#I mean even more so than her powers I think the real tragedy is that she didn't even get to canonically mourn her teammate

[erumai-maadu]

I recently watched those war arc episodes around 370s to 380s and I observed that most of the moves were only of space-time ninjutsu and flying raijin.

If Kishimoto ever used her potential to the fullest, she would've contributed much more in the war arc but... Sounded like nobody wanted her to do and just let people sh*t talk about her not doing much 😞

"If Kishimoto ever used her potential to the fullest, she would've contributed much more" WHAT I'M SAYING ABOUT EVERY WOMAN IN THIS SHOW!!!!! >:(

Tenten was done especially dirty (during the war arc, yeah but also through the whole series). She got her moment to shine with the Sage of Six Path Tools, but nothing further than that. She's criminally underutilized, which is saying something because that's true of every woman in the show. But it's especially bad with Tenten because so many of the moments she gets aren't even manga canon, they're scenes added in the anime.

Her power set is so cool and having her use any kind of space-time ninjutsu would be amazing, she's clearly got fuinjutsu and space-time ninjutsu capabilities so like... take it further?? There are so many cool space-time ninjutsu that seem within her capabilities and I think she definitely could have played a bigger role during the war if kishi hadn't forgotten about any character that wasn't a Hokage, an Uchiha, or Naruto.

[ecoterrorist-katara]

“Katara deserves a quiet life after the war, so becoming a healer (who made no contributions to the field) is actually a good arc!”

It is already bizarre to me that in ATLA, Katara is this confident & combative & ambitious girl who LOVED to fight and wanted nothing more than to help as many people as possible…then comics!Katara and TLOK!Katara showed neither her previous personality traits nor a career commensurate with those traits…

but it’s even more bizarre to me that ATLA fans would defend her trajectory as if it were some kind of progressive story of recovering from war trauma.

I’ve seen multiple takes like this. “Katara is not a YA heroine, she’s not a bloodthirsty girlboss who loves fighting so it’s actually a good thing that she doesn’t have to fight anymore” “after everything she’s been through she deserves a quiet life and a loving family”

For Katara, fighting in the war was actually empowering. It didn’t burn her out. It didn’t disillusion her. It didn’t take more out of her than she can give. Katara is not Katniss Everdeen, who needed to step back and discover her own agency and a sense of peace after fighting in a war she never chose to start. Katara’s war trauma largely happened before she took an active part in it. After she chose to be a part of the war, she became a waterbending master, made close friends, found her father again, got closure for her mother’s murder, defeated the Fire Lord, and met the love of her life. If Katara were a real person, maybe she’d be traumatized, but nowhere in the text of ATLA does she exhibit the sign that she’s tired of fighting on behalf of the world. If anything, she just got started.

If you take her post-ATLA arc at face value (vs as bad writing), it’s a tragedy of a woman who has learned to minimize her own relevance and her own power. In The Promise, she begins deferring serious decisions to Aang. She doesn’t even express a strong opinion about the fate of the entire colony of Yu Dao, or the fate of her friend Zuko. In North and South, she accepts Northern encroachment of the South in the name of progress. In TLOK we see her not as a politician or a chief, but rather as “the best healer” — albeit one who apparently never established a hospital, or trained acolytes of her own, or done anything to help people at scale, which she has always wanted to do. It’s even more egregious when you remember that in Jang Hui, she was not satisfied to simply heal the sick as the Painted Lady. She wanted to solve the root of the problem, so she cleaned the river and committed full-on ecoterrorism. Just because the war is over doesn’t mean she wants to stop helping people. In fact, the problem she addressed in Jang Hui is exactly the type of problem that would become more prevalent after the war ends, judging by the rapid industrialization between ATLA and LOK.

In the original ATLA, I think Katara is about as close to a power fantasy as you can get for a teenage girl, because she gets to be messy and goofy and powerful, even though she also had to perform a whole lot of emotional and domestic labour. But post-ATLA, she doesn’t get power and she doesn’t get to make a change. She gets love and a family. That’s it. And her grandkids don’t even remember her. Her friends and peers, on the other hand, were shown doing all sorts of super cool things like, you know, running the world they saved.

It’s not feminist to say that a female character deserves “rest” when she’s shown zero inclination that she wants a quiet life. Women who want a quiet life deserve to get it — I think Katniss’ arc is perfect — but women who want power deserve to get it too, especially when they’re motivated by compassion and a keen sense of justice. There’s nothing feminist about defending the early 2010s writing decisions of two men. Like just admit that they fucked up! It’s fine! Maybe they’ll do better in the future!

[applestorms]

thinking about how near refers to light at the end of the series— not really as light yagami, not even really as kira, and not quite as L, but rather an amalgamation of titles: L-KIRA, a twisted mix of two personas, masks on top of masks. no longer a person but a series of letters, a filtered voice through a screen. a man who has built his entire life in the space between lies, who cannot let himself stop for a second without the weight of his own guilt, his sins, crushing him. regrets repressed because this is the only way it could ever be, it has to be worth it, it has to, it has to, because you can’t even bring yourself to consider what it all means otherwise.

i am a firm believer that light yagami, the son, the student, the average human person, dies at the same time that L does. at least at the beginning of the series he has some semblance of normalcy to hold himself to, the Serious Student persona that keeps him walking to and from school and talking to people and eating dinner with his family at home. how many times do we really see him going outside, post-L death? how often do we see him outside of some L-based police HQ, talking to people he isn’t trying to manipulate? really, it’s no wonder he falls so far, alienated as he is from the rest of humanity. when was the last time he breathed long enough to remember what the sky looks like? hugged his mom, laughed with his sister? did he ever visit his father’s grave? does he remember what the breeze smells like? was he ever really happy? did he deny himself his only chance?

at least in the case of L and near the isolation feels intentional, a preferable choice, carefully and logically considered for all the pros and cons. light never asked for the position he fell into, that fell upon him, that he created for himself. he denies the death note being a curse, but it’s not like he could ever admit it if it was.

light’s story arc in death note really feels like a tragedy to me, specifically in the sense that he never really gets the chance to change. on a plot level this is true, much of the second half of the story post-L death is light utilizing the exact same strategies as before (taking away his ownership of the DN to Strategize, romancing a woman he doesn’t care for to use her, fighting a snarky troll of a super genius hiding behind a letter whose real name & face he cannot find), but it’s true on an emotional level too. light never really gets to grow up, he never gets the chance to truly question his ideals or goals without the world he’s built by himself crashing down around him.

i keep thinking back to the significance of matsuda asking him about his dad, how he could drag him to his death for the sake of all of this. light’s response, so truthful in its desperation, really sums it all up: he died for a reason. KIRA has to win, or his dad died for nothing. he cannot face the idea that he caused his own father’s death, so KIRA must be justice. there is no other alternative. KIRA is god, or light yagami killed his own father for a fairytale.

really, it’s so fitting that his name uses the kanji for moon. moonlight— not originating from the moon itself but a reflection, of something brighter, greater, more powerful than he could ever be. light dies the same way as every other criminal he passed his judgement upon, on his knees and desperate, pathetic, begging for life even as he knows he is doomed to the same fate of nothingness that he granted to everybody else. godhood denied. he said it himself, that he could never be anything more than a human, but somewhere in the fog he lost track of the person he once was. and it’s near’s cruelest observation that stands out the most to me in that final scene— that he never really had to be this. he could’ve stopped at any point, felt his guilt, paid his regrets, and moved on with his humanity still intact. light has spent far too long repressing and denying to ever consider that an option anymore— but there was still room for sympathy for the 17 year old kid who killed without thinking, long before he built up such a dedicated palace of lies to justify his actions and hide away his guilt.

L-KIRA dies on the floor of a dirty, abandoned building, surrounded by the people he spent years manipulating and lying to and betraying. light yagami dies in a helicopter, locked and chained to his only closest equal, holding a notebook that he would use to sound the death knell of his own fate and wearing his father’s gifted watch.

[yandere--stuck]

Imagine: Familal Yandere Stanford AND Platonic Yandere Bill, who are both obsessed with Dipper and Mabel.

REAL AS HELLLLLL!!!!!!!!!

---

“Isn't this great?” Grunkle Ford asked, taking a seat beside Dipper on the Living Human Flesh couch. 

Dipper ducked away from a six-fingered hand attempting to ruffle his hair. “That's certainly an adjective you could use to describe this situation.”

“WOW!” Bill shouted (as if he had any other means of emoting.) “A three and four-syllable word in a row! He really is a chip off the ol’ block, Sixer.”

Dipper could feel Grunkle Ford Stanford's eyes on him, practically beaming at the thought that he and his grand nephew were so alike, so much so that they could be considered father and son. Never mind that it was said by an interdimensional demon.

An interdimensional demon that also happened to be currently braiding his sister's hair as they sat in front of a fireplace in the ‘penthouse suite’ of the Fearamid.

One might even think it a sweet moment between an odd family. Two great uncles, one attempting connection with his nephew, the other lounging in a recliner and trying to pretend everything was normal. And his sister, being doted on by what was one of the most powerful beings in the universe, if not every universe. Mabel might have looked happy to anyone looking in from the outside, but Dipper knew his sister better than he knew himself. If she were truly happy, she'd be grinning ear-to-ear, gabbing a mile a minute, talking to Bill about all the hair styles they could try and how he should manifest himself some hair so she could braid him next.

But no, she simply sat in silence and let Bill work through her locks. She forced a smile and stared into the fireplace, flinching whenever Bill moved too fast.

It made Dipper sick.

And maybe, maybe all of this could have been passable if this were something Stanford had been forced to do in the heat of the moment. Something he'd regretted. And that's what he claimed.

But Dipper knew. He knew Stanford was lying. He was enjoying all of this too much for him to regret it. How stupid was Dipper to think that the biggest con artist in their family was Grunkle Stan when it was the guy grinning in his face, yucking it up in the face of destruction and tragedy just because he got to play house with Bill - his so-called mortal enemy.

He wanted to believe that this wasn't Ford's plan all along. Wanted to believe that his great uncle had been corrupted or mind controlled or tortured past the point of sanity. That this wasn't what he'd set out to do from the beginning. But Dipper didn't know what to believe anymore. 

“WA-BAM!” Bill snapped a full-length mirror into existence, allowing Mabel to see what he'd done to her hair, “Whaddaya say, Shooting Star?”

A simple French braid, with little glittery stars woven into her hair. In any other case, Mabel would have been ecstatic. But now, Mabel simply looked up at the demon, an unsure grin forced onto her face.

“Thanks, Bill,” She managed, not able to look him in the eye.

“Ah, ah, ah,” Bill waggled a finger in her face. “Try again.”

Mabel's face sank momentarily and she locked eyes with Dipper. The look in her eyes… It was like she was trying to scream so many things at once through expression alone. It felt like forever, the twins trying to communicate to each other in silence, but it was probably less than a second. If seconds even existed anymore.

Then, Mabel looked up at Bill and put on her best smile. “Thank you, Grunkle Bill, I love it.”

‘Grunkle Bill.’ Ugh. Dipper couldn't help the disgusted grimace that made its way onto his face. He thought he'd hated the triangle when he was actively trying to kill them all, but that was so much worse.

“See that, Pinetree?” Cipher whipped around, floating above the boy. “Why can't you be more like your sister?”

“Oh, Bill,” Ford waved him off with a smile and roll of his eyes. No malice, no contempt, just exasperated fondness.

“I'm just sayin’! We're trying to do family bonding over here, but Pinetree and Fez are being a coupla sticks in the mud!”

“He and Stanley just need more time,” Ford replied, speaking as if either of them weren't there.

Dipper felt sick. Sick from anger, sick from betrayal, sick from utter disgust. Bill's actions were understandable from the perspective that he was a creature from a different dimension. A monster without any need to identify with human morality systems. But Ford was human. A human with family and people who loved him and trusted him and counted on him. A human whose world had been destroyed because of his allegiance to a monster. Because of his feelings for a monster. And he just expects them all to be okay with this? To smile and clap and nod along and pretend everything is okay?

Mabel spoke up, drawing Dipper from his thoughts. “Well, um, Grunkle Bill, if we're doing family bonding time… Would you wanna meet me and Dipper's parents?”

“Say, that's an idea,” Bill turned to Ford. “Whaddaya say, Fordsie?’

Dipper whipped his head back to face his great uncle. He bit his tongue, holding his breath. He felt himself screaming from behind his eyes, trying to will his uncle with his gaze, hoping his expression was enough to implore him to say yes, to be merciful, to at least give him and Mabel their parents back. 

“I…” Ford breathed. “No, I don't think so.”

“WHAT?” Dipper couldn't control his outburst, his shout loud and sudden enough to make his great uncle jump.

“Sixer, c'mon,” Stan spoke up.

“You said it yourself, Stanley, the only ones you count as family are the children.” Ford countered. 

“That was- I didn't mean it.”

“Still,” Ford crossed his arms. “I have no loyalty to them. This is for the best,” Then, the old man turned back to Dipper. “You'll understand one day.”

Dipper glared up at his uncle, baring his teeth so hard he would have sworn they would have broken. But then, a noise broke his concentration.

He turned to see his sister, her sweater pulled over her head as she rocked back and forth, sniffling and surely crying underneath. 

“AWW, now look what you did, Pinetree,” Bill chided, daring to pet at the bit of hair that peeked out of Mabel’s sweater. “You made your sister cry!”

“Me?” Dipper balked, incredulous. 

A six-fingered hand came down to Dipper's shoulder for a comforting squeeze - and the boy bristled with rage, wrenching himself away and off of the couch. Every inch of Dipper's body was over one with disgust, with anger, with hatred. Just looking at Stanford made him sick.

“I hate you,” Dipper spat, trying to fight the tears welling in his eyes. “You're a monster and you're not my uncle anymore.”

Just for a brief moment, Dipper felt satisfaction at the look of absolute hurt on Stanford's face. Then, he all but dove into his Grunkle Stan's hold, burying his face into his jacket. Stan held him protectively, one hand holding the back of his head and the other rubbing soothing circles into his back. And for a few moments, Dipper can pretend he and Mabel were back at the shack and he'd had a nightmare or something and needed reassurance from his uncle. Something he should have grown out of, something Stan would give him shit for later, but even still, Stan would have let him settle into the recliner and drift off to sleep to the sounds of Gravity Falls’ public access TV.

“Please, he didn't mean it,” Mabel's voice was barely above a whisper as she pleaded. “Don't be mad at him.”

“He's just scared,” Stan added, holding Dipper tight. “We all are.”

“There's no reason to be,” Ford insisted. “Dipper, please, look at me. You're my s- my, my nephew and I love you. None of this is meant to hurt you.”

He sure had a funny way of showing it.

He could hear Bill let out a frustrated groan. “Alright, I think this has gone on LONG ENOUGH.”

In a flash, Dipper was suddenly back on the flesh couch, cuddled up next to his not-so-great uncle Ford. He couldn't bear to look at him, simply staring ahead. At his sister. At the fire. At Cipher.

The triangle spoke. “Now, kid, I get this is a big change and all, but the only reason Gravity Falls and all your little friends have been left untouched is because of your uncle here. I think you should be a little more grateful. That is… Unless you don't want your friends to be safe?”

A sneer overtook Dipper's face. All of the anger boiling inside him threatened to burst out in the form of calling Bill every curse word he knew - and even the ones he didn't. 

But he knew better. Dipper gritted his teeth. “No, I do.”

“Then, I feel an apology is in order!”

“Sorry,” Dipper mumbled noncommittally. 

“Not to ME, Pinetree,” The demon laughed. “Though, I appreciate the thought!”

Dipper let out a shuddering sigh. Slowly, as though just looking in Ford's direction took great effort, he managed to meet his great uncle's eyes. And he had the gall to look condescending. As if Dipper were just a child throwing a tantrum.

He hated him. He hated him more than anything. He couldn't believe he ever believed in him, ever obsessed over his work, ever thought he was great, ever thought he was a hero, ever thought to leave behind his sister to follow someone like him.

“...I'm sorry, Great Uncle Ford,” Dipper spoke robotically. “I didn't mean what I said. I don't hate you. You're still my uncle.”

“ANNND?” Bill egged him on.

“And. I love you.”

Ford had the audacity to smile. To open his arms wide. To ask, “How about a hug?”

Dipper felt he had no choice. As he was wrapped into a hug by the man who'd betrayed his family, betrayed the world, betrayed the universe, Dipper let himself bury his face into Ford's turtleneck. At least he could hide his tears now.

For a second, it felt as if his hat had disappeared from his head. A four-fingered hand ruffled through his locks affectionately. Then, his hat was back in place.

Dipper fought not to be ill.

“Say, how about an ‘I love you’ for your Grunkle Bill, huh?”

…

“Not now? Eh, that's fine! We've got an eternity for you to come around!”

[apoloadonisandnarcissus]

What was the point of Sauron and Galadriel’s scene in 2x08?

1. Halbrand = Sauron

Sauron wants to prove to Galadriel that he and Halbrand are the same (“I have many names” and "Halbrand is Sauron" have been two themes this season, in both Sauron and Galadriel's character arcs), and the connection they felt before the reveal was true and not a deception on his part; 

“Were are not the same. We never were. It was just another of your illusions.”  “Not all of it.”   And Sauron proceeds to explain what he means by this through illusions:  “Fighting at your side, I felt, if I could just hold onto that feeling.” (Halbrand = "I've felt it, too" = the connection was real)  “They could no longer distinguish me from the evil I was fighting.” (Dark!Galadriel = Sauron sees the darkness in Galadriel)  “Aren’t these the seeds you planted?” (Celebrimbor on Galadriel’s vision, meaning Sauron has some sort of influence over Nenya) 

This explains why Sauron didn’t stay in his Halbrand form, when it was the easiest way to manipulate her. He’s attempting to prove that the connection Galadriel felt was, in fact, with him, Sauron himself.

2. Bind Yourself to Me

“The door is still open”  

Sauron is set on binding himself to Galadriel this time around, and against her will if he has to. She won't reject him again. He wants her to bind herself to him, freely. But she refuses until the end (“the door is shut”), and, so, he forces them to bind together (using Morgoth’s crown). This was his way of saying: “you are mine, now and forever”. 

“I would’ve placed a crown upon your head, I would never have rested until all of Middle-earth had been brought to its knees to worship the light of its Queen.”  

This was Sauron revealing that his proposal to Galadriel back in 1x08 was real, and that he truly meant it.

"I would make you a queen, fair as the sea and the Sun, stronger than the foundations of the earth." "And you, my Kind. The Dark Lord." "No, not dark. Not with you at my side." You bind me to the light, and I bind you to power"

However, that boat has sail (hence the "past tense"). And he, as Morgoth’s official successor ("shadow of Morgoth") and the new Dark Lord has no interest for Galadriel’s light, anymore. He wants to bring her into the darkness with him, now. And if he can’t have Galadriel in the Seen world (reality), he’ll have her on the Unseen world (“shadow realm”), that he now masters.  

What went wrong?  

Many fellow fans have already discussed this (myself included), but this scene was so badly-executed and produced it failed to bring all of these points across to the audience in a clear way. Which is a shame because everything seems to work on paper. 

This scene, truly, is a mess, and all over the place. There’s no way around it. The producers valued spectacle over storytelling and it damaged the scene, by not allowing it time to breathe and make these emotions shine through. Even the actors (Morfydd and Charlie) had to be more preoccupied with the fighting choreography than in delivering emotional weight, because there’s so much they can do when they are moving around like maniacs.  

I think the “Marvelization” effect is to blame here: the extensive and unnecessary fighting and the cringeworthy dialogue (action hero “one-liners”). Galadriel in love with Halbrand, refusing to accept he and Sauron are the same being; Sauron obsessing over her and wanting her at his side, at any cost. The weight of them being doomship. This scene should be overflowing with emotions, drama and tragedy, and yet, all of that was sterilized to prioritize the fighting sequence no one asked for.

Sauron and Galadriel could have fought for a while, but there was no need to drag it on and on until the end, because that was not the point of the scene, and by doing this, the show confused its audience. “Wait, Sauron killed Galadriel?” Because, come on, that’s what all of us thought when we first saw this scene. We are analyzing it now and finding the true meaning behind it, but no one would have guessed Sauron’s true intention on their first watch. 

Another problem is the failure of “show, not tell”. I don’t know if this scene was the show writers’ original plan or if they changed it later (multiple endings, reshoots, etc.). We are told that Sauron and Galadriel know each others’ minds, but the show doesn’t actually reveal any of it to us. Everything is so subtle and ambiguous, folks get confused.  

We are now told by Director and executive producer Charlotte Brändström, that Galadriel really loved Halbrand, and that Sauron changes into Halbrand because he fell and doesn’t want to look powerless in front of Galadriel. But he knows Galadriel’s mind and can see her love for him in that moment, and that's the reason for his “puppy eyes”. But in that sequence, nothing of this comes through, and it looks like Sauron is just manipulating her to stop the fight and get the Nine. The audience can't understand this, because the scene is showing us Marvel action-hero fight instead of actual raw emotion (like we got on Season 1 finale).

[darkfluffydragon]

Operation Abundance: About Golden Cheese Cookie

Note: Golden Cheese will be referred to as Aureate, as that is her AU name.

Why would Aureate allow Shadow Milk into her body? She can very well force him out of it, the Light of Abundance is not compatible whatsoever with the weakened Light of Deceit. Yet, he still controls her, using her as a host. Her story isn't all that different either, there is no grand tragedy that leaves her kingdom in an unfixable shamble. Sure, there were more glitches and errors in canon. and a bit more horror, but the conclusion was still the idea of her becoming more greedy, to become more powerful. Enough that she would be able to bring not just their souls, but their dough as well. To bring back her Golden Kingdom in its entirety.

One important detail that did change though was that she didn't follow Gingerbrave and the others, Instead, she told them that she would go to the Vanilla Kingdom later (never getting the closure of seeing her friends again after assuming Pure Vanilla died, and waking up as the only one to try and dig his body out of the Vanilla Kingdom rubble after Dark Enchantress’ bannishment), instead wishing to spend some time with the Cheesebirds she had originally forgotten and neglected for so long. To bathe in the sunlight of her real kingdom.

Then Shadow Milk came and dragged her into the false paradise of her dreams. She would fight, knowing none of the people there had souls, not like her kingdom. That they were not real, not what she desired. Not even when the other ancients were there, not when the dream was far grander, far more perfect than her own reality.

The real reason why she eventually relented, was when Shadow Milk, Charcoal Cheese, would reveal information about the other beasts. Specifically about Burning Spice.

The Souljam of Change. The other half of her Light of Abundance.

...

Surely, it was rightfully hers, was it not? If it had been stripped away from the injured Beast by the witches, then surely, the other half was justifiably, meant to be under her ownership? They had, after all, deemed her worthy of Abundance. Was this not the world giving her a sign? An opportunity, like so many centuries ago when she first found her Souljam? She would take the power, she would become more than simply Abundance, she would become Change. She would return all that had been taken from her, back into the golden sunlight so that her treasure, her temples, her streets, her cookies, they may all bathe in her radiant glory once more.

Having her closest friends there really only made the offer even more enticing...so she took it. She would bide her time, she would wait. And when the moment came, she would make her soul whole.

After all, Aureate had always been a greedy, selfish cookie.

To explain what I meant by her never getting closure, Aureate never got to see Pure Vanilla alive. Sure, she got the message from Gingerbrave, but she never saw him and the others with her own eyes. The last she saw of him was at the hall with Dark Enchantress, and the explosion. Before she would wake up in the ruins, alone. She’d have panicked, thinking that the others had died when in reality, they got separated and woke up at different times. She was the last one, and would start digging through the remains of the vanilla castle trying to find her friends. For hours, perhaps the entire day despite her wounds. She would come across a message left behind by Hollyberry, telling anyone who found it that she was returning to her kingdom. Then a message from Dark Cacao. She would find traces of White Lily’s magic, and she would find Pure Vanilla’s flower staff. The one he never left behind, unless with one of them because he trusted them dearly. That could only mean one thing

‘How could they leave so readily? How could they not even leave a memorial for our Treasure?

How could they leave me?’

They didn’t leave her and Pure Vanilla, they searched as well. They repeated the same cycle she did and had assumed that she, too, perished in that battle. Each grieved and mourned in their own way. They were simply not fortunate…unfortunate? Enough to find the staff.

She would leave the staff behind, a memorial, where the flower would always be able to see the sunrise. And then, she would leave, to find her fallen empire. She never got to properly see Pure Vanilla be alive, nor did she get to have a talk with the others to sort out their misunderstandings. Yet still, in her false dreams, they are what she desired the most.

The staff would also be how Pure Vanilla knew she was alive. Unlike Hollyberry and Dark Cacao, who were still known, had traces of their existence, Golden Cheese vanished. But it hadn’t been Hollyberry or Dark Cacao who placed his staff in such a place in such a fond way. There was only one other person he knew who would do such a thing.

[the-heartlines]

sometimes if i think about how we were 🤏🏻 close to having rhaegon brosis marriage and then it being turned down by viserys and laughed off by him as a JOKE! i get a little lot fucking pissy about it!

we could of had it alllllll

imagine their brotherhusband sisterwife sibling slay? imagine rhaenyra slowly seeing, truly seeing aegon, who is invisible to their father, because even though he’s viserys’ first son, a son he wanted his whole life, he isn’t his lost son baelon or any of his first wife’s. because nothing could ever replace those sons…they matter to viserys more dead than alive and no one can replace them—not even rhaenyra (i will never be a son.)

imagine their potential of finding what the other sorely lacks in each other? the realm will never accept rhaenyra, a woman, as their absolute ruler or queen. aegon and her marrying, becoming husband and wife, queen and king (consort brother boy toy 😏) could have solidified the targaryen line and cemented it as possibly the greatest union—with of course some obstacles along the way—mainly their possessiveness and hunger to be the other’s ONLY and ONE—which aegon develops real and true and obsolete feelings before rhaenyra does (until she sees him smiling and flirting with a woman she so loathes.)

he was bred to purely be a backup child, always in rhaenyra’s shadow, always with the threat of her looming over him. her rising to power, gaining the throne, being crowned, means aegon’s life is 100% constantly at stake. (which otto repeatedly reminded alicent of hence the poison drips through from father to daughter to son.)

they truly are two sides of the same coin. if only viserys had listened to otto just this ONCE, rhaenyra and aegon, could have maybe had a chance. or maybe their union was even too powerful, too damned divine so fate cruelly kept them apart, separated at the seems…a tragedy: two siblings, too sinful. so they destroyed each other tragically with fire and blood.

[eularin]

I was watching some scenes from Naruto, and then I saw the one where Obito summons the Kyuubi in the cemetery, apparently next to Rin's grave and I was like "WTF you crazy? Right there next to your crush's grave? What the hell man" and then I remembered that Obito always does things with some justification (every villain does), but it is Canon that Obito likes to prove his PoV to others, and also to himself. So I asked myself: why the hell did Obito summon the Kyuubi near Rin's grave? What could he be thinking? And I came to the following conclusion:

He wanted to prove to Rin, and to all those other dead ninjas who probably sacrificed themselves for Konoha that their sacrifice was in vain. Obito's story, and especially Team Minato's story, is about sacrifice, promises, and tragedy.

Obito sacrificed himself for Kakashi (and the Team) bc he thought it was the right thing to do and the most important thing. He was more loyal to the team (his friends) than he was to Konoha (am I the only one who noticed that by going to save Rin, Obito basically abandoned the Kannabi Bridge mission?)

On that mission, Obkk made his promise, Kakashi gained his Sharingan, Obito "died" believing that by joining his power with Kakashi's, it would make them stronger and in a way invincible to protect Rin (his precious people) so of course the cruel world and cruel destiny proved to the two that the sacrifice and their promise were worthless.

When Obito finally realized that his shared power with Kakashi was not enough, and that Rin's loyalty to Konoha far outweighed her loyalty to the Team, Obito had a meltdown (another meltdown). I can reflect on Rin's character later. Let's focus on Obito.

When Obito chose the graveyard to summon the Kyuubi, he was making a strong statement. He literally wanted to tell Rin (and the other ninjas who sacrificed themselves for the good of Konoha) this: "hey Rin, look! You killed yourself to stop a Bijuu from destroying Konoha, but your sacrifice can't stop this Bijuu now. See? No sacrifice is worth it. You only delayed the inevitable. You died for nothing and without meaning" - Obito must have been very angry with Rin and Minato. At least I think he was.

During the 4th war he was literally mocking Minato and his acclaimed speed. Basically he was saying "there's no point in being the fastest man in the world if you don't arrive at the moment that matters most", and I don't think he was referring to the Kannabi Bridge mission. So there's that weird conversation where Obito tells Kakashi that Rin is an impostor?!? I don't remember that dialogue anymore (I watched it with subtitles, so I really don't remember what I read years ago)

the only thing I understood was "Rin killed herself, so she's not the real Rin, she's just an impostor that this world created!" – Obito is so... crazy? logical? delirious that I couldn't keep up (I always rewatch the 4th war arc)

also, i'm thinking about it 🤔 i think obito might have been bitter towards Minato bc out of all team 7, Minato was the only one who got along in the end. get my drift: obito "died"; kakashi and rin were devastated and minato probably suffered too, but the anime only shows kakashi for most of the whole story, suffering much more. (unfortunately, the anime shows almost nothing of Rin and her personality. she's portrayed as... idk, easily disposable background character. we don't see anything about her dreams, her struggle to be a great ninja, we don't see her other friends or family... she's almost an empty character, even though she's important to the story of two big prominent characters.)

So back to the main focus: Obito "died"; Rin and Kakashi suffered, then Rin died and Kakashi was left to wallow in his guilt and pain, then Minato went and put a traumatized child in the ANBU. And we know that Obito was already spying on all of them. He certainly didn't like seeing Minato being a beloved hero, enjoying his laurel leaves after the war, so he fulfills his dream of being Hokage, marries his wonderful Kushina, plays house and has a child. In other words: Minato moves on while Obito doesn't (and Kakashi doesn't either). I bet that made Obito pretty angry. I can imagine his anger at Minato's good life. So he went there and ruined it all. 💁🏻‍♀️💀

Well, that's it. That's my theory (?) about why Obito summoned the Kyuubi at the graveyard that night.

So, what's your take on this?

[sokkastyles]

Azula hallucinated her mother saying that she loved her because that’s what Azula really wants more than anything, is for her mother to love her, so her mind created a hallucination of her mother saying that to comfort her because Azula was in a lot of pain. This is why Azula cries after her mother says that she loves her because Azula knows that it’s just a hallucination saying so, not the real Ursa, and so Azula still believes that her mother actually didn’t love her.

Okay, I know you're just a troll with a fetish for being verbally eviscerated online, and don't really deserve the time of day (did you really just make another blog MINUTES after I blocked you just so you could send this?), but this is a thing that actually deserves a longer meta because I see people say this about the mirror scene so often and it's only partially true, and doesn't acknowledge what is so very good about that scene.

Azula does indeed hallucinate her mother in a moment when she is in great pain. I do agree that Azula wants her mother's love more than anything. I also think Azula knows the truth, that her mother is not there, and that this is a large part of why she cries after breaking the mirror.

But you also have to look at what else the scene is telling us about Azula's relationship with her mother.

Because Azula did not conjure up the illusion of her mother to comfort her. I do agree that part of her desperately yearns for that comfort, but in order to understand this scene and what it means for how Azula views her mother, we have to look at what the hallucination of Ursa that Azula's mind conjured up is actually saying, and how Azula reacts to her presence.

Azula does not seek comfort from Ursa. Far from it. When Ursa appears, at first complimenting her hair, Azula reacts defensively, saying "what are you doing here?" She denies it when her mother expresses interest in care toward her, saying that she knows what her mother "really thinks" of her. Ursa replies that Azula is confused.

And, of course, since this is really Azula having a conversation with herself, this means that Azula is confused. She doesn't really know what her mother thinks of her. This is supported both by the textual framing of Azula talking to a mirror - a common trope in visual media used to symbolize that a character's perception is distorted - and by the fact that Azula has been gaslit by her father her whole life to believe only the things he says and to not listen to her mother, who her father took away from her when she was eight. Azula does not see her mother clearly here, and what she is really seeing is a reflection of herself.

The hallucination of Ursa tells Azula that all her life, she has used fear to control people, like Mai and Ty Lee. And because we know that Azula was hit especially hard by Mai and Ty Lee's betrayal, we know that this is a sore spot for Azula. That Azula knows, deep down, that her friends abandoned her because she treated them badly.

Azula does not want to admit this, though, so she replies defensively, saying that fear is the only way, and justifies it with "even you fear me."

Part of what's going on here is that Ursa takes the form of Azula's conscience, saying the things that Azula cannot admit to herself, because she has internalized the idea that the empathy her mother tried to teach her was a weakness. Another thing that's going on, though, is that Azula is trying to justify her actions by falling back on the idea that her mother hated and feared her.

If even Azula's own mother feared her, then fear must be the right way of doing things, the ONLY way of doing things.

And that's the tragedy, because love certainly didn't work for Ursa. It didn't make Ursa stay or make her happy. So therefore, Ozai must be right. Love is a weakness. Fear is the only way. Azula watched her own mother be afraid of her father at the same time that she was forced to choose between who to listen to. Who do you think had more power there? Who did she choose to believe? Ursa was vulnerable and scared, and Azula desperately wants not to be those things. Fear must be the only way because the other option is to be afraid.

But then Ursa says that line, that one line that totally shatters Azula like so many shards of a broken mirror. No. I love you.

Azula cries because this is what she's always wanted. She cries for the mother she's lost. She cries for the friends she's lost. She cries over the fact that she can't let herself love anyone, and that this is why she's alone. She cries for the fear she felt throughout her childhood that she was never allowed to express because it's a weakness. She breaks the mirror in a fit of rage and cries because even destroying the image won't make the truth Azula knows go away, and she can't reconcile the confusion she feels over her mother with what she has internalized from her father, who at this moment has also abandoned her, so she has no idea what she should believe anymore. She cries because she hates her mother and she hates herself and she loves her mother and she doesn't know how to love.

Because remember, Azula is really talking to herself. Destroying the mirror is an act of self-destruction, just as cutting her hair (the hair her mother loved) is an act of self-destruction. Just as challenging her brother to a duel to the death is. Just as the insistence she's held on to for so long that she is a monster is an act of self-destruction, a denial of her own humanity, and therefore a denial of all the things that she thinks make her weak.

But a big theme of atla is that those things, the things that give us our humanity, don't make us weak. They make us strong. This is what Azula fails to reconcile at the end of the story, and that's her tragedy.

[leiascully]

X-Files OctoberFicFest Day 29: Pink Pilates Princess

y'all what happens in the discord filters out into tumblr in such weird ways @calimanc I hope you're happy

Mulder's hiding something from her. Scully is sure of it. He's taken to leaving at different times when he used to walk her out. Once she waited for him and he slipped into the garage by some other entrance and was gone by the time she made her way to his car.

So she follows him. Naturally.

Her car is so nondescript it might as well have a bumper sticker that says "I'm a Fed". She remembers being so proud when she bought it: something solid that would last. And it is, and it has, and it also looks exactly like the car a person would requisition to tail their errant partner. Which is what she's doing. She's slumped in the driver's seat outside a strip mall in Alexandria, eating a stick of beef jerky, because it's dinner time and she's hungry and instead of doing the sane, normal thing of going home and eating, she's stalking her colleague. Is he her superior? They've never really worked through all that. He's senior to her, technically, but everyone knows she's the responsible one.

Well, not when it comes to "who's responsible for this catastrophe?" The answer to that is usually a solid "Mulder".

This isn't the first time she's followed him. That's the real tragedy of it. He's usually not betraying her, but she's not interested in risking her career again, or her emotional stability. For better or worse, she and Mulder are involved to a degree that she's unable and unwilling to disentangle. Of course, that means she's hiding in her car on a Tuesday night giving herself hypertension, so who's the real loser?

He emerges at last from a store? A salon? She's really not sure. There's a brief glimpse of pink glitter and soft light. He's in a crowd of women, chatting amiably. And he's wearing pink fluffy slippers and pink short shorts and a pink tank top, and carrying something pink rolled up under his arm.

What. The fuck.

He glances over and she ducks down, but he's seen her. He knows her car anyway, even as anonymous as it is. It's like when she can pick out that one particular pigeon by the Hoover Building even though it looks the same as all the others. She turns the key enough to activate the electrical systems so she can roll down the window as Mulder approaches.

"To be fair, you've hidden things from me before," she says before he gets out a single word.

He raises an eyebrow. That's her move, dammit. "And hello to you, Scully."

"You've been avoiding me."

He sighs and tips his chin toward the passenger seat. "May I?"

She disengages the power locks with an audible click and he rounds the hood of her car and opens the passenger door, sliding in. The seat is already adjusted for his height.

"How's your stakeout going?" he asks affably. They both glance down at the Slim Jim's wrapper, a true sign that she's feeling stressed. "Guess I should have brought you an iced tea."

"You've been avoiding me," she accuses.

"Yeah." He sighs. "For some reason, I didn't want you to know I was doing Pilates at the Pink Princess Pilates studio. Imagine that."

"Why?" she asks. "Surely you didn't imagine I thought it was a threat to your masculinity."

He looks at his outfit, and then at her. His silence speaks volumes.

"Mulder, I assure you, if anything my perception of your malehood is enhanced by the very small shorts you're wearing." She thinks over what she said and then blushes. "I mean, they don't leave much to the imagination."

"Pilates was invented by a man, you know," he says.

"Yes, I know." She stares at him. "Between the two of us, I think you're the one who has a problem with the fact that you do Pilates."

"It's good for my core," he says mournfully.

Her mouth quirks. "And the fluffy slippers?"

"I wear the grippy socks," he says. "It's more convenient than shoes. And they made Midge laugh."

"Oh, as long as they made Midge laugh," she says.

"You'd like her," he tells her. "She's like the Skinner of Pilates. Stern. No-nonsense."

"I didn't tell you about Pilates because I felt silly," he says. "Not because I wanted to hide it from you."

"I think you make a beautiful pink princess," she says softly.

"Midge's daughter had breast cancer," Mulder says. "They sold these pink sets and the pink mats as a fundraiser for her treatment. She's okay now, but sometimes we have theme days."

"You've got a whole other Pilates life I never imagined," she says.

"Now you know all my secrets," he says with a crooked smile.

"All of them?" she teases. "Are you sure?"

He holds her gaze a few beats longer than necessary. What she sees in his eyes makes her heart thud. She wants to look away. She won't look away.

"All of them," he promises.

"You know," she says, "that color is actually really lovely on you."

"Is that so?"

It would look even better on my floor, she thinks about saying. "Are you hungry?"

He gestures at himself. "I don't think I'm dressed for dinner, Scully."

"Take out," she says. "Meet me at my place?"

"It's a date," he says, and the look he gives her as he slides out of her car feels like a kiss.

[ariestarfairy]

Did Mystra Groom Gale?

My answer to that is, it's complicated, or perhaps not in the conventional way that people tend to think grooming happens. When I see posts about Gale being groomed it's accompanied by the assertion that Mystra found Gale when he was a child and was his mentor first. From a timeline perspective this doesn't make sense, we would have to throw out so much lore. Mystra was murdered by Cyric in 1385 initiating the Spellplague, she didn't come back until the events of the Sundering, so around 1479. Baldur's Gate 3 takes place in 1492. The earliest she could have met Gale would have been 1479/1480 which gives us a time frame of their relationship possibly being around 11-12 years. If we conclude that Gale is ~30 years old then the youngest Gale could have been is 17. If we conclude that Gale is ~35 years old then the youngest Gale could have been is 22. This lines up with Gale referring to himself as a very young man, not a child, when the events of their relationship took place. Also Gale makes another comment that suggests that he likely wasn't a child during his relationship with Mystra. If you romance Gale, he remarks that he had lovers before Mystra, but not after. If we assume that Gale met Mystra as a child then Gale would have to be much younger than we think he is. Now onto the subject of Mystra and Gale's relationship, adult grooming is a thing and the power imbalance is very real. A teacher getting into a relationship with a student is also problematic in any relationship where there is a teacher and student dynamic. Mystra has a history of changing and removing abilities from her servants and chosen, often times without their consent. This clearly illustrates an exploitative relationship. Also Gale, in all of his naivety of youth, perceived his relationship with Mystra way differently than Mystra did. Mystra has many chosen and most of them do not know one another. He thought she loved him, but he was amusement for her for a time until he messed up and she denounced him. Not only that but in order to maybe, possibly, earn her "forgiveness" Gale has to kill himself and even then forgiveness isn't assured. That's a steep price to pay. If you think Mystra is a good soul and Gale is a horrible person who stomped all over her boundaries, then you you need to learn more about Mystra's gross meddling with mortals. She is by no means innocent and has not only stomped on boundaries, she has done things that cross way over into non-consensual. The Gods are gross, Mystra is not an exception because she's a Goddess and presents as a woman, she's not vulnerable nor is she helpless. She is in the position to exploit and demand and she does it frequently. What also really gets me is how Gale gets labeled as being manipulative and abusive and Astarion is a beacon of perfection. He's not, he targets your character just to manipulate them, and that is his MO for a huge chunk of the game. His tragedy and changing over the course of the game doesn't reverse that, but it's somehow overlooked? Of course you have to view a person in terms of a snapshot. Looking at Gale based on a snapshot within his relationship with Mystra does not make him toxic and it does not mean that he was the abuser. Of course because Astarion was abused by a man, it's a different story, but Gale is a male character stepping on a woman's (Goddess) boundary, so he's necessarily toxic. It doesn't occur to people who play BG3, who have very little knowledge when it comes to the Gods in Faerun that Mystra is truly toxic and that a man can be abused and manipulated by a woman (Goddess) . Don't misunderstand, I love Astarion just as much as I love Gale, but I think it's a double standard to vilify Gale (who WAS mistreated by Mystra) and lionize Astarion while ignoring his machinations towards you in the beginning. Astarion is a classic case of hurt people hurt people, it explains his behavior but it shouldn't be ignored in criticisms of other characters. He's not perfect, if he were he would be boring and not nearly as interesting.

[agatharkn3ss]

Hi! Maybe I missed it but how do you think: what could have caused "the battle" between Agatha and Rio? I mean besides the fact that Rio could have done something to Nicholas (as we believe), at the beginning she came to Agatha with a specific reason, was doing her job. And it seems that closer to the end of the show we may see the outcome of this battle.

Does she really want to hurt Agatha or it was just, ahem, foreplay? What if her "job" is a hidden mission like serving someone or following the code of The Death if there is one.

Everything is complicated by the fact that there is obviously a blood or some other marital connection between them because of which they cannot kill each other, therefore, she needs Agatha alive but for what purpose?

AGATHARIO AND THEIR FEELINGS

Hi! Sorry it took me ages to respond! I am still mulling over this and I can only provide some thoughts rather than a coherent theory. The more I rewatch the episodes and read Jac's amazing insights, the more I feel that "the battle" was because of Nicholas.

Agatha and Rio have such an amazing chemistry and it is very clear they have long history and are drawn to each other like magnets. So for them to be apart, something big must have happened. I believe Nicholas died in some tragic circumstances and maybe more recent than we think. I am still torn between what could've caused his death. I don't think any complicated Darkhold trade was involved, but rather it was a much simpler cause, which makes it even more painful to Agatha that she couldn't prevent it. So I think maybe he was hit by a car (which would explain Agatha's extreme reaction when Teen was hit in ep.1). There is a theory that maybe Nicholas, being a Blood Witch, had some powers himself. And that he used them when playing with Agatha. Since she couldn't control it, she syphoned his magic and he died. However, generally in Marvel we see that kids don't get their powers until they become teenagers and it sounds like Nicky was a toddler.

Either way, he dies and Rio has to take him because it's her job as Lady Death. Agatha would be pleading with her not to do it and bring him back, but there is nothing that can be done. So Agatha shuts Rio off, blaming her for taking away her son, but really it's just a way to block the truth that it was her own fault. She hates herself but projects it onto Rio. Runs away, acquires Darkhold and hides from Rio - as a revenge but also to hide from the memory of that tragedy. The only thing that she holds on to is Nicky's hair in that locket. And it HAS to be Nicky's hair, because every single time she pays any attention to it, we hear Nicky's theme playing in the background.

The thing is, Nicky was Rio's son too. She is also in pain and had to go through the torture of sending her own son to the underworld. And yet, instead of finding some comfort in each other, Agatha doesn't even give Rio the chance to express or talk through her grief. Even worse, she acts as if Rio did it on purpose, adding even more hurt. And then just disappears (literally ghosting Rio), without any explanation or hope that she will come back. Rio seems to always be so in tune with Agatha - we see the glimpses of it in the spell reality in ep.1. But when Agatha hides, Rio can't even "feel" her any more (similar to when Wanda cried over Vision's body and said "I can't feel you").

So when Rio can finally feel Agatha again and finds her, her first thoughts are probably that of absolute anger for the pain that Agatha's disappearance caused. But then she realises that Agatha is not herself. She's Agnes O'Connor and doesn't even remember Rio. So for Rio to get her revenge or any kind of closure, she needs to bring Agatha out of it. But in this process, as she gets to spend some the time with her, and she realises how much she missed her companion. And that anger slowly starts to give space to yearning.

So when she finally has the change to confront the real Agatha, she has this total mix of emotions - she is oh so angry and hurt, but she has also remembered why she fell in love in the first place. And that's why we get this "playful" fight.

For Agatha, this is the first time she sees Rio since Nicky's. So her initial reaction is "I hate you". She doesn't know what to expect from Rio and probably doesn't realise her pain - maybe she pushed the truth so far away and still believes that Rio taking Nicky away was a clear sign that she didn't care and didn't have a heart (seems like she only realised that during the "she's my scar" confession). So when Agatha chokes her, she means it, because she thinks she's fighting for her life. She knows she can't actually kill Death, but she will do whatever she needs to buy some precious time.

But Rio states "I missed you" and seems to be toying with her. She seems to be enjoying this because she is no longer as angry as she was when she first saw Agatha. She no longer intends to kill her. But she enjoys the physical punishment, taking the rare opportunity that Agatha can actually feel this pain for once and can't just magic it away. It feels like a little victory to be able to humiliate her.

Yet at the end, she probably realises this victory doesn't actually feel like she thought it would. Maybe she even feels sorry to be taking advantage of her when she's not even able to defend herself. And deep down she recognises that this hate and pain all come from the simple fact that she was denied Agatha's company and maybe there is still a chance to repair that.

So she softens her stance, drops the blade, gives in. Agatha is relieved but surprised (there is a tear). She doesn't know what to think about it. When Rio heals her, she doesn't know if this is an act of love or just to mock her.

I think this is why, when they re-join on the Witches Road, we see a completely different dynamic between them. They are confused. But also maybe enough time has passed that they can be near each other again. I think they are exploring it and are probably surprised at how easy it is and how well they still know each other. So when Rio next threatens her in ep.5, we see Agatha reacts differently - she immediately responds with a joke because she knows Rio is not going to hurt her. They enjoy the fact they can flirt and play with their dark humour "death" jokes again.

I think Jac Schaeffer pretty much confirms this in her ep.5 interview when she says "They’re exes, and so it’s that thing of, like, you haven’t seen an ex in a really long time, there is a lot of anger, there’s a lot of resentment, and a lot of heat in a negative way that comes out at the top. But if you are then put in a situation where there is, like, time in, and exposure to, and feelings are still there, and there’s also the muscle memory of that love, then you slip in to those behaviors."

Now. After all that, I still don't know what Rio's end game is. Why she came to find Agatha and warned her about Salem Seven. I think that maybe she has a job to do, one that Agatha won't like, but she's playing a triple agent so that she can protect Agatha in her own way.

They have yet to reconcile and have a proper conversation about Nicky. I think Agatha holds on to the locket because she still has a hope that she can bring him back somehow. Maybe the hair has some sort of spell that still binds Nicky to this world, making him a ghost. But Rio hates ghosts and could not bear it. She knows this would just hurt Nicky even more, so she needs Agatha to destroy the locket. So I don't expect them to just fall back into each others' arms. But I also think it would be highly inconsistent to just have these two battle to the end again.

Hope this makes some sense! I will have to take a break now and reread it after some time...

[ananke-xiii]

Another thing about the lameness of Apocalypse World being the result of "Mary's choice" is that it gives too much weight to Azazel's deal. That demon spent a lot of energy finding his "special children" and had never even noticed Mary before Dean's interference.

Interference that happened because Castiel made Dean travel through time and told him he had to "stop it" just to show him that it wasn't possible. Of course Cas didn't know, back then, about angels basically acting as and for Chuck by manipulating people, time and events for their own benefit. Still, you have to wonder after "In the beginning" whether Cas actually realizes what he has done.

Whether Mary deals with Azazel or not doesn't matter because of the bloodlines. The only difference is that if she said no an angel would fly in, resurrect John and wipe out their memories. Just like Zachariah and Michael tell Dean in S5.

The whole thing about demon blood as necessary in order to be Lucifer's vessel is just there for effect, I think, because neither Dean nor Adam need to be "primed" to be Michael's true vessel who, apparently, is even more powerful than Lucifer. Or, I don't know, to me that doesn't track at all but I might be missing something. I mean, it kinda shows how Kripke was tired of the "special children" plotline but, yk, the awkward, giant elephant in the room is that the foundation of the show is Sam and demon blood so... they had to justify it in some way, I think. But, again, I might miss something here.

The real importance of Azazel's deal is that it highlights Mary's complete loneliness in the world: in an instant her parent and her fiancé are dead. She deals because she bargains her otherwise horrible present (which is still horrible, tbh) for an unspecified future (which she craves. a lot. we've been told. multiple times that she wants to "escape" her current life). The tragedy is precisely that she doesn't know that she's specifically damning Sam's future in the process.

The real, real tragedy, however, is that she has no choice, whatever she does, SHE will always end up there. Because Mary and John are just "placeholders". The angels are basically just waiting for the demons to do the hard and dirt work while, they think, they just have to manipulate low ranking angels and get Dean's consent. Precisely the two things that fuck them in the end because Castiel rebels and Dean doesn't consent.

The other thing about Azazel's deal is that he doesn't need permission to enter Mary's house, that's just an excuse because of the "red tape". He has to bend the rules of the natural order and, in order to do so, he needs to make a deal. His deals are basically asking people to sign and date a blank sheet which is, obvs, a super manipulation, but, because people accept that, the deals "respect" the rules. It's absolutely unfair considering that this seems to apply only to humans while angels bend even the rules of time as they please with no consequences (well... actually, "what goes around comes around" and they will almost all be wiped out, lol).

The tragedy in the tragedy of the tragedy is that Dean understands that's about the souls. "In the beginning" makes a point of telling us that's not about that but I don't think it's true. Yes, Azazel won't come knocking in ten years with his hellhounds but he's bargaining a soul for a soul. Liddy's husband, if Azazel had managed to deal, wouldn't have died; Charlie's father would have lived; John would have died etc. So, in this episode at least because I don't remember the parents of the other special children tbh, Azazel is exchanging the life or death of 1 parent with the future of 1 of their children. At the end of the day, this is what the deal is about: it's a 1 for 1. This is also why he can't resurrect Mary's parents. Well, because he doesn't care, obviously, but because he doesn't have to: John's resurrection for Sam's future (which Mary has no idea about and neither does Azazel, he's also signing a blank sheet).

And this is so interesting because demons must follow the rules but angels don't because they are SO certain that they will end Time. They think they will put an end to everything and finally have their "paradise". When it doesn't come to pass, when the end doesn't arrive as promised, everybody has to face the consequences of their actions.

[aihoshiino]

chapter 146 thoughts

This chapter (and thus this chapter review) contains discussion of abuse, suicidal ideation and CSA, so if you're not in the headspace for that, skip this one and I'll see you next time.

we are so oshi no back

After last chapter left me fighting for my life to come up with literally anything to say about it, this was one of those chapters where I ended up having more and more to say about it the more I turned it over in my head. It still feels a bit disjointed and has that same issue of ripping through the events of the movie way too fucking fast that the arc as a whole has been having lately but this chapter was such a breath of fresh air I can't bring myself to care.

The chapter itself is more or less split in two, with one half dedicated to 15 Year Lie's in-universe events and the other focusing a bit on Aqua and Kana for, tbh, the first time in way too long. Admittedly, my enthusiasm for 15YL has waned given the reveal of just how much of it is completely made up but like. I'm still gonna over analyze this stuff. Sunk cost fallacy, don't fail me now!!!!

I joke, but the 15YL section of this chapter was legitimately bone chilling. That barrage of cuts following Uehara's attack on Airi…. fuuuuuuuck, man.

Airi herself is pure fucking poison this chapter too and I mean it in the best way. I continue to be incredibly impressed with how OnK understands the motivations of a person like Airi what her abuse of Hikaru is really about. When discussing this in 141, Miyako points out just how often victims of abuse can themselves go on to perpetuate their own pain out of a need to try and regain their dignity, but I think what Airi seeks in her abuse of Hikaru is control. We see how often she wields her power over him while pretending that he has as much agency as she does in their """relationship""" and it's repeated here, too; she throws the results of her own sexual abuse of him in his face as a way of permanently chaining the two of them together, all while tearing down his worth as a person as if to 'prove' he deserves to be trapped in her grasp. I've said before that Akasaka is unsettlingly good at writing toxic mothers but I think Airi has made it pretty clear that Akasaka understands and is thus excellent at writing abuse and abusers in general, and for someone like me who counts that as one of their favourite Themes (tm) in fiction, I feel quite well fed.

The abuse Airi hurls at him is also interesting from a perspective of paralleling Hikaru even further with Ai. We saw snippets of this in 140, of Hikaru characterizing himself as someone desperately trying to construct a version of himself that can be loved by others the same way Ai creates 'Ai of B-Komachi', a version of herself who can give and receive love in the way she thinks her authentic self is unable to. Airi puts this into more explicit words; Hikaru must construct this fake version of himself because there is no 'real' him and thus, he is inherently unlovable. Jesus Christ.

Knowing those words were swimming around in his head, it makes the HKAI scene that follows even more of a gutpunch than it already is. It's the most wonderful kind of miscommunication tragedy - with their respective traumas, there is basically no other way a talk like that could have gone and yet it's agonizing to see it play out. Ai's innocent cruelty in the face of Hikaru's pain and her suffocating smile… the worst part is, while I completely understand why this was so shattering for Hikaru, it's impossible to miss that this was, in a way, an expression of love from Ai; it was honesty, an admission of vulnerability. She herself even says she doesn't want to lie to him. But to Hikaru, what else could that have sounded like but a confirmation of his most godawful fear?

that said. the timeline here is very confusing. this seems to imply hkai were still dating all the way up to the murder-suicide, which seemed to be just before the dome concert but did the breakup really seem that recent during their phone call?? this whole timeline is penised beyond repair.

The art in this chapter in general is incredibly good but something in particular I want to highlight is how much and how often Aqua-as-Hikaru looks like Ai in these panels. I can't put my finger on what it is, but that similarity always makes me feel so warm and sad whenever I see it. For as much as he struggles with his relationship to her, Aqua really is his mother's son through and through.

and. man. what even is there to say about that scene in the rain and everything that follows. I was't sure if the murder/suicide was going to be featured in the movie but even the brief snippet of it that we got and that barrage of scene titles and Kamiki's silent scream… whoof. shit like this makes me really hope we get to see mengo illustrate a horror manga someday because i think she would absolutely kill it.

We cut back to reality to see Aqua reading the script and in perhaps the most interesting swerve in this chapter, we see that he has once again reverted to his double black hoshigans. And uh, am I going to sound like a terrible person if I say I'm really glad for this? LOL.

Obviously I would rather Aqua not be experiencing Suicidal Ideation (Bass Boosted) 24/7, but it's kind of a relief to see that one single conversation wasn't enough to totally shake Aqua out of that headspace. I've talked a lot about how frustrating I find it that 'Ruby finds out Aqua is Gorou' is treated as the finale to her black hoshigan arc and every ongoing thread, internal and external, attached to it was dropped like a rock with no further interrogation. It robbed Ruby of the opportunity for some really important growth and, imo, was just shitty for Kana and Memcho who were treated extremely poorly by her and got no apology for it. I was really worried this would be the case for Aqua as well and that his own dip into that rancid headspace would end on a wet fart which would really sting given just how little insight we've gotten into him this arc. But this chapter makes it clear that while some cracks have started to form in his armor, he's not in the clear just yet.

i mean, even if he was permanently back to one white star, aqua is such a little freak regardless………………………….

What this means in the long term is a little hard to pin down, both because we've had so little insight into Aqua's headspace this arc and because the exact nature of black hoshigan as a symbol has always been a little Calvinballed, but in this context and for Aqua specifically, I think we can read this as his conviction in the messy endgame of his revenge play being shaken up. I, personally, have been reading the black hoshigan as of late as an expression of the sort of futureless despair that can become suicidal ideation, at least for Aqua; since immediately after Ai's death, we have gotten incredibly strong hints that Aqua is suicidal, his guilt-fueled desire to die and his desperate want to experience a happy future at war within him. He more or less explicitly says as such in 106, expressing that this break in their relationship is necessary for Ruby to be able to live on 'after he's gone' - which strongly implies that Aqua's revenge play is intended to end with his death.

Knowing that Ruby is Sarina wasn't quite enough to shake his conviction, but their talk in 143 was. I do think Ruby just giving him some straightforward affirmation was a good starting point but I also can't help but wonder, with the context that his white stars were not indicative of a permanent change, if hearing just how deeply Ruby still relies on 'Gorou's' presence in her life struck a nerve for him. Paraphrasing her from 143, she straight up says Gorou is the one who gives her life meaning. And if that's how it is, what exactly will happen if he's gone again..?

Obviously this is all still speculation because even when I am begging on hand and knee Akasaka is refusing to give us Aqua introspection but at this point I have to make a guess at SOMETHING if i am going to say anything remotely coherent about aqua in this arc, so

ANYWAY!! AQUA AND KANA HAVING A NORMAL ASS CONVERSATION FOR THE FIRST TIME IN GOD KNOWS HOW LONG!!! Ngl, it did give me a bit of a chuckle to see Kana voice the question of whether Aqua was getting too immersed in his role, given that people were accusing her of that back during the first round of the RBKN conflict.

I was also really surprised to see Aqua just outright say that yeah, he is at least flirting with suicidal ideation. Like - that's the first time he's said that out loud, to anybody??? In 143 he voices the less damning but still not great sentiment that he feels guilty for being alive but this is to my knowledge the first time Aqua has expressed his suicidal ideation out loud, let alone to anyone else. And… fuck, man! That's an absolutely terrifying thing to hear a friend say. No wonder Kana reacts like she does.

Because of my powers of Claire-voyance (read: basic pattern recognition and being in fandoms for 15+ years), I'm pretty sure people are going to be Very Mean to Kana about the way she chooses to respond to Aqua here but honestly? Not only did this tough love response feel very IC for her, but the clumsiness of it felt very honest to me. I think a lot of people in fandom lately just want characters to talk like fucking therapists all the time and have the Correct And Unproblematic Response to… well, situations like this. But Kana is an 18 year old girl who has her own share of issues and her friend she knows is dealing with his own huge amount of baggage just casually dropped an "i wanna kms" on her. All things considered, I think she handles it surprisingly well.

Because like… look at what Kana really says to Aqua here. She gives him some of their usual banter to diffuse the tension but then makes herself very clear: she does not want Aqua to hurt himself and makes him promise that he won't. It's clumsy and rough in the way Kana often is, but I think the important part - her sincere care for Aqua as her friend - really does shine through.

also cute that other people caught: Kana squishing Aqua's face seems to be an intentional callback to one of their on-stage interactions in Tokyo Blade, right down to Aqua making a identical scrunchyface to Kana. Extremely cute. I love it when Aqua is cute <3

Kana also being a person able to shake Aqua out of his black hoshigans also leans into something I've been hoping is going to pay off for a while now; the idea that Aqua's salvation is not going to come from any one, singular character but from the many different people who Aqua has built relationships with coming together when he needs them to support him. One of the things OnK has continually highlighted is the way isolation and lacking support systems warp and damage people's mental health and I think it would play excellently into that theme to have Aqua's support net, so to speak, to be wide enough to catch him no matter where he falls.

the product placement was very stupid but i did laugh pretty hard at it and then immediately go buy myself some potato chips so i guess it worked. genius mangaka aka akasaka.

All jokes aside, the note their talk ended off on was so lovely too. Aqua being honest enough to admit that being with Kana is fun and Kana getting all dokidoki and then quietly admitting she feels the same when she's alone… cute! But more than that, it highlights something about the AQKN dynamic I think is really important, regardless of whether their relationship is romantic, platonic, in laws, mlm/wlw hostility or whatever else; Kana is his friend and he can just be a normal boy and have normal fun with her without any ulterior motives. It's something Aqua doesn't really have in any of his other relationships so getting a reminder of that and what it means to Aqua was really good.

honestly i think i am just so starved of nice things happening to my son that seeing him opening up to one of his friends and admitting he has fun (HIS LAUGH!!!!!!) was like a shot of heavenly ambrosia for me. please can hoshino aqua have just one nice day.

OR UH… BASED ON THAT LAST PAGE…. PROBABLY NOT ANYTIME SOON….!!!

this is what i mean about this chapter giving me 5000000 things to talk about. kamiki is TALKING TO RUBY IN THE FLESH FOR THE FIRST TIME and i almost completely forgor.

why is he dressed like a dad about to take her out on a fishing trip, though

Ruby looks unusually solemn while she's praying, which is interesting. She's been pretty bright and high energy since 141ish so I'm curious what has her looking so comparatively dour. She's praying at a shrine, too, which means there's probably something on her mind. Nik (@akane-kurokawa) theorized that she's anxious about the upcoming scenes in the movie (LIKE, YOU KNOW, HER MOM'S DEATH) and until we get further insight on that, that's what I'm gonna assume too.

putting aside how Shrimptresting it is that Kamiki turned up out of nowhere like that, I can't help but note a certain horrible parallel between Uehara meeting young Hikaru in the rain with a black umbrella and Kamiki doing the same for his daughter…

cannot wait for that entire talk to get offscreened. lol.

break next week……………………………

[hana-no-seiiki]

CHAINSAW & HAPPINESS

PILL 3 - GREAT GENESIS / GENESIS DEI

YANDERE! CSM! VARIOUS x STOIC! READER

“Check it out. These are my kids.”

“Oh yeah? Check out my kids.”

“That’s just Denji and Power . . .”

“Exactly.”

CAUTIONS: Spoilers for the Manga. Yandere Themes. Chainsawman Themes. Religious Themes. God uses he/him pronouns.

INGREDIENTS: You reminisce about the past and think about what lies ahead in your future. Denji gets his ass almost eaten by Batman- I mean a Bat Devil. Power.

FORMULATION: horridly unedited

[previous dose] [pillbox] [next dose]

You’ve hated humanity since the moment of your conception.

One might argue it was baked into your existence as a devil, simply etched into your heart the moment you popped out of hell, but you couldn’t agree with that notion at all.

It was just how persistent they were with survival and self-preservation that whatever your peers do to oppress them, torture their very souls, devour their physical being, they still manage to cling unto hope.

They were like cockroaches, ones with wings and the unending urge to fly towards your face like if they ever stopped they’d die.

Humans don’t hate cockroaches when they’re born, just like how you don’t hate humans when you were created. You merely saw them as pests you’d rather have gone. At least, that’s what you thought.

It was when you met Makima that you realized it wasn’t hatred you were feeling. It was envy.

You were envious of how they managed to find the grit to move forward. Of how they’re able to shake off tragedies and get stronger.

Unlike you, who had stayed stagnant for as long as you’ve remembered. Too scared to ever go out of line and potentially lose everything you already had.

As the God Devil, you were both one of the strongest and the weakest devils there existed.

Many feared your name, sure. But people found God equally, if not moreso, a comfort through trying times. God was their salvation, no matter how invisible, or inactive he was in their battles. Humanity continued to pray in his name, your name.

But slowly, but surely, faith began to disappear. And your powers began to grow.

You never believed in Makima’s goals. Nor do you believed in her feelings towards you to be genuine. You fully know that she’s using you for her desire; a family and most importantly the eradication of everything bad in this world. Her jealousy was probably based on the fact that she saw you more as a possession, a precious tool than a real partner.

You see, much like the Chainsaw Devil’s ability to erase concepts from this world, you also had a few unique abilities of your own. The ability to remember everything in the course of humanity’s life on Earth. Even the parts the “Hero of Hell” removed and bring it back to existence. Your head was akin to an infinite book, you nicknamed ‘The Bible’.

Where the Chainsaw Devil was the definition of chaos and destruction, you represented peace and life.

And you loathed that. Despised how different you were from other devils. Detested the thought that you were anything but an avatar of fear.

In any case, amalgams were one of the examples of things you’ve partly brought back to the world. It’s original name seemingly inaccessible even to your hands. Though it was mostly done as an excuse for you to use your powers whenever, you had a feeling Makima thought of Denji and Pochita when asking you to revive those mongrels. Or may be not. Makima was confusing and mysterious that way.

You didn’t pry much into her plans. Only ever preparing yourself for the shitstorms her actions cause and brave through it.

But now curiosity ate at you like leech. Why was she allowing Denji so close to you like that? Was it truly because she wants to play him like a fiddle?

Why did the thought of her hurting him hurt you so badly?

“You’re going to break it.”

Angel poked your nose. His touch, with how rare he gave out, almost broke your seemingly invincible composure.

“The weapon. Don’t. It’s such a hassle to make one.”

“My apologies.” You said, as you crushed the sword Angel made within your hands. Expression devoid from your features.

The latter sighed, you were as insufferable as ever.

“Could you stop being so polite and rigid? It’s gross.”

“You know I can’t use casual language in front of them. To the committee, you’re a demon and I’m . . . ” You were about to say ‘one of them’ but you couldn’t shake the sense of otherness you’d feel whenever you were with your colleagues. It wasn’t as if they viewed you as an outcast per se, just that they seemed so nervous all the time. Which led to you avoiding contact especially during battle. You weren’t oblivious to how humans viewed and often worshipped you, you just didn’t know the extent your powers affected them. Especially those who have known you for quite a while.

And so Makima helped by pairing you with beings who are usually unaffected by your aura. At least, on the surface.

“Still. I’d prefer if you went back to how you were before.”

You knew Angel before you even met Makima, as what the two of you represented were both closely related. Despite that, your relationship remained symbiotic at most. Angel’s weapons worked best when wielded by you, and you were capable of taking away his memories and ‘sins’ thus making the number of voices in his head less burdensome. None of you made an effort to go beyond that.

Your Bible ability allowed you to remember everything even beyond your current incarnation.

But Angel knew that while you will remember him if you ever died, the emotions attached to said memories will surely disappear.

He’ll remain that, just a memory. He was content with that. In fact, that’s why Makima trusted him enough with you.

“Charismatic? Proud? A perfect example of what it is to be a devil?”

“An asshat.” Angel munched on the human blood sausage you prepared him. Well, the sausage Makima forced you to make as to fulfill your ‘wifely’ duties, that you gave to Angel since you disliked the taste of it. “But a predictable one.” His androgynous voice came out muffled as he basically scarfed down the piece of meat

“It’s fine to admit that you’re a masochist, Angel.”

“If I’m a masochist—“ He squeezed on the barbecue stick holding the sausage, about to give you the rebuttal of the century (or so he thinks) until your husband unfortunately arrived to the scene.

Oh right! Did I mention you and Angel were atop a massive pile of human and devil corpses? I didn’t? Huh, my bad. Kinda hard remembering to say that stuff when the stench is awfully, well, awful.

“I’m sorry to cut your reunion short, but your new team requires your supervision.” Makima’s signature calm and collected voice slices viciously between your conversation. You can sense the underlying malice from a mile away at this point.

“You want me to stalk your hero from the shadows again.”

Makima didn’t reply, but her usual eerie smile said a thousand words. She didn’t like you getting too close to humans. Sure, it was fine for them to cling unto hope that you’ll ever notice them, it was fun seeing the light disappearing from their eyes as they find out such a thing will never happen. But you indulging your supposed dogs with more than a glance killed her.

In other words, if she was like that with humans, she was the worst — absolutely abhorred — you making conversation with another one of your kind.

To her, humans will never be threats. Devils on the other hand . . .

Well, she supposes even they don’t stand a chance. But she preferred knowing that even without her powers, you were all hers.

She trusted Angel, sure, but she’ll never like seeing her wife with someone else.

“Well then, underling. I will see you soon.”

“I hope not.” Angel blew a strand of hair off his face. He’s had enough of your presence already. Too much and he’ll build up an appetite for it.

“So . . . Sea Cucumber Devil, huh?” You started. Your silent appearance startled Denji and caused him to almost fall off the rooftop, if it weren’t for you catching him by the wrist in time.

Yeah, you weren’t really good at starting conversations.

“[Y-[Y-[Y/N]—! I mean —“ Denji stared at the connected skin. It had only just been a day, and he was already back to acting like hormonal teen who’d never been touched around you.

“C’mere.” You pulled him towards your form. His face landed on your chest, turning awfully red. After making sure he wasn’t falling anymore, you propped his legs over your left arm and carried him bridal style.

You landed on the ground following a single jump. Your heels (courtesy of Makima’s thinly veiled threats) clicking loudly.

You looked at Denji and smiled.

Then dropped him on the massive purple disarray.

“G-god . . ?” The girl, with peach-blonde hair and horns known as ‘Power’ from the info debriefed to you, halted her maniacal laughter. Her mouth opened up in shock and a little bit of horror? Could she sense you were . . . no she couldn’t. Makima wouldn’t allow a newbie to know.

“Close enough.” You shrugged. You had to discuss this with your spouse later. Spotting a bench behind Power, you made your way past her. A cool chill crawled up her spine, who were you? You felt like that devil but at the same time you were nothing like them at all. Not to mention you weren’t as stuck up as she remembered. . .

Nah, they wouldn’t help humans. You were probably a phony of some sort.

“So, what happened?” You sat down, holding off the cringe on your face that threatened to show from unhygienic everything is. Maybe Aki’s ways were rubbing off on you.

They began blaming eachother, clearly not aware that you were there for the latter half of your journey and only gave them an opportunity to explain themselves rather than point fingers.

“You know I can’t stop Makima if she so chooses to punish you two, right?”

“Please don’t tell her!”

“Yeah, this won’t happen again. We promise!”

“I have a feeling it will.” You sighed.

“If I’m correct . . .” You stood up from the bench, and gave your behind a few pats to relieve it of dust and whatever filthy things people have put there. You looked to Power, narrowing your eyes at the way she flinched away, “Your reason for being cooperative with humans is because you want your cat back.”

“And you, aside from being paired with me, want a chance to touch someone’s breasts, am I wrong?” You turned to Denji.

“No, you aren—“

“You were not given permission to speak, dog.” You glared at him. Though your expressions softened the moment he almost whimpered at your harsh words.

Not knowing that was him preventing a moan of pleasure.

“Why don’t we make a contract per se, right now?Denji, you get to touch Power’s boobs as long as you’re able to procure her Meowy.” You grabbed his hands, hovered it over your chest for a couple of moments, and observed his face. He was absolutely drooling.

You retracted your hold and swiveled your head to Power’s direction, taking laid-back, slow steps.

“And, if you two come back in one piece and with no casualities. I’ll join your next mission and prevent this . . . “ You bent your torso to the side in order to look past the pair and unto the purple sludge and multitude of organs on the street. “Mishap from reaching Ms. Makima’s ears. Is it a deal?”

“Deal!” Power nodded repeatedly, fist clenched in excitement. A stark contrast to her almost aloof personality with Denji.

“Good.” You flicked your finger, and in just a moment, every part of the Sea Cucumber Devil’s corpse disappeared. “Try not to disappoint. Makima has big plans for the two of you.”

Denji and Power left, not before gawking at your unintentional show of prowess.

“They’re gone. You meeting with those prunes again?” Speak of the devil and she shall come. You rotated your body to see what’s behind you, unsurprisingly spotting Makima.

“You jealous?”

“I am. Very.”

“You were listening in on us?”

“I just want to know what my husband is up to. Can’t I miss you?”

“You can.” Makima stepped in front of you, leaning close to your face to take a kiss. However, you covered the lower half of her face before she could get too close.

The two of you hear a car arrive not long after, with an Aki Hayakawa inside of it, “Ms. Makima. Mx. [Y/N].”

He escorted you and Makima to her destination and then brought you to a cafe to order some drinks.

You looked around for any pests, and checked if background noise’s volume was loud enough to drown out your voices before you began, “You’re wondering why too, aren’t you?”

“You . . . are surprisingly sharp when it comes to some things [Y/N].”

“I’m not quite adept at recognizing sentiment or intention. That doesn’t mean I’m completely unaware.”

You ordered black coffee and a few desserts and continued, “Whatever she’s planning. I don’t know. But I do know it wouldn’t be great for anyone in the division.”

You stared at the sweet confectionery’s as the workers were stressing out beyond the display, “My powers only extend up to the past. The infinite future ahead is anyone’s guess.”

Aki sighed, even you weren’t aware of what Makima was thinking.

“How did you become. . . “

“Become an amalgam?”

“. . .I’m sorry for the disrespect.”

“I don’t remember.” You finally answered. Your words barely registered above a whisper. But Aki has and will always hear it better than any other sound.

He guessed your memory of your merging was probably given away in a contract and is a sensitive subject.

The two of you return to the car in silence, waiting for Makima’s return.

Once she was back in, and you’ve given her the coffee and food, Aki started up the vehicle and began heading back to HQ.

The silence between the three of you was killing him so he decided to take a shot in the dark and ask Makima of her intentions. Surprisingly, she took the bait, somewhat.

“All Devils were born with names. The scarier the name is, the more powerful it is.” She commenced her speech.

“Take coffee for example, it doesn’t really have a scary image. If there was a coffee devil out there it must be weak.” She drew her eyes to the shaky state of the beverage and made no effort to cover the cup. Then she looked outside the window, to the cars and city scenery, “A car on the other hand, it gives you the image of being run over. That might be a stronger one.”

“Denji can turn into the chainsaw devil. I just think it’s pretty interesting.” And he could potentially erase anything she deemed unnecessary, which was infinitely more than interesting.

“He’s interesting, but he’s of no use to us. Everyone in the division has a goal or faith. He has neither of those. He’s not cut out for this. Not to mention he thinks he can befriend devils.” Aki bit his lip. Denji was nothing in comparison to the rest of the Public Safety sector. He had no experience, no sense of duty, was a slob and pervert.

And yet the stars of the workplace put their trust on him on just a whim, a flight of fancy. “He’s just a kid.”

“We shouldn’t judge a caterpillar when it hasn’t finished chrysalis, or an egg that has yet to hatch.” Taking Aki’s focus on the road as an opportunity, Makima slid her hand atop yours,“The kid. One day he’ll be a man. And he’ll be your junior to use. Yours to throw at the devils that destroyed your life.”

“Give him enough time with devils.” Her visage faced yours, and she smiled.

It terrified you.

“He’ll learn to hate them. Like every human should.”

You looked away, choosing to fill your mind with something else by checking in on Denji. Your eyes widened at the state he found himself in with just a few hours outside your supervision, “Turn on the radio.”

Aki doesn’t even think before his hands reached out to follow your command.

“Bat Devil spotted fighting with a Chainsaw Devil down at . . . “

“Hayakawa. Prepare your team to dispatch the Bat Devil immediately.” Makima downed the coffee in her hand while you basically inhaled your food.

“Understood.”

A/N: First part of my surgery is finished! Might be a week or so for the next ;u; i am in pain

Chainsaw and Happiness Taglist: @saharei @kaedescrush @epsi9099 @aradia-melinoe @sleepwillow @rolo-at-midnight @acuriousmoon @moonnotsonaa @just-some-stars @justarandomweeblol @cyn9 @that-one-simp

(please make sure you’re taggable if you reply to be added)

I’m going home after my family celebrates Ramadan and Eid so slow updates until then I’m so sorry

CHAINSAW & HAPPINESS TAGLIST: @saharei @kaedescrush @epsi9099 @aradia-melinoe @sleepwillow @nordithus @rolo-at-midnight @acuriousmoon @moonnotsonaa @just-some-stars @cyn9 @justarandomweeblol @that-one-simp @somebodyrandom-613

CHAINSAW & HAPPINESS TAGLIST:

Extra Notes: I’ll delete this in case I find better moments to showcase it in the story but to explain [Y/N]’s Bible ability more in depth, you’re basically able to know everything if it has been explicitly stated (Denji’s boob touching desires) or if it can extracted from an event that happened in a being’s life(Power’s relationship with Meowy and subsequent loss of the feline). To counteract how OP this can be, you aren’t able to read minds and are pretty dense + can’t view the future + it has to be activated rather have it on as a passive. In short, you don’t know how obsessed the sector is of you since most of them know of this ability, are pretty careful about how they act in case you decide to probe their past, and you aren’t a creep (i hope). In other words, abilities’s extent is as far as a reader of history knows not the author.

(Also you just aren’t allowed to peer into Makima’s history. We don’t poke sleeping bears, especially if they have the power to control you.)

Chainsaw and Happiness Taglist: @saharei @kaedescrush @epsi9099 @aradia-melinoe @sleepwillow @nordithus @rolo-at-midnight @acuriousmoon @moonnotsonaa @just-some-stars @cyn9 @justarandomweeblol @that-one-simp @somebodyrandom-613 @cupidlot

White names couldn’t be tagged + added a few who just commented if that’s fine?

Thanks for reading!

[ofbreathandflame-archive]

(heavy discussions on sa - this is actually an older post that i made like months ago, and was actually the first draft of the amarantha taboo post, so some things sound similar! just a heads up!)

you know i actually think there is a wider discussion to be had about rhysand's sexual assault - or sexual assault and trauma as it functions in the wider narrative. ive always felt that bc the story puts rhysand in this vulnerable position (i.e. a victim of sexual violence) the story always needs to like...make up for it, if that makes sense? 

what i mean is: the story creates this dynamic where rhysand is a victim; he has no power, control, or say - but it also has a very hard time reconciling to the fact that he was placed in this position. and so there's these weird placeholding pieces of information that often addle or confuse the narrative. and i talked about this before with rhysand's framing of his 'service to amarantha.' i also contributes to the moments of hyperviolence with rhys in the books, as if he constantly has to make up for the fact he was placed into these vulnerable positions in the first, implicitly.

the first book - and other books thereafter - imply that rhysand's court is specificially shielded from amarantha because he aligns himself (action word). rhysand's decision is framed as a 'sacrifice' which implies a choice (that he didn't really have). it always implies that rhysand is the one consciously 'one-upping' amarantha by 'agreeing' to be her 'right hand man' again - notice how despite the fact amarantha is characterized as a sexual deviant, she's rarely the focus. its what rhys 'gave' and not what 'amarantha did.'  

and this is fine if this is the way rhysand chooses to see what happened to him - bc then that's a trauma response. he can't acknowledge it so its better for him to rationalize it - that would have been great writing. 

but thats not how his sexual assault and role utm is discussed. 

other characters view rhys sexual assault as a statement of heroism (which ew) and not a just a statement of amarantha's capacity for sexual violence. tarquin literally says something along those lines. which again is implying that RHYS HAD A CHOICE. we can't frame this as heroism. he was raped, he did not sacrifice something...it was taken. 

in the initial scenario - where we remove the idea of autonomy (e.g. the idea that rhys purposely aligns himself with amarantha) he's a victim. but then - so is tamlin, tarquin, beron, kallias, and helion. in short - rhys being taken advantage of says nothing about him. it's a statement on amarantha's cruelty. but the story isn't satisfied with this bc...how would he be any different than tamlin whose vilified for being directly affected by his trauma, who 'sat on his ass for fifty years' as the book says. 

its the tragedy of how male sexual assault is rationalized in this series. the story literally purposely sets up a mirror position where rhys and tamlin are consistently compared for how they work through some of the craziest trauma ever known to man. the level of trauma the story is asking these characters to 'overcome' is actually quite insane. 

so the story ups the ante, it doesn't want rhys to be 'just a victim,' it wants him to be the MAN TM. bc tamlin and tarquin are 'just victims' so ewww. like even lucien is given another horribly written experience with sexual assault (which it literally has to bend the worldbuilding to accomplish) and then kind of position his complaints abt ianthe as whiny. or how tarquin's trauma is...not 'dark' enough for feyre. these men are often characterized as cowardly or not enough in relation to rhys. helion, thesan, tarquin, and tamlin are all consistently characterized as 'cowards' with little to no initiative or backbone.

so the story does that thing where it provides impossible situations: rhysand is the most powerful being in the world, he's so powerful that even without his 'real' power, he's still light years more powerful than the others when they're powers are ripped away. he can read minds, and has two wraiths that can literally walk through the walls and spy. he's often sent on missions on behalf of amarantha and can waltz in and out of the spring court without any issues (ie. its easy for him to convince amarantha he needs to go to the spring court multiple times. and then when he works for amarantha - he's the mastermind, not her. he's playing her all along and blah blah blah). but then it doesn't know how to write this dynamic with rhys and amarantha. and then it depowers him, while shaming the other men in the series for not doing 'enough' even when the most op character with all of those advantages isn't even able to over power her.

there's little introspection into amarantha as a character and as a villain -- and you'll notice she's hardly ever mentioned after the first book...despite the fact that she was literally the high queen of prythian and was the governing oppressive force for a half-century. as said in this post - the story isn't actually concerned about making a point about male sexual asault.

and that's why i talked about why that amarantha taboo is...kind of important to how the story chooses to conceptualize sexual violence/assault. the choice to create amarantha (and ianthe and maeve too) as these caricatures of sexuality - which is pretty much the case of all of sjm's villains. 

the story doesn't want to fully commit to a tactical scenario, because it doesn't believe that he's a victim in that capacity  - or at least that the victimhood is valid. bc its spends so much time invalidating the male trauma around rhys, the only way to make a distinction between rhys and the others to have rhys "orchestrate" his own assault to save everyone.