#I'm back babbling

[autemis]

I just restarted KCD2 and now, with the knowledge of what will happen, something has picked my interest...

(and of course, it's about hansry again!)

The scene, after Henry falls down the cliff and is carried through the woods by Hans, is very interesting. Henry starts to hallucinate (Idk if it’s because of the fall, the pain, the bleeding wound or all combined) about the most traumatic moment in his still young life - the fall of his home and the death of his parents. He has to relive all these gruesome memories once again - all the deaths and horrible things he had to witness, like the slaughtering of his own parents... The life he only knew was taken away from him in a mere minutes-long bloodbath and all of this he had to see once again in front of his inner eye - with just one little difference: Hans.

With Henry babbling in pain because of his trauma, Hans is there and always tries to shield these memories away - tries to break the cycle. He constantly tries to bring Henry back to reality - telling him that he is not alone, that he doesn’t have to be scared and that everything is alright. He also tries to counter the blame Henry places on himself. When Henry says that he betrayed his parents, Hans reminds him that he never had done this to him.

He chooses to never talk about a hypothetical third person - he just speaks about himself. Henry never let him down. He is there for Henry. They can do this together. Hans provides Henry with an anchor - something he can really feel and see, because Hans is right there. That’s nothing to hallucinate about, it’s something undeniable and that’s exactly what Henry needs in this moment because of his condition. Something real, something he can hold on, so he doesn’t lose himself in this nightmare.

Hans is like Henry’s lifeboat in this situation. He not only carries him physically but also mentally through this life-or-death situation. He is the reason why Henry isn’t losing himself and makes it through the night. And not just that, he also shows Henry a different ending to this gruesome day.

Originally, Henry had to leave everything behind - to flee - scared and alone. But this time, Hans was there. He didn’t lose him and he wasn’t alone - they made it together. Even if everything else was lost, they still have each other. This alone will give them a reason to live through tomorrow and many days beyond - to look forward.

And right there, a light is shining through Henry’s dark dream - breaking the hallucination and leading him back to reality. The whole scene where they see the light in the distance is very beautiful, because for Henry, there is not just the real shine from the cabin, it’s also Hans. His acknowledgment of "the light" is not just related to the light in the distance, it’s also Hans - he is the light that leads him out of these bad memories - back to reality. Where he isn’t alone anymore and hope will shine even through the darkest night.

If you think about it, the "heart" options were never flirty. They aren't flattering compliments or smug comments - they are statements. Henry talks about real emotions and fears here. "I'm worried for you", "I care about you", "I think we didn't talk enough" - Henry doesn't want to flatter Hans, he isn't even thinking about that. Tbh, I would say he doesn't even intend for a single second to be "romantic" with Hans. Everything he says is not because he wants to flirt - he is just honest. Those are Henry's real emotions, we chose here.

Something was starting to hit me there—especially after Henry awakened the next day. The first thing he wanted to know from the strange woman he had never seen before in his life, who could potentially be an enemy, was: "What is with Hans?", "Will he make it?", "Will you help him?" He wasn't worried about himself or even aware of his own pain at first, until he was sure about what happened to Hans. Even after he realized and felt that his own body was in bad condition, he got up to help his friend. That's when I started to realize that Hans's romance didn't begin with the choice of the first heart option—because there was never a way for the player to influence the development of emotions or to stop them. They were already there, and the only decision we were allowed to make was whether to give Hans the courage to show them openly in the end and for Henry to understand them.

The other options are mostly jokes or "don't worry" comments - things he says to hide his own fears or to brush off a situation. Statements like "oh come on, just stop talking and move on" don't sound like Henry at all. Henry is caring and nice, he is helpful and always tries to be fair. He fights with his own demons, but he will always put himself aside to fight for someone else's rights. He can be a bit foolish, but he wants to learn as much as possible and listen to people's stories.

For me, it looks like the only "real" romance option is the last one. And even there, it's not about the first interaction or the first kiss - these goes straight to Hans. But he wouldn't have done it without our help to ensure Henry stays true to himself, his emotions, and Hans. What we choose as players is not to romance Hans, we choose for Henry to realize the true nature of his own feelings.

When he pulls away from the first kiss and takes a few steps back, you can see his confusion. He isn't disgusted or angry, he isn't even scared about "the sin" they just committed. He is just confused because we helped him realize why he did all those things. None of what Henry ever said to Hans was smug or even particularly romantic, he just always spoke the truth. He spoke from his heart about things he genuinely felt and it didn't feel specifically romantic because they were just honest emotions. Henry never worried about what he said - he never feared hiding his feelings because it felt natural to talk this way to Hans. There was never a reason to hide anything.

Henry wears his heart on his sleeve whenever he talking with Hans and that's why he just now realizes what all of this means - for Hans, for himself, for both of them and their future. Only then our choices take effect, only then does Henry kiss Hans and follow his feelings. I wouldn't say that, at this point, he fully understands what this is between them, but he is willing to follow this path. He isn't disgusted or afraid, he expects whatever this new, clearer situation is - even if he can't put a name to it yet. He wants to continue and follow his heart, he isn't running away, which is something Henry always reminds himself and others not to do. He will never run away again and he isn't doing it now or in the future. Whatever comes next, Henry is willing to face it because there is nothing to regret. He didn't run away, he was honest and he wanted this - even if he just now realizes it.

Just a little random note for the end, that I think is very interesting: Hans's romance is not a side quest, it's completely intertwined with the main campaign. Every important decision Henry made with him took place in the main quest. Sure, you sometimes didn't necessarily have to speak to him, but the dialogues still occurred during main events. For example, during the robbery - you don't have to talk to Hans, but the dialogue happens there.

In contrast, with Katherine or Rosa, you have to do some side activities, which makes their stories feel more excluded. Hans's romance is part of the main story, which really gives this route a more canon-vibe than the girls' romances.

[amywritesthings]

early this morning i told my partner i was going to announce an indefinite hiatus and abandon my writing altogether while i deal with the grief of what's happening.

i decided to check tiktok (instinct when i'm waiting for my bagel to heat up) -- the first video was someone saying 'running to spend the week reading fanfic and nothing else'. comments upon comments were asking for fluffy, immersive fics of any kind just to keep people going. to feel something. to have some kind of hope.

my mom and i had a lengthy conversation at 6am about everything, and something she said curbed my crying instantly: "do not let those motherfuckers take your light."

so i won't.

i have really incredible people who interact with my stories, this is my joy and safe space, and as hard as things are right now, as hopeless as i may feel, i can create art and help put some good out there in a time where that light feels dimmed. i will still be kind to myself -- i'm still processing, and i'm sure i won't feel right for a very long time -- but quitting writing and disappearing would only bring joy to the people who want to police art, fiction, humanity.

so i will be working on the drabble challenge through november. i will still post a poll about amymas sometime later this week. i will still open my docs for silver underground, dating mode, seven days, etc. i may need more time. i may be slow. i may start an entirely new wip to cope. but i'll still create.

[ladyinthebluebox]

wE wAnT cOmPaNiOnS tO bE mEaN aGaIn!!!!!!!!!!

my siblings in the maker, you can't handle Taash calling Emmrich a death mage couple times or [checks notes] ...asking Neve about her clothes [?????????????]

[bonebabbles]

So the rest of Star leaked and I’m just gonna say, it’s very funny that Splashstar technically gives out a dishonor title

I noticed that! Have you guys also noticed they're talking about food a lot more, too? Ivypool was constantly hungry in her SE, and Harestar tries to get Frostpaw to eat before doing important things. Secret BB fan on the writing team desperately trying to add some worldbuilding LMAO

In seriousness tho, it felt like discount dishonor titles. It reminded me of how I made Tigerstar do that to Stormpaw and Featherpaw, but like... that was because of bigotry against halfclan cats and the hatred he was stoking in BB!TigerClan. Not just because he's mean.

I do hope that like, comes across. Dishonor Titles usually exist to publicly shame or even dehumanize the cats they're put on, as a method of social control both for the dishonored and for the Clan. They're not just schoolyard bully name calling LMAO

Anyway long live Mistslime and Graysludge, these names would have been laughed at almost as much as Stupidhead

[astracora]

friend: hey write caleb smearing blood on mc's face then kissing them or licking it off

me: i need you to give me like 20 seconds not to lie down and scream

It's here btw...

[taintedsoul-if]

I'm very late, but Happy New Year, I wish you all good things!

My response is later than yours, it seems; Happy New New Year to you, as well. I also wish the same for you! I hope 2025 is treating you well.

My New Year's resolution is to write. Even if I can only write less than a hundred words every week, just write.

Even when there are days I feel as though I'm writing the same facial expression over and over again, just write. I'll fuck up as many times as possible because that is what a rough draft is, so just write, for god sake. 😂

Anyway, Anon, do you also have a resolution for 2025?

Also, thank you for your good wishes, Anon. ❤️

[sugarfortia]

I have yet to play all the way through Act 6, but I started thinking about the tragedy that is Loop and can't stop. More thoughts below, probably major ISAT spoilers.

Can you imagine waking up one day with no name, no language, no home, no family? Having to rebuilding all those basic things, piece by piece, just to be able to continue on. Eventually, you find yourself with something so dear you would trade the world for it. Then, slowly but surely, it's being taken from you. Your family, your memories. You struggle to keep it, but it isn't enough. You fail, again and again, one step forward met with two steps back.

Inevitably, you lose it all. You are left only with things that serve as a harsh reminder that once again, you can never go back. You can never have them back. You can never have you back, at least not in a way that matters. The universe trudges on, unwilling and unable to look back.

All this to say, the idea of Loop being able to rebuild themselves and their life means a lot to me. Twin souls, one leading the other back into the sun. Is this anything.

[jewishvitya]

I'm emotionally and mentally exhausted to the point where I'm incapable of enjoying even my favorite things and it's a struggle to talk to my favorite people.

But I'm still getting questions from other Israeli friends about Palestinians and their perspectives. And I know, decades ago I was also in that place where I couldn't hear it from Palestinians themselves. I had to have Israeli anti-Zionists talk me through basics. I know it's the indoctrination, I know breaking it piece by piece is the only way I got out of that. But I still want to go "why are you coming to me, listen to them." Honestly, I'm too tired to even feel resentful.

I'll answer them when this downswing is over.

[ladyinthebluebox]

whoever said that emmrich's bottom is a full bakery & those who agree...

i'm begging you expose yourself to some proper buns.

[loveselenade]

Crisis of the family in n25 (Part 1)

The case of the Daughter’s talent erasing the Father.

Right from the very prologue, Nīgo's story presents us with the idea that Kanade’s family life has been obliterated— with that of her father’s hospitalization and her mother’s demise. The literal, physical absence of her parents serves to map her (more abstract) experience of child abuse through neglect into something visually concrete, as well as highlighting the precarity of her position as a child within the private (heterosexual) couple-based family.

Categories in crisis.

The segments in the main story detailing Kanade’s backstory center her relationship with her father, apparently long after her mother has passed away. Mr. Yoisaki’s status as a widowed freelancer complicates his position in relation to hegemonic masculinity[1]: while he still is the ultimate authority of his household and carries the responsibility of financially maintaining it as the head of the family, he goes from the very image of success— being a heterosexual, married man who’s the sole provider for his family to a certain degree of financial security (if we’re to judge by his equipment)— to a single father struggling to both secure work and successfully complete his client’s requests. As a freelance composer, his ability as a Father is predicated on his talent, and his struggle for this talent to cover his family’s needs threatens his masculinity.

Even after becoming a widow, Mr. Yoisaki rarely participates in domestic life due to work commitments— “the couple-based heterosexual household (is) built upon a gendered division of tasks, not least via the naturalization of particularly intensive mothering[2]”. The gap in reproductive labor (in the form of caretaking and housework) left by his wife’s demise then falls onto his middle-schooler daughter to fulfill. Kanade’s efforts underline her quality as a child: her attempts at cooking involve using pre-made ingredients and food from the convenience store, evidencing her status as a beginner cook. Her efforts to ensure her father’s well-being through cooking and cleaning, monitoring his needs are met and tending to his dejected moods often are politely declined and/or ignored. Even though she’s taking on the (invisible) labor a wife would undertake, she has no real way to influence her father or affect their family life. Furthermore, in the absence of her mother, there is no one left to ensure Kanade’s own needs are met, and she will often spend long periods of time ignored by her father and trying to come up with ways to earn his attention and love.

The place of a Daughter.

The ideal of the family promises the “grasping at a chance of guaranteed belonging, trust, recognition, and fulfillment[3].” This promise keeps Kanade and her Father motivated to continue their beleaguered maintenance of their household. For Mr. Yoisaki, to secure his place in the world as a parenting man that provides for his family and wisely guides and nurtures Kanade; his role as a Father is meant to secure him love, care and fulfillment. For Kanade as a Daughter, to have her material needs provided for and her future potential properly guided and eventually realized. Familial love is supposed to instill in her a sense of security in her place in the world and her agency in it.

What we see in the time the main story takes place is quite literally the opposite: her parents’ literal absence means that she will often neglect herself through denying herself food and rest for as long as possible, not to mention the fact she's a hikikomori whose only source of companionship are her online friends. She is single-mindedly dedicating all her energy and resources to redeem her existence through “creating music that can save anyone.” This attitude didn't originate from her Father's hospitalization, however. During the flashback segments, Kanade is weighted down by the sense she's burdensome: after all, she is the reason her father has to work himself so hard (nearly to the point of karōshi). So, she attempts to ease the burden she represents through being a dutiful daughter dedicated to caring for him and to her studies; she feels responsible for his happiness as the sole other member of their household. Post-hospitalization, she's haunted by the fact she is the reason he can no longer enjoy music (untrue), that she has killed his passion and reason d'etre, robbed him of his place in the world. Rather than fulfilling her role as his Daughter to ensure his happiness and fulfillment, she has failed and made him miserable.

Kanade’s status as a virtually parentless hikikomori highlights two things: 1. The precarity of children's position within the private household, and 2. The untenability of the Family Ideal. With regard to the former, one only needs to remember that there aren’t viable structural alternatives to child care, in Japan or globally. When Japanese children cannot be cared for/live with their parents, they’re more likely to end up institutionalized in state child care institutions[4] than to be fostered or adopted (98% of adoptions in Japan involve adult men)[5]. This is because “parental rights trump those of the child’s even when there is evidence to suggest the child is being abused or neglected by their parents(...);”[6]  “parents prefer ‘to have their child placed in an institution than they are for the child to be fostered or adopted…as it allows them [children] to maintain a link with birth parents’.” This facilitates the parent to disengage from “the stresses of child-rearing without giving up their child or their legal rights over their child.[7]” So even in the case of Mr. Yosiaki being unable to care for Kanade due his hospitalization, it’s considered preferable for him to retain custody of her; Kanade’s living situation as a child that lives completely alone with no one to care for her represents the reality of many neglected, virtually parentless children.

(On this topic, the only thing that prevents Kanade from being homeless or institutionalized is the narrative convenience of having someone covering her expenses so that she can remain in her family residence. I might be the only one who cares about this, but I do wonder if it’ll come up more in detail eventually. Also, for more information on a contemporary issue with regards the structural lack of support for neglected and abused children, check this article on Toyoko children. Abusive or neglectful families, bullying and harassment, impossibly high academic expectations, are all considered to be the shared causes behind the phenomena of Toyoko children and hikikomori).

Having it all.

“The hegemonic cultural ideal of the man as husband, father, and provider (...) has traditionally been embodied in the image of the daikokubashira— literally the central pillar of a house, but applied metonymically to the male breadwinner “supporting” the household. (...) (This) ideology (...) defines and determines hegemonic masculinity primarily through work.(...) This notion (can impart) a sense of strength, empowerment and achievement to (...) masculine self-esteem.(...) The “fundamental” qualifications for shakaijin masculinity—becoming a daikokubashira, (are) supporting and looking after a family.”[8]

Even though Mr. Yoisaki’s position as a freelance composer, an artisan with no regular, full-time work hours, complicates his engagement to hegemonic masculinity, that his sense of self and achievement is predicated on his ability to complete his work is undeniable:

Mr. Yoisaki’s diary: “30th. I won the competition. But it seems that I’m not entirely happy about it. It was Kanade’s phrase that was highly evaluated. It’s her song. I cannot say it’s mine.”

His growing discontent over his (in)ability to secure and complete work is not solely predicated on practical concerns about securing their livelihood, but on the growing disruption of his sense of self and his certainty in his masculinity; his confidence on his talent becomes eroded:

Mr. Yoisaki’s diary: “They all laugh that the music I make belongs to the past. Even though it was so refined in that commercial, they say. What am I missing?”

This insecurity is what sparks his jealousy over his daughter’s talent. While he does not express his feelings directly to her, they drive his need to reaffirm and express his ego through his music— and his long hours at work. Despite being a freelancer that, in theory, can define his own working hours since he’s not bound by any company, he still pulls in the typical salaryman work schedule in order to validate his own sense of masculine identity, nearly driving himself to an early grave. However, upon being confronted with the enormity of Kanade’s talent through her gift to him, he becomes convinced he has no place in the present, and like his daughter, loses his sense of place in the world:

Mr. Yoisaki’s diary:  “8th. Kanade gave me a song as a gift. Now I finally know. What is missing in my song. Why they laugh that my music is old-fashioned. What I create is merely an imitation of music I heard in the past. But Kanade’s music is different. It touches the hearts of the people who live in the present.”

However, despite his engagement with his own masculinity being very in line with trying to fulfill the image of the daikokubashira, he’s far from the image of the typical domineering father[9]. He shows himself gentle and supportive of Kanade whenever they speak, in spite of his insecurities. His diary confirms his commitment to looking after her despite the sacrifices to his ego this signifies:

Mr. Yoisaki’s diary: “But I still must keep on creating. To make a living. And for the sake of Kanade. I must create music that makes money. Yet is that… the music I want that makes someone happy?”

Even if his words try to establish his daughter, his family, as his reason to continue living, this falls in line with Ueno’s statement “that even today, some men mistake money and success at work for love for their family”[10] (and given Kanade’s grandma ends up supporting all of her expenses after his collapse, it further cements the ego component to his financial struggles). This inability to successfully negotiate his embodiment of the daikokubashira ideal and a redefinition of his masculinity to be more centered around being a Nurturing Father is what drives him into a nervous crisis where his poor health ultimately catches up to him. Narratively, his stasis is portrayed through his partially-amnesiac, convalescing state in which he can only remain himself through limited, sparse recollection of Kanade (and I have to wonder if the resolution —or lack thereof— to his identity crisis will play a role in the climax of Kanade’s own conflicted identity).

"In Everything for Everyone, Abdelhadi explains how (...) “you were supposed to still do all the things everyone was going while also raising the kid or kids, and everyone kind of questioned your work if it wasn’t 100-percent true. If you couldn’t do it all or have it all—which no one could.”[11] This passage captures the heart of the conflict in the Yosiaki household— that is that the couple-based family unit is “overburdened with work and worry about financial security and children’s unfolding lives[12]”, and such an overwhelming amount of labor and needs easily overtook both Father and Daughter’s capacities.

[1] “(Ryōta) is depicted as successful, ambitious and accomplished: an architect at a Tokyo firm, he leads a large team and works long hours. (...) The film establishes the Nonomiya family as a model of conventional gender roles and relations, within which the father rarely participates in domestic life due to work commitments while the mother takes the majority of responsibility for childcare and housework (...). Ryōta is also portrayed as an embodiment of the hegemonic model of masculinity in Japan, the salaryman: the heterosexual, married, white-collar office worker.” Christie Barber, 2018, ‘Beyond the absent father stereotype: Representations of parenting men and their families in contemporary Japanese film’. in Fabienne Darling-Wold (ed), Routledge Handbook of Japanese Media, pp 230.

[2] Sarah Brouillete (2023), Domestic Heteropessimism, as accessed in 06/01/2025 https://post45.org/2023/07/domestic-heteropessimism/

[3] Brouillete (2023)

[4] Alyssa Pearl Fusek (2018a), Life in Limbo: How Japan is Failing its Institutionalized Children. Unseen Japan, 2018. As accessed on 06/01/2025.

[5] Alyssa Peark Fusek(2018b), Why do Adult Adoptions Abound in Japan’s Business World? Unseen Japan, 2018. As accessed on 06/01/2025.

[6] Fusek (2018a).

[7] Idem

[8] Dasgupta, Romit, 2005, ‘Salarymen doing straight: Heterosexual men and the dynamics of gender conformity’, in M. McLelland and R. Dasgupta (eds), Genders, transgenders and sexualities in Japan, pp168,170-171

[9] “Ryōta’s conversations with Keita recurrently consist of instructions or admonishments about such things as table manners or learning piano—- an expression of Ryōta’s general judgement that Keita is unable to meet his expectations and therefore deficient. In these depictions, Ryōta conforms to a model of masculinity that Michele Adams and Scott Coltrane (2005) argue demands that a man not only be in a position of authority and responsibility, but also autonomous and uninvolved with his family.” Barber (2018)

[10] Quoted in: Gordon Matthews, 2003, ‘Can ‘a real man’ live for his family?: ikigai and masculinity in today’s Japan’ in James E. Roberson and Nobue Suzuki (eds), Men and masculities in Contemporary Japan: Dislocating the salaryman doxa, pp 110.

[11] Quoted in Brouillete (2023)

[12] Brouillete (2023).

[saurongorthaur9]

Celebrimbor having his first Annatar-induced mental breakdown... 😭🥺

Am I even going to survive until the finale?

[eastgaysian]

(after spending several minutes standing silently in the corner of your house vaping) it's like kendall and tom are both invested in waystar like that one dril tweet, i spent my whole life trying to take over the sexual violence factory and now everyone's like oh the sexual violence factory is bad its ineffective fuck off. on a fundamental level they can't really conceive of a different way to operate, certainly not without jeopardizing the power and security they're so invested in. (tom is certainly less familiar with/acclimated to the Roy Mindset, but while their perspectives/behaviors are 'extreme' they are not actually incompatible with a kind of everyman pov, and tom is unwilling/unable to challenge the roys' logic.) they can't shake the idea that, essentially, bottoming is gay and unmanly and humiliating, but someone's gotta do it! you can't fuck, you can't get anything done, you can't win with equals and hand stuff doesn't count! and the bottom can't be them, of course, it's always gay and unmanly and humiliating for 'getting fucked' to happen to you, much less to want it. but at the same time they struggle grappling with the coercive implications for various reasons.

so kendall is more directly uncomfortable, but primarily tries to cope by pretending that the coercive implications don't exist if he doesn't look at them and doesn't invoke them himself. at the same time he continually falls back on aggressive patterns of behavior when he's insecure - i'd argue most prominently in his relationship with rava. all while being, uh, bad at fucking in all the ways that count by the show's logic. while tom technically succeeds where kendall fails, but in a way that is unsatisfying, even miserable for him, and reveals how arbitrary this measure of success is. like, principally, tom can more or less stomach the morality, and then can't figure out a way to comfortably navigate the gender-sexuality tangle and stay emotionally secure. point a, the fucked up evil genderplay that is the fabric of tom and shiv's marriage, but point b, like. while tom and kendall are definitely both guilty of saying bizarre homoerotically charged things without blinking an eye, it's important to distinguish that tom seems to only be interested in/can only justify this if there is a coercive implication.

i think i alienated myself from a chunk of the tomposters while succession was airing, but i feel like people didn't consider this or didn't want to? but i think it's a big part of how tom, like, conceptualizes and lives with deviance from (cis)heterosexuality. if it's coercive no one is actually 'gay,' it's about the power dynamic and not the real people involved (haha). enduring the homosocial behavior reinforces the fact that everyone involved is straight, and that this behavior is to some degree expected of straight men in this environment. if it isn't coercive, if anyone involved wants it as anything more than a show of hierarchy, then it's about you as people and you're a freak and you lose. but this 'safe' transactional realm is devoid of the emotional connection that tom very much desires.

anyway, all this to say, transition could save(?) both of them. really bad sad soggy gay sex with each other would make them worse

[brionysea]

when max is depressed we know something's wrong because lucas says with his words that he knows something's wrong but when mike is depressed we don't think anything of it because will's right next to him rolling his eyes about how stupid straight people are

[i-might-be-vanny]

Everyone in the Dunmeshi fandom knows that Laios Touden is autistic.

But does anyone know that he's also a therian?

[amywritesthings]

morning, all!

i'm getting my sea legs back into the real world now that i finally have my desktop. i'm hoping i can keep the halloween spirit going this week (happy early halloween btw!) so my goal is to knock out some of these prompts.

i'm still having a bit of a rough mental go-about but i'm very thankful to many of you reaching out. it really meant a lot.

[vulturevanity]

My actual take about Geordo is that he's both a fascinating and compelling character and someone who shouldn't be within a 2km radius from Katarina as he is, and the issues I have with the way he behaves toward her are more of a genre-wide issue than a character one. Yes, it's common-place to have a character with possessive traits bordering on yandere tendencies, and it makes sense that out of everyone in the harem it's him who gets to act like he owns her, but hear me out: the whole thing's bad actually. The romantization of his actions works to the detriment of both Geordo as a character and GeoKata as a ship, and that's why I will not be okay with them being endgame for as long as he keeps obnoxiously flaunting the Fiancé card.

Broadly, I don't like how his possessiveness and absolute power over their engagement meld into a pretty horrible version of this yandere-adjacent archetype. But that's because I don't like harem tropes lmao if it weren't depicted as "his own way of loving her" and was instead explored for what it is (an unhealthy dynamic that has potential to either grow into something good or crash and burn horribly) then I would have absolutely no issues with it