up! And like, hey! Even if Mike doesn't feel the same, which is okay and entirely expected honestly, at least he still cares about Will enough to make things right after acting so out of character. Still, I'm not gonna lie, that sounded a lot like flirting to me--

Then he's knocking on Will's door like 30 minutes or less later only to find Mike and Will back on their bullshit. Mike suddenly isn't going out of his way to ignore or put Will on the back burner. In fact, he's on his bed and they're talking, again! The door is even closed this time, which is interesting. This has gotta be a good sign in Jon's eyes. Nothing to worry about! Right? Right...?

But then suddenly this shift continues, going in a direction he probably didn't expect.

I mean, this is literally an identical jancy parallel we have here with byler on the hood of the car, with Jonathan right there to witness it. Despite him maybe only now subconsciously picking up on the similarities between Will and Mike to him and Nancy here, he's at least taking note (I mean he's even got his gay map out and everything).

It isn't until the van scene happens, that I think Jonathan starts to genuinely consider his suspicions, which is that Mike might actually like Will back.

EVERY time we get a shot of Jonathan looking back at Will and Mike in the van, followed by a shot of his POV from the rearview mirror, we're faced with Mike looking at Will while Will is looking away.

As Jonathan is hearing Will confirm his suspicions about his feelings for Mike, he's simultaneously witnessing Mike not looking at Will with disgust, but something more akin to reverence. All of those moments in the van that we witnessed, including all the ways Mike looked at Will and everything that was said, Jonathan was right there.

And what's even more insane about this scene, is that it circles back to Jonathan as a character himself.

I remember when people were talking about how odd it was that we never saw Jonathan with a camera in s4. After 3 seasons in a row of making his passion for photography a big part of his identity, that part of him was apparently absent entirely this time around... But was it really?

This is the same guy that said, "Sometimes, people don't really say what they're really thinking. But you capture the right moment, it says more."

Jonathan might not have had his camera in s4, but this was without a doubt one of those moments where he captured something more.

Something that I also think get's highly overlooked about this scene, especially when it comes to Jonathan looking back at them, being followed by a shot of Mike staring at Will, is that he could see both of their reactions the whole time, from beginning to end. Will nor the audience had the affordance of knowing because Will was facing the other way at the end, while we on the other-hand were blurred from even having the chance, despite Mike literally being in the frame. But not Jonathan. He even lets us see what he sees, a few times, but not at the very end, which would have been nice after they didn't let us see Mike's reaction seconds before this.

Let's just stop right there for a second though and circle back to what I consider to be the first time Jonathan really picked up on Will's feelings for Mike, which was at the end of s3, in a sequence that is a little too relevant to the van scene if you ask me, given that they are almost direct parallels.

While these parallels are pretty spot on visually, they are also near spot on narratively when it comes to the evolution each of these characters are experiencing.

For Will in the first scene, it's sadness that he's moving away from his friends in Hawkins and also feeling like he's losing Mike, after what looks like him and El making up, which makes him scared he'll distance himself again. For Jonathan, it's sympathy for his brother who appears to have some very deep feelings for his friend, feelings he can't quite grasp yet but soon enough will.

For Will in the second scene, it's heartbreak that he has to accept that Mike will never feel the same, knowing that supporting his relationship with El (encouraging it honestly) will likely turn out just as it did last time, with him losing Mike all over again, for the last time. For Jonathan it's sympathy for his brother who has now confirmed his suspicions that the feelings he has for Mike are more than just that of a friend.

Given that this parallel reinforces the same feelings Will and Jonathan had in s3 to now, why would this not also reinforce those same feelings that Mike had in s3 to now?

In the first scene, Mike was visibly distraught, with dialogue from Hopper in the background applying a little too perfectly with what he was feeling in that moment, which was scared. He’s apparently back together with El now, despite them doing just fine as friends for the last 3 months, as well as him and Will just having finally gone back to them being on good terms again. But now, it’s like he’s right back where he started at the beginning of s3, feeling obligated to be the perfect boyfriend to El, and as a result, having no choice in his eyes but to distance himself from Will. Mike then walks into his house looking like a zombie, almost emotionless stepping into his mother's embrace.

Now, I say almost emotionless because it looks like Mike was trying to hold back showing how he truly felt in this moment. He's not crying like he did in s1 when he lost Will that first time. Time has passed and things have changed (he doesn't want things to change). And he's trying his best to keep it together. But the in-focus close-ups make it clear that he is definitely not okay.

What's so impactful about these parallels is that it presents the inner struggle both of these characters are having, both queer and experiencing doubts, but in different ways and for different reasons.

Will is the one who covers it all up with lies, hiding the tears in his eyes, because boys don't cry.

Mike is the one who has never cried to them, just to his soul (RUN AWAY! TURN AWAY! RUN AWAY! TURN AWAY! RUN AWAY!!!).

If you actually try to get a gage on Mike's in-focus emotions in that first scene vs. his out-of-focus emotions in that second scene, well they're not that far off from each other.

We go from Mike smiling vibrantly at Will, to him now slowly turning away to look back down at the painting, with whatever the hell emotion this is...

It's near impossible to catch because of how out-of-focus it is, but looking a lot closer, it honestly appears like Mike is feeling something akin to sadness that he's trying to mask. For a moment it even looks like he turns his head to wince emotionally, only to correct himself.

And call me crazy, but these shots also low-key parallel each other. Mike looking down trying to keep his emotions in check and failing miserably, only to look up and meet eyes with someone whose witnessing it.

With each shot before this of Jonathan observing Mike looking at Will, with him showing all the emotions Will never got to see and everything else in between, I wonder what Jon saw this time? Probably another thing he didn't expect.

Can you just try to imagine the silence in this van, accompanied by Will's muffled sobs, and then try to imagine Mike turning to look down at the painting, only to sneak a glance, and then go right back to looking at the painting, IN SILENCE, and then try to tell me how the assumption that Mike didn’t notice Will crying makes any sense, like realistically?

Yeah me and Jonathan are confused too.

Right now, Jonathan's probably wondering why Mike was acting a little fruity and repressed during the painting reveal. And that although he may have a penchant for being able to 'capture the right moment', Mike is sticking with his story (despite all the stalling and doubt). He is 100% straight!

And so maybe this is where Jonathan tries to accept what is being presented to him as the truth, despite the contradictions in front of him. It's likely that despite the way Mike looks at Will and acts around him, in ways he would have assumed coming from Nancy in s2 would've been evidence that she felt the same, it probably doesn't apply to Mike.

Maybe Jonathan's ready to accept that it's a lot more likely Will is experiencing unrequited love as a gay kid growing up in a small town, the most predictable experience a gay kid could go through, and in contrast Mike just feels too bad to let Will down easy.

Or who knows, maybe Mike could still be a little bit gay too...

But it doesn't matter anyways. Mike seems to be adamant about this and so there's really nothing else Jonathan can he do besides tell his brother he'll be there for him no matter what. And so he does just that.

But then Mike just has to surprise him one last time.

For those that don't know, the line Mike gives here in his monologue was in part pulled from Will's monologue in the van. Most don't know this because this line didn't make the final cut for the van scene, but in the official script the writers posted, what we find is an almost a direct parallel.

Which makes the reaction shots of Will and Jonathan directly after Mike says this all the more epic.

From Will's end he was probably hearing Mike say this and just thinking 'Damn. Well, that's what you get for using your feelings to inspire Mike to profess his love to El.'

But from Jonathan's end, I don't think his outside POV of these events overlapping was nearly as naive as his brothers understanding of the events. Because why the fuck would Mike need to use Will's feelings to inspire him to profess his love to El in the first place? Is this what Mike has been struggling with? Really? Why before every moment Mike takes action in this scene, is Will's hand literally pushing him into it? Why is Mike being so dramatic about saying I love you, stuttering and rambling about her being a superhero, not saying nearly as meaningful of things as what Will said in the van?

And then it hits him.

Mike is reminding him a little too much of another Wheeler right now...

Nancy Wheeler, who was afraid of what would happen if she accepted herself for who she really was, leading her to retreat back to the safety of Steve. Because Nancy liked Steve, but she didn't love Steve.

And now here is Mike Wheeler, who has went from being incredibly distant with Will after reuniting with El, something that is very unlike the Mike he knew in previous seasons, to something more himself again after they make up, with him looking at Will with adoration after hearing his words in the van, only to turn away and look heartbroken. Mike who is now struggling to simply tell El he loves her with Will right behind him literally yelling at him to do it.

And now it's like all those little moments are starting to add up to Jonathan.

Suddenly all those signs he picked up on from Will when he was younger are now blending in with moments Will shared with Mike. It was Mike who jumped in after him and his mom's speech to Will in the shed in s2, with tears in his eyes recalling the day that they met (without being asked, let alone pushed to). And it's Mike who is now looking like he's at war with himself as he attempts to give encouragement to El, just like he did with Will in s2, but this time he needs someone to push him to do it, and that person just so happens to be Will. After just finding out about Will's feelings and also while assuming El wants him to love her that way still, Mike is stuck.

I don't think it's takes a genius to consider Jonathan is capable of realizing how fucked they all are in this situation.

As much as Mike isn't ready for a sleuth of reasons, Will isn't ready either.

This provides a huge contrast between the bylers ², because while Jonathan and Nancy went through a similar experience to Will and Mike, them being ready to accept it and act on it didn't involve nearly as many factors and risks. Will and Mike also have the added barrier that is homophobia.

Will's internalized homophobia lies in part with assuming Mike could never feel the same based on some of the words he said in their last two fights, with parts being painfully reminiscent of the things his dad and bullies used to say about him. These are also words that contradict Mike's own words and actions from the previous seasons, things that did once give Will hope. The shame and guilt that comes with falling for your best friend, who you now know will never feel the same after being foolish enough to believe it not too long ago, and who might not even want to be your friend anymore upon finding out the truth, is understandable. He can't have hope like Jonathan can. It's just not the same.

Mike's internalized homophobia lies with assuming El wants him to love her, along with their relationship being expected and socially acceptable from everyone around him. Though unfortunately for her he feels abundantly more in love in the moments he shares with Will. Despite trying to make it work with El as hard as he could, because she's amazing and all any guy could hope for in a girlfriend, he can't ignore the fact that the feelings he has for these two people are different. The shame and guilt that comes with you, a boy, falling for your best friend, who is also a boy, and who is starting to show that he feels the same, all while you can't muster up the courage to break up with your girlfriend, nor can you muster up the courage to tell her that you love her, not when she's begging you, dying or even just simply at the end of a letter, is pretty understandable too. He can't have hope like Nancy can. It's just not the same.

Spoiler: They were not ready.

PS: I'm still not over the fact that they low-key confirmed these events elsewhere in the story...

[froschli96]

You know what, fuck it, I have to speak my truth! (this is gonna be a rant, so anyone who actually likes assassin's creed revelations and/or the secret crusade, be warned or maybe don't read this at all)

remember how altaïr talks to king richard at the end of ac1, and richard is like "[humans] come into the world kicking and screaming, violent and unstable. it is what we are. we cannot help ourselves."? and how altaïr answers "no. we are what we choose to be." and how that ACTUALLY has meaning bc he himself was "violent and unstable" at the beginning of the game but he has learned and is now CHOOSING to be a better person who cares about others and humanity at large? remember how his calmness and gentleness was something that he ACQUIRED over the course of the story?

and remember how in revelations they then suddenly had a PRE-AC1 altaïr say about the first of his targets "no man should pass from this world without knowing some kindness." and be all wise and calm and collected during a nice little chat with al mualim, who suddenly acts all fatherly? (like, this is suddenly supposed to be a positive relationship? what??)

also, during the confession the target says to altair: "you put too much faith in the hearts of men, altaïr. [...] humans are weak, base, and petty." and altaïr answers: "no. our creed is evidence to the contrary." KJASJFJDKL???? like, it’s almost insulting how close this exchange is to the one with richard. you know, the one that was actually earned after a whole game of character development. like WTF??? cool congrats now that development means nothing. like, apparently that was just altaïr reverting BACK to being the exemplary assassin who understands and believes in the creed that he was apparently just born as. (i also hate how having a young inexperienced altaïr saying this implies that altaïr's faith in humanity is a sign of naivete instead of a sign of the wisdom he has gained after being confronted with counter arguments for a whole game, and also something that distinguishes the assassins from the templars who use humanity's supposed wickedness to justify controlling them like in AC1, but whatever)

altaïr’s development in AC1 mattered BECAUSE he is not NATURALLY a good person, it actually said something about humanity's capacity for both bad AND good and how humans don't have to be forced to be good through mind control bc they can by their own free will choose to be better when taught how and when allowed the freedom to grow. but no. apparently altaïr has just always been calm, wise and gentle. and he just sort of forgot about that during AC1 bc…. ? bc of adha?? bc of abbas???

oh don’t get me started on the whole abbas thing. (it doesnt even make sense that abbas is so hung up about his father and "his family’s honor", like what about the whole point of al mualim not allowing parents to be close to their children bc it would make them weak? like, my dude, you’re not supposed to HAVE any family aside from the brotherhood)

they used the throwaway character that had like 5 lines and made him into altaïr’s main antagonist in revelations… like, abbas wasn’t supposed to be this ONE dude who had personal beef with altaïr, he was just supposed to show how while altaïr’s revered by many, a lot of his brothers also hate him, bc 1) altaïr is a shitty person at this point and 2) bc there’s no real feeling of community and family in this version of the brotherhood, but just a pervasive sense of competition and jealousy — these assassins don’t care about their goal of safeguarding humanity bc they’re too hung up on petty squabbles and divided by rivalries (you know, the things that made malik hate altaïr even before solomon’s temple and that he overcomes in the end which enables him to forgive and to reconcile with altaïr so they can work together and stop al mualim? (you ever just think about "we are one. as we share the glory of our victories, so too should we share the pain of our defeat. in this way we grow closer. we grow stronger." and cry? bc i do. all the time. malik, the man that you are))

and now abbas is altaïr’s childhood best friend turned lifelong enemy?? like, bowden bent over backwards to come up with an explanation for why altaïr is an arrogant ass at the beginning of AC1, when the explanation is right there: he was raised to kill without asking questions and was constantly praised for how good he is at murder, which resulted in him becoming arrogant and disregarding human life. like, it doesn’t have to be some shakespearean family feud type shit. and guess what, this "simple" explanation actually plays into the story’s themes, who’da thunk!

(like, abbas might not have been a "fleshed out" character in AC1, but he had a specific function and now that function is gone. mr bowden, mr mcdevitt, you know characters are allowed to simply exist to tell us something about their worlds and the systems they live in and sometimes that’s more important and also more interesting than having every single character have a detailed backstory to explain all their behaviors, right?)

with all of this revelations loses all nuance in regards to the levantine brotherhood and also the creed in general. like, altaïr being a master assassin at the beginning despite being a terrible person and not actually understanding the creed is a criticism of the brotherhood and the creed itself. like, it said something about the order that someone like altaïr was able to get that high in rank, simply bc he's good at killing, which also tells us what is considered important in the al mualim era assassin order. when you make altaïr’s arrogance the result of his personal conflicts instead of how we was raised by a brotherhood that only valued one's ability to kill, you lose that characterization of the assassin order itself!

and by suddenly making al mualim a semi good "father figure" you also downplay his manipulation of not only altaïr but all those under his care. (altaïr says something about al mualim being "as a father" to him exactly twice in the codex, but he doesn’t mean by that that he WAS a father to him, what he means is that he was the CLOSEST THING he had bc HE DID NOT HAVE PARENTS, not because his mother died in childbirth and his father was executed when he was young btw, BUT BECAUSE IT WASN’T ALLOWED, like his parents actually lived but weren’t allowed to be close to him, he says he came to view al mualim’s "weak and dishonest" love as enough and even better BECAUSE HE HAD NOTHING ELSE, BECAUSE AL MUALIM ISOLATED HIS ASSASSINS FROM THEIR FAMILIES. al mualim "loved" him bc he was good at killing people for him! hm, i wonder if this could be trying to say anything about cults and indoctrination and the inherent contradiction in fighting for peace and free will by taking children away from their parents and raising them to become killers?? like, altaïr wasn't ~the special orphan boy~ taken in by al mualim bc his father died a hero's death, it was "the way of the order" to have al mualim be the closest thing to a parental figure for everyone to ensure absolute loyalty! altaïr saying al mualim was like his father is not supposed to make you go "oh, he must have actually been a good guy for altaïr to consider him a father", it should make you go "oh that's kinda fucked up that he considers the dude who made him into a killing machine and who manipulated him a sort of father figure"!)

and then in revelations they suddenly portray that relationship as positive and healthy??? like, it would be one thing to give it some nuance by delving into the psychology behind al mualim’s "love" and maybe showing how al mualim did care about altair in a complicated, fraught sort of way (like, you know, there’s a lot of interesting things you could say about al mualim at several points addressing altaïr as "my child" in AC1 and how that parallels Garnier referring to the people he drugged and abused as his "children", and what that says about how the templars view the people who they say they want to save and in whose best interests they supposedly act (in any case, al mualim doesn’t use that phrase because he has any real parental feelings but rather to patronize and to invalidate any objections, like in a "mother knows best" way))

but they even fucking DARE to parallel that relationship with that of altaïr and darim in revelations, by having the reflection in the puddle of darim hugging altaïr showing altaïr hugging al mualim…. like their relationship wasn’t inherently abusive but just tragically cut short because al mualim was just "corrupted by the apple"… like WHAT???? so it’s not the very real problems like grooming, manipulation and indoctrination and the hierarchical structure of the brotherhood itself (all of which are antithetical to the assassin ideology), it was just the evil apple all along. great. that’s DEFINITELY a lot more interesting.

god im sorry i really dont want to spread negativity but this is driving me INSANE. like, somebody please tell me im not crazy bc i feel like somehow most of the fandom is in agreement that revelations and the secret crusade have better storytelling and characterization than ac1.

SPEAKING OF WHICH, can we talk about how, even IF we completely ignore AC1 and treat revelations altaïr as his own character…. the narrative still doesn’t really work?

basically, the whole point of his story in rev is that "he gave his whole life to the brotherhood", this obsession led to him not using his time with his family which has him ending up dying alone in a dark library and this in turn makes ezio reevaluate his life choices…. except. he doesn’t? neglect? his family? or whatever? like, his devotion to the assassins is sort of painted as this tragic flaw that leads to a lonely death bc it supposedly comes at the cost of his family, but… his wife has joined the assassins, (at least) one of his sons is in the brotherhood and even when he goes to protect the assassins against the mongols, he takes his family with him (except for the son who stays behind bc he has a family of his own and who, ironically, ends up dying bc of that)… like, you can’t describe altaïr as a good husband and father in the database and have his son tell him that "everything that is good in me began with you, father" when they say goodbye, and then want to make us believe that he put his family behind the brotherhood and that that is a character flaw that leads to his tragedy.

because you HAVE to have a character’s tragedy be the result of a character flaw. like. that is how tragedies work. otherwise it just becomes tragedy for the sake of tragedy which is… boring bc it has no purpose. and we know it is SUPPOSED to have purpose bc ezIO FUCKING QUITS BEING AN ASSASSIN AFTER WITNESSING IT!

it’s like they want to have their cake and eat it, too — they didn’t want to actually make altaïr a bad husband/father, but still wanted to make his life a tragedy where he loses his family which is why instead they outsource all responsibility to abbas who now has to be the reason for ALL the deaths.

like, they try to make at least maria’s death kind of sort of the result of altaïr’s rashness or whatever but like… these guys KILLED THEIR SON and TOLD HIM THAT ALTAÏR HAD ORDERED HIS DEATH. like, altaïr losing it in response to that is not rash, it’s fucking logical and justified! if anything the scene made me angry at maria for trying to stop him. like, GIRL, he was YOUR son too??? but god forbid we give female characters actual real emotions, she has to fill the role of "voice of reason who dies for altaïr’s man pain" i fucking guess.

like, it’s this weird mix where his tragedy is simultaneously painted as his own fault but also not really bc abbas is the one responsible for all the shit that happens. it just… it just doesn’t really go together.

the only way to make his story make sense narratively and to give it actual purpose is by looking at it in the context of ezio’s story, bc the things he sees in altaïr’s memories are supposed to be a revelation (ha!) to ezio specifically. and i guess that’s maybe the crux of it all — altaïr’s story in revelations was conceived of first and foremost to support ezio’s story and development. which is probably also why many people maybe don’t notice bc, having skipped ac1 and started with ac2, the majority of people mostly care only about ezio and only really appreciate altaïr’s story in as far as it serves to push ezio forward. (tho i’ve also seen a few people say that ezio is also written kind of weird in rev, but i’ve never really been an ezio girly myself so i can’t speak to the truth of that)

like, altaïr dying alone in the library doesn’t really have to make sense for his character, i guess, bc it’s only really supposed to be a cautionary tale for ezio.

so, i guess, for once, they actually had a MAN dying for another man’s character development, which is pretty woke actually. ubisoft, i take everything back jksdsfjhgdsahfhsdhfghfdsgjhsdgjh

[crystal-verse]

god i want. an au where it dosn't work. where it's just arr g'raha who's woken up, and he doesn't have all these memories and all these people keep looking at him like they're mourning someone. the world has changed and time has changed and all the people he knows have changed, but he hasn't changed, he was just sleeping, just sleeping, and the world nearly ended several times and apparently he helped prevent yet another end but he has no memory of this. they want him to join the scions. he does not know these people. (he barely knows the warrior of light, now, but did he ever truly know them in the first place?) his little sister is alive and well. she looks at him like a ghost. she's changed, and she's older than him now. he acts bratty and loud and brash to cover up the fact that he does not know anything it seems, and he is tired but he was sleeping for so long, so how could he be tired?

he doesn't know these people. they seem to know him. he wonders if he'd killed someone, when it was him and not that exarch who woke up. he wonders if it should have been him who was "killed" in that way, if it is him that lives and not that man who had known and become friends with all these figures from legend. he wonders if he'll always be fated to be a historian one step back from everything, because he simply cannot be a hero.

[benevolenterrancy]

3 for the price of 1! the low low price of 0$ and an inordinately long wait because this got buried in my inbox and i only just saw it!