#JUST. WHEN THEIR CHARACTERS CONTRAST EACH OTHER

[msbigredmachine]

An Angelic Christmas (Roman Reigns)

On their first Christmas together, Roman and Naima share heartfelt gifts, tender moments, and an intimate celebration that deepens their connection. A glimpse into the unlikeliest of love stories that’s about to unfold.

Pairing: Roman Reigns/Black fem OC

Warnings: SMUT

Word Count: 4.2k

A/N: This is based off characters from my upcoming multi-chapter Roman fic (yes I know, it's been a while, lol) to be out in January. Look out for it!

Please check out my masterlist for all my other content!

gif belongs to @romanreigns

divider belongs to @bernardsbendystraws

The Miami sun is high in the sky, casting its golden rays over the famed city. Palm trees sway gently in the breeze, adorned with twinkling lights that sparkle even in the daylight, giving the vibrant streets a festive charm. 

Roman’s penthouse, perched high above the bustling streets, is no exception. Ornaments of red and green and gold glimmer on a ten-foot high Christmas tree standing in the corner of the living room, a towering contrast to the sleek modernity of the space. It’s not exactly the snowy holiday Naima grew up with in Atlanta, but she’s not complaining. Not when she’s with her man.

Naima hums along to “All I Want for Christmas Is You” blasting through the speakers, twirling a wooden spoon in her hand as she checks on the smoky jollof rice in the kitchen. The turkey is ready and well stuffed, so that is settled. Her bare feet pad softly across the hardwood floor, her movements fluid and effortless, the dancer in her kicking in. Chief, their three-month-old Staffy puppy, is sprawled nearby, lazily gnawing on a holiday-shaped chew toy that she bought him.

Roman sets the table, looking at his girlfriend with an amused smirk. “Mariah again?” he teases, his deep voice cutting through the music.

Naima turns, feigning offense. “Not you actin' like you don’t love this song, big guy.”

He chuckles, stepping closer to her. “It’s a classic, I’ll give you that.”

She rolls her eyes, scoops a spoonful of rice and blows on it before holding it up to his lips. “Here. Taste this.”

Roman takes the bite, chewing slowly. The smoky flavor hits his tongue first, followed by the rich spices that taste even better than the last one she made a month ago. He lets out a low hum of approval.

“Damn, baby,” he says, leaning in to kiss her forehead. “You’ve outdone yourself.”

Naima grins, her beautiful brown eyes sparkling. “That’s just the rice. Wait till you try the turkey and plantain.”

Roman glances at the counter where the massive golden-brown turkey rests, surrounded by perfectly caramelized plantains and a big bowl of sapasui specially made for him. His diet, meticulously planned for his wrestling, is going to take a serious hit tonight. But he doesn’t care. It’s Christmas, and Naima’s cooking is worth every cheat day.

“Diet starts tomorrow,” he declares, grabbing her by the shoulders and pulling her close.

“Tomorrow,” she insists, wrapping her arms around his waist. “Tonight, you’re eating everything I made, handsome.”

Roman chuckles to himself as she kisses his cheek and walks away, his gaze dropping to those long, shapely legs of hers. Naima has been in his life for a while now, but every time they are together, it feels like a fresh challenge—a battle of wills he doesn’t mind losing. Most of the time.

The table is set with mismatched plates—his playful touch—and candles flickering softly in the center. Chief sits obediently at the side, eyeing the turkey but making no moves toward it, as if he knows better. The couple sits right next to each other on the table. Roman’s red-and-green sweater fits him perfectly, hugging his broad shoulders and muscular chest. Naima’s matching sweater is oversized and hangs loose on her frame, exposing one shoulder and riding up her thighs each time she moves. Of course, Roman notices, and his hand rests possessively on her thigh, his fingers tracing slow, absentminded circles in that affectionate, sensual way that always leaves her weak.

“You really didn’t have to do all this,” Naima says, nodding toward the huge tree and the perfectly arranged garland along the fireplace. “I know Christmas isn’t your thing like that.”

Roman smiles, his hand tightening just slightly on her leg. “Yeah, well, I figured you’d cry if we didn’t at least have a tree.”

Naima smacks his shoulder, though a grin spreads across her face. “You ain’t right!”

“I’m just sayin’,” he teases, his baritone laced with humor. “You been talking about Christmas since Halloween ended. Couldn’t let you down, mamas. After all, this is your first Christmas outside Atlanta. Am I right?” 

Naima nods and sips her glass of champagne. “Yep. Feels weird not being with Adara and Julien, but…this is nice. Different, but nice.”

Roman cuts out a large piece of turkey and places it in Chief’s bowl, the little puppy gobbling the meat happily. “You talk to them today?” he asks. Knowing how close she is to her sister and nephew, he can already guess the answer.

“Of course,” she replies, “Adara says hi. And Julien was hyped about that new wrestling game you sent him. You officially won Christmas with that.”

He chuckles, proud. “Kid’s got good taste.”

Naima leans back in her chair, watching her boyfriend for a moment. There's something so easy about the way they’re together, the way they fit into each other’s lives despite their wildly different worlds. She loves this version of Roman—relaxed, unguarded, a far cry from the intense Tribal Chief persona that dominates the squared circle. Here, he gets to be just him. With her. His safe space.

She's honored.

“I’m glad I’m here with you,” she tells him, affection in her voice.

Roman’s gaze softens. “Me too, baby girl.”

After dinner, they retreat to the couch, plates of leftover plantain and wine glasses in hand. Chief curls up at their feet, munching on a leftover turkey leg. Roman’s arm is draped over Naima’s shoulder, his fingers lazily playing with her long hair. She rests against him, her legs stretched across his lap as “Home Alone” plays on the 64-inch TV.

“You got one more present,” Roman announces suddenly.

Naima raises an eyebrow. “I thought we agreed on no more presents.” They've already exchanged small gifts earlier in the day—she gave him a custom leather wrestling gear bag embroidered with his initials, and he surprised her with a sleek pair of Saint Laurent knee-high boots she’d been eyeing for months. 

“I ain’t agree to shit,” he smirks, a small, wrapped box materializing in his hand. “Here.”

Naima sits up, taking the box from him and unwrapping it carefully. Her jaw drops as she takes in the unmistakable Harry Winston packaging, her fingers trembling slightly as she unties the ribbon. She carefully opens the box, her breath catching as her eyes fall on the exquisite piece inside—a diamond necklace that glimmers like a constellation of stars. The delicate chain, made of intricate diamond clusters, forms a flawless, radiant circle that exudes elegance and timeless luxury, leaving her utterly speechless.

“Baby…”

“I saw it and thought of you,” he says, his tone casual, though the way his eyes linger on her face betray how much the gift means to him. “You light up my life, mamas. Figured it was fitting.”

Her throat tightens as he helps her put the necklace on, the cool chain resting against her skin. “Thank you. It’s so beautiful,” she whispers.

“Well, it was either this or the anklet,” he adds with a cheeky wiggle of his eyebrows as he caresses the back of her leg, “Woulda been great for these long-ass legs I can’t stop staring at.”

“You always gotta be so extra,” she giggles, her voice teasing but shaky.

Roman grins, his eyes bright and happy. “You bring it out of me,” he whispers, his heart swelling as she holds him tight. He will never tire of moments like this with her.

“Your turn,” she announces, reaching behind the couch to grab a flat, rectangular package.

Roman unwraps the paper carefully, revealing a framed portrait of the two of them sitting on an equipment crate backstage after his match at Summerslam. He was still in his wrestling gear, his Undisputed Championship resting on his lap, while Naima sat beside him, close enough for their thighs to touch. Her arms are around him and their eyes are closed, heads tilted and leaning against each other as if the world had disappeared for just that moment. The image, captured by Naomi, radiates intimacy and quiet strength, capturing everything unspoken between them in that stillness.

He is quiet for a moment, his gaze lingering on the frame.

“You don’t like it?” Naima questions, suddenly uncertain.

“I love it,” he breathes, his voice low but full of emotion. “This…” He trails off, his fingers grazing the edge of the frame. “This is amazing, baby girl.”

“I wanted you to have something to remind you of who’s always in your corner,” she says, her voice soft and sincere.

Roman sets the frame down carefully and hugs her again. “I love you. You’re my everything,” he murmurs, the weight of his words settling between them.

Naima shivers, her heart racing for him like it always does. “I love you too. And you’re mine.” Her fingers clasp behind his neck as she pulls him in for a kiss. It starts slow, purposeful, their lips meeting in a way that feels as natural as breathing. Naima’s hands frame Roman’s face, her fingertips brushing against his beard as their mouths move in perfect sync. It's sensual, unhurried, yet electric enough to send shivers down their spines. 

Roman’s large hands roam down her back, possessive and sure, pulling her closer until she’s in his lap. When she moans softly into his mouth, it ignites something primal in him. The sound drives him crazy, her lips and her voice working together to undo him in a way no one else ever has. It’s a reminder of everything they share—the connection that goes beyond words, beyond the teasing and playful banter.

When they finally pull apart, she rests her forehead against his, her breathing unsteady. “Believe it or not, I got one more gift for you,” she informs him, her lips curving into a mischievous smile. “It’s red and made of satin and lace.”

“Yeah?” Roman’s voice roughens, his hands still on her hips.

She leans in close, her teeth tugging on his earlobe as she whispers, “Mm-hmm. But you get to see it later.”

Roman groans low in his throat, his hold on her tightening. “You really tryna test my patience, huh?”

Naima laughs, sliding off his lap before he can pull her back. “Ya know what they say, baby; patience is a virtue.”

The rest of the night passes in a haze of laughter, wine, and stolen touches. Chief dozes near the fireplace, his tiny snores filling the silence of the now-muted TV. As Naima cleans up the dishes from their late-night snacks, Roman leans against the counter, watching her.

“You ever think about what’s next?” he asks suddenly.

She glances over her shoulder, her brow furrowing. “What do you mean?”

“For us,” he elaborates, his voice unwavering.

Naima pauses, her hands stilling. “I mean…I’m happy right now. Aren’t you?”

“Yeah,” he says, his lips twitching into a small smile. “I am. But I’m talking like, big picture. Like, what happens when we’re not doing this flying-back-and-forth shit anymore? What if you moved to Miami permanently? With me.”

Naima turns to face him fully, leaning against the sink. “That means leaving Adara and Julien in Atlanta. Leaving Exotica. I know you’d love that,” she rolls her eyes.

Roman shrugs. “Well, it is your workplace, regardless of my feelings towards it. But we can figure that out together. Right?”

She exhales, crossing her arms. “I don’t know. I try not to think about it too much. Kinda feels like jinxing it.”

He pushes off the counter, narrowing the distance between them. “I get it. I just want you to know I’m serious about this. About us. I don’t care where you came from or what you’ve done. I just…I’m all in with you.”

Naima gazes at him, her chest tightening. “You sure you know what you’re gettin’ into, Reigns?” she whispers.

Roman grins, his hands finding her waist. “Baby girl, I’ve been sure pretty much since the day I met you.”

Her smile is wide and her heart feels impossibly full. “Guess I better go put your present on, then.”

Roman’s laughter echoes through the penthouse as she saunters off, her long legs carrying her toward his bedroom. “Don’t take too long,” he calls after her.

Ten minutes later, Naima’s heart is still racing with excitement. She can feel the heat of the shower still lingering on her body, buzzing with the anticipation of what is to come. Roman’s words echo in her head; “Don’t take too long.” 

A playful grin crosses her lips. It will definitely be worth the wait.

The silk robe is soft and gentle on her skin as she moves around the bedroom. The lights are dimmed just enough to set the mood. She reaches for the speaker, turning on a playlist full of sultry, slow R&B songs that she uses for her private dances. Usually, she has an audience of several, tossing dollars at her, hungry for more. Tonight, her audience consists of just one, the most important one; Roman Reigns himself, her man…her everything.

She stands in front of the full-length mirror and lets her long, damp hair cascade down her back, shimmering under the soft lighting. She takes a deep breath as she eyes her reflection, seeing a stark difference between the woman staring back at her and the one from seven years ago.

Well done, Naima. Well done.

She quickly goes to the gift bag she’d tucked away, pulling out the lingerie she had purchased specially for him—a festive red set with white fur trim and a playful Santa-inspired design. The bra and thong set hugs her curves perfectly, and she can feel herself getting wetter, more eager. She doesn’t need much of an excuse to get her man all worked up, but tonight? Tonight is different.

She peeks her head through the door and calls out to him, her voice low and teasing. “Baby, I need some help in here!”

As he enters the bedroom, his gaze immediately falls on her—no longer in the oversized sweater, but in blood red lingerie, looking like a vision. His mouth goes dry, his pants tightening as he drinks in the sight.

“Goddamn, baby girl,” he mutters, his voice hoarse with desire. He leans against the doorframe, his eyes scanning her, taking in the way the fabric clings to her slender body. “You look fucking incredible.”

“You like it, big daddy?” she asks, her voice dripping with temptation as she strikes a pose that extends her already long legs.

“Like it? I fucking love it,” he growls, his voice rough with desire. “But how the hell are you not tired from all the cooking?”

Naima’s lips curve into a sultry smile as she inches closer to him, her hips swaying with every step. “I’m never too tired to please you, Ro.”

Roman’s expression softens, but there’s a spark of something else in his eyes—anticipation. He doesn't respond at first, just watches as she takes his hand and leads him to the bed, motioning for him to sit. He obeys without question, his body already tingling with desire.

She walks over to the speakers and turns the volume up just enough. The sultry, slow beat of “To My Bed” by Chris Brown fills the room, its sensual tone ensconcing them both like a velvet blanket. She stands for a moment, letting the rhythm of the song take over her body. The satin fabric of her lingerie shimmers as she dances, her movements sensual and determined, drawing him in. There’s no rush from her—each motion is deliberate, designed to drive him crazy. 

Roman’s hands rest on his knees, gripping them tightly, the intensity in his gaze saying more than words can express. His breath quickens as she turns and gives him an eyeful of the thong that’s swallowed up by her fat, bountiful ass cheeks. Then, she slowly approaches him, her legs long and lithe, flexing with an effortless grace. She leans forward, pushing her chest in his face, her hands smoothing over his broad shoulders. 

“You like what you see, big guy?” she inquires, her voice low and smokier than her jollof, dripping with sex and authority, knowing she has him in the palm of her hand.

“Damn right I do,” Roman growls in response, his hands closing over her breasts, the tension in the air as thick as a storm about to break.

A slow smile plays across her lips, a smile that sends shivers through him. She reaches up and places a Santa hat on his head, her fingers brushing over his scalp before letting the hat sit on top.

“Guess you’re my Christmas gift, huh?” she teases, winking at him, her fingers lightly tapping the top of the hat.

Roman can’t help but snicker despite the lust pulsing through him. “You know it, mamas. Just unwrap me already.”

Naima stands in front of him for a moment, her body swaying, the sheer satin glistening against her skin as the lights of the room caught the fabric just right. Roman’s eyes roam over her, memorizing every inch. Her body, her long legs, that damn sexy smile of hers, the way she looks in the tiny underwear. She knows how to play him like a violin, and tonight he is her willing instrument.

Naima’s smile grows as she slowly unhooks her bra, letting it fall to the floor, exposing the breasts and pierced nipples that never fail to make his mouth water. She drops down low, then slowly rolls back up as her hands run over her curves, caressing herself. She hears his breathing getting heavier, and that only fuels her further. She lets the music take control, her body moving with a confidence that only Roman can bring out of her.

His eyes are glued to her, his expression a mix of lust and admiration. “You’re killing me, mamas,” he growls, his voice clogged with desire.

She stops for a moment, standing in front of him, her ample chest rising and falling with each breath. “Oh, I’m just getting started, big guy,” she purrs, her voice low and sultry. “You’ve been a good boy tonight, so I think you’ve earned a little something special.”

Roman chuckles darkly, his hands resting on the bed now, the muscles in his jaw flexing. “You’ve got no idea what I’m gonna do to you after this.”

Naima smirks, her confidence skyrocketing as his hungry stare stalks her every move. With her back to him, she sensually shimmies between his parted legs and lowers herself onto his lap. Her backside rests right on his crotch as she keeps moving, rolling her ass back and forth in a manner that makes his jaw clench. She throws a sly glance over her shoulder, catching the way his hands twitch, aching to touch her again.

“What’s the matter, big guy? Can’t handle it?” she taunts, her voice low and teasing.

Roman exhales sharply, his resolve crumbling as his hands shoot up to grab her waist. His fingers dig into her skin as she bounces her ass on him, the enticing rhythm making his entire body flare up with heat. “Goddamn, baby.”

Naima’s laugh is rich, full of mischief and lust as she presses back harder, causing him to groan. “That’s right, daddy, watch me throw this fat ass on you,” she moans, steadying herself with her hands on his knees while her hips and ass do all the talking.

Roman tilts his head back for a moment, shutting his eyes tightly as he feels himself throb from the near unbearable friction. “You keep this up and I’m not gonna last long,” he growls, reaching out to squeeze her backside wreaking havoc on his stiff crotch.

“That's the plan,” she shoots back, grinding against him some more before standing up abruptly, leaving him gaping at her like she’s just snatched his soul. “Gotta give Santa his Christmas dance,” she giggles, stepping back and twerking to the music again.

Roman licks his lips as he adjusts himself and the hat on his head. “Santa’s getting impatient, baby girl. You better finish that dance quick before I take what’s mine.”

Naima's eyes are fixated on her man as she tugs on the waistband of her thong and slips it down her legs, tossing it playfully at him which he catches easily. Her body is now completely bare, save for the light sheen of sweat that clings to her skin, making her glow. She straddles him again, leaning in so their noses almost touch. “What if I don’t wanna finish, big daddy?” she murmurs, her lips brushing his teasingly.

This time, Roman doesn’t hesitate. He grips her thighs and flips them over, pinning her beneath him. The bed shifts under their combined weight as he stares down at her, his smirk widening. “I know where I wanna finish,” he mutters, his voice catching right before he crushes his mouth to hers. His big hands eagerly roam her curves as he presses himself against her, the warmth of her naked body sparking a fire he can’t extinguish.

With a teasing grin, Naima pulls his sweater off him and helps him shove his pants down. Then, moving with surprising speed and strength, she rolls them over so she is back on top. Her hands smooth down his chest, running her fingers over the muscles of his abdomen, and she reaches down to grip his length, massaging him for a second or two before sliding him inside her. 

With a soft moan, she sits up and presses her hands on his chest, pinning him down as he drops his hands from her waist to her ass, squeezing the supple cheeks. His grip tightens as she rides him with the skill of an equestrian, her shapely hips rolling and rotating, seemingly spelling her name on him. He can feel her wetness seeping between them, the friction driving him crazy.

“Fuck, baby,” he groans, “You make me lose my fuckin' mind.”

Naima dips down, capturing his lips with a passion that sends fireworks off in his brain. The kiss is deep, intense—needy. Their tongues tangle with an urgency that speaks volumes to their never-ending lust for each other, Roman’s hips joining the frantic dance of want as he meets her halfway with deep thrusts right against her sweet spot. The scent of her perfume—something floral and warm—mingles with the sweet musk of desire, and his head spins from the intoxicating combination.

“Shit, Ro…” Naima moans. She grips the pillow behind Roman’s head as she pounces and bounces on his dick with increased urgency, the slickness of her pussy, the feel of him deep inside her, making everything feel like it’s about to explode. She lets out another breathy moan, her face nuzzling his neck, her heavy pants sprouting goosebumps on his skin. Roman’s breath catches in his throat as the feel of her beautiful body writhing on top of him, along with a dizzying myriad of sensations, nudges him closer to the edge.

“Fuck,” he growls, his eyes hazy with pleasure as he stares up at her, “Baby, I don’t know how much longer I can last.”

Naima smiles down at him, her hair falling over her shoulders in soft waves, her chest rising and falling in tandem with her rising and falling on his dick. She cups his face, gazing right into his eyes as she whispers, “Tell me I’m the best you’ve ever had.”

Roman’s eyes darken with lust. It’s the easiest confession he’ll ever make. “You're the best I’ve ever had, baby girl. By a mile. Don’t nobody fuck me like you do,” he professes.

Her body responds to his praise like a fine-tuned instrument. Her movements become faster, more desperate with every dropdown. Their foreheads press together, and she groans as he suddenly shifts and rolls her back underneath him. He slides her right leg onto his shoulder and pumps into her determinedly, cursing as the new angle deepens his reach inside her. Overwhelmed, Naima's eyes squeeze shut, her fingernails latched to his back, swept away by the intensity of their passion, reverberating through the entire master bedroom as euphoria comes calling. The bed rocks harder from the force of Roman's thrusts, indescribable pleasure drawing them closer and closer.

“Open your eyes, Naima. Look at me when you come,” Roman coaxes her with a kiss, his voice almost pleading as his fingers brush along her stomach and find that sensitive spot between her legs. He toys with it, his personal pleasure button, playing with the sticky mess she’s made and luxuriating in the sounds of her shaky moans as he fucks her into the mattress.

Naima obeys and locks glazed, unfocused eyes with him, barely holding on as the world crescendos around them. Only a half-minute later, it all comes crashing down like a tidal wave—powerful, overwhelming, all-encompassing. Naima screams as her juices gush from the impact, all over his dick, her entire frame shaking with the bone-tingling intensity of her orgasm. Roman’s grip on her and on reality falters as her pussy tightens around him, sparking his release, his drenched dick pulsing and twitching as he fills her to the brim. They collapse together, panting and sweaty, spent and wrecked. He lands on his back and immediately pulls her close, his face buried in her hair as he struggles to catch his breath.

Naima lets out a contented sigh, smiling as she nestles against his chest. “Guess that was a Christmas gift for both of us, huh?” she murmurs.

Roman chuckles, his lips meeting her forehead. “You’re the best gift I could ever ask for, baby.”

She smiles up at him, her heart warm and full. “And you’re mine. You don’t know what you’ve done for me, Roman.”

And with one more heartfelt kiss, they cling to each other, their bodies still buzzing from the most beautiful experience, knowing that the holiday season has brought them even closer—if that was even possible.

🎄THE END...for now.🎄

Merry Christmas and happy holidays!

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[minamorsart]

Character sheets for an upcoming mini comic!!! Introducing new outfits, including Celeborn ✨

Explanation of design choices below!! Galadriel will not be wielding a sword in the comic, I just wanted to draw her in a cool pose :P

To start, I am definitely not as comfortable with drawing medieval armor/clothing as I am sci-fi, at least not yet! Much research needed! ✊😤 And though I am most certainly still a novice when it comes to character design, I tried to approach this from an animation standpoint and opt for more simplistic designs, as beautiful as the intricate wardrobes are in TROP.

For Sauron, I took inspiration from the armor he is shown wearing in the exposition scene at the beginning of S1E1, as well as his outfit in the S2 finale. He's properly converted back to the dark aesthetic, but hasn't quite reached cape level yet! So instead of a cape I gave him a drapey tunic similar to the red one he wears with his Númenor armor as Halbrand. And the gold accents could be seen as symbolizing his vanity, but at their foundation represent his ties to Galadriel and him coveting her light.

For Galadriel I was inspired by her silver outfit in season 2, as well as Legolas's outfit in The Two Towers. I wanted to bulk her up with the shoulder armor, while still hopefully maintaining her femininity. I'm keeping the silver aesthetic because I think it really suits her, but I also added darker colors to her clothes to indicate that she is being more and more influenced and tempted by the darkness. So we can see that with the golds on Sauron and the dark grays on Galadriel, they are always on each other's minds ;)

Lastly, for Celeborn there was a lot more planning needed for his design! The most important thing was that, purely from a character design standpoint, I didn't want him to look like Sauron. Though Sauron is fair and beautiful, to me he should still have rugged features because of his apprenticeship with Aulë and his skills as a blacksmith. He's a Maia who works with his hands, and I wanted that to come through in his design. This means a more square and sharper face (to hopefully match Charlie Vickers' face shape), tanner skin, and a bulkier build.

In contrast, though I don't know much about Celeborn, I do know that he is a prince, which probably means he doesn't have the need to labor or work with his hands. Therefore I gave him paler skin, longer hair, and a slender build, as well as a longer and pointier face to lean into the Elf aesthetic. I don't want him to look extremely identical to Galadriel, either, so I gave him even blonder hair, almost white compared to her gold. And though I want him to look differently enough from Galadriel so that they don't look like siblings, I'm also fine with them sharing some similar characteristics. This shows that on the surface they would appear to have a lot in common and therefore are perfect for each other, being a prince and princess and all, but of course we know that that is actually a very different story ;)

[distractedvoid]

remember those sonamy for sonic 4 ideas? here they are i couldnt wait

So, now that Amy is definitely confirmed, based on the after credits scene in Sonic 3, I have some silly thoughts about how Sonic and Amy's relationship could unfold in Sonic 4.

So, first, I think their general dynamic would definitely change. In pretty much every other form of Sonic media, while it has changed a bit recently, Amy is shown as constantly chasing after Sonic despite him avoiding most of her advances anyway.

Now, movie Sonic is definitely not as mature as the Sonics in other medias. A huge part of his continuous character arc is that he's still a kid, a kid that doesn't really know what he's doing.

And here, we have Amy, which, from the very small amount of her character that we've seen, at least seems like less of a damsel in distress. (It reminds me of how they changed Princess Peach's character in the Mario Movie.) In contrast to the story of Sonic CD, we see Amy saving Sonic from the many copies of Metal Sonic.

Now how exactly does this make their dynamic different? Well, if you take an immature Sonic, and put him in the same room as an Amy that needs less saving than the usual, the firsthand difference is undeniable. Thus why I think their dynamic would be reversed in a way, at least, that's what I want to happen.

I have a feeling Sonic would be "chasing" after Amy, but more so in the way that he's constantly trying to impress her. He'd probably get into some unsavory situations due to his most likely failed attempts at this, prompting Amy to have to make sure he doesn't keep doing stupid things.

Amy herself wouldn't understand why Sonic kept getting himself into trouble like that, much less that he did it for her, until she sought out some third-party information.

Speaking of (I never really mentioned anything related but just go with it), I haven't talked much about Amy's own feelings yet.

So we know about a possible tiny fraction of her character, and while that's not a lot to go off of, I don't see any harm in forming early ideas based off it.

When Amy, presumably, met Sonic by saving him from the Metal Sonic copies, I don't think she would really think too much of him at first. As soon as he actually started talking, though, she'd find interest- I wouldn't wanna take away the part of her that probably falls in love way too easily.

Unlike the usual Amy we're probably all used to, she wouldn't show her feelings that much. She'd have the occasional giggle at Sonic's attempts at impressing her, even if she didn't know that was why he did it. For all she knows, that's just what he's usually like! Until she inquires with Tails- she learns that she's somewhat special to the blue blur.

I might just be projecting, with the weird way my own feelings work, but I think Amy's little crush on Sonic would skyrocket at that information. Sonic, the guy she only really had a small crush on, was trying that hard to win her over? Admittedly, that was pretty cute in her eyes.

After that Amy would definitely be more forward with Sonic, causing the latter to be a little confused and wonder if a certain two-tailed fox said anything...Guess you can't even trust your best friend with secret crushes anymore, sigh.

If they ended up together, if we were to ever get so lucky, I don't think either would really change how they act around each other, other than holding hands occasionally and maybe a few kisses here and there. Sonic is still adventure focused, though how much he likes Amy is sometimes painfully obvious. He'd gain a little confidence boost if they became official, but overall, if they went on any dates, they'd be dates to kick Eggman's ass for the thousandth time.

That's all I have for now, I'm gonna let the brain worms rest LOL. Thanks to anyone who actually went and read my yapping session

[gachagon]

@ Your analysis about how the P:EG cast is full of hypocrites:

Another huge contrast I thought of between them and the casts of the Danganronpa games is that with the DR casts I could see certain scenarios where all of them make it out alive. But with the Eden's Garden gang it feels like a murder was bound to happen.

And a big part of that in my mind is because the majority of murders in Danganronpa are due to the characters being manipulated by Monokuma & the Masterminds. Even Korekiyo who didn't even kill for the Necronomicon motive was still manipulated by Team Danganronpa into being a serial killer.

With the first case of Eden's Garden though that isn't the case. The motive didn't even factor into the case other than Eva stealing the taser gun from Desmond's room. Yeah Eva was on a time crunch because of the Traitor Perk but she was already planning to commit murder beforehand due to being worried that someone will kill her. The perk just made her quicker to put her plan into motion.

Honestly if one of the students had tried to say that "the one to blame for Wolfgang and Eva's deaths is Tozu" like what's usually done after executions in Danganronpa I feel like Tozu would have an actual leg to stand on unlike Monokuma.

He didn't start anything, he was merely fanning the flames that the students started.

I agree with this too because even though the rest of the class didn't take Eva seriously, when she was ranting about how "Any of you would've done what I did!" I kind of believed her. They're already so distrusting of one another, and them pretending that everything's okay while holding onto this serious distrust amongst each other is just fueling the Killing Game. If Tozu had left the puzzle for Desmond and it was a bullseye or something, would Desmond had shown anyone as well? If it was some special law puzzle that only Wolfgang could decipher, would he have shared it with the rest of the class?

I truly don't think so. I also noticed they blamed Eva for a lot of Tozu's actions, like when Tozu introduced the motive, Grace said "So we're in this mess because of the math girl? Typical..." because Tozu said he became inspired by Eva's outburst in the pharmacy over the watches.

But it's NOT Eva's fault, she's not the mastermind after all, she's in the same boat as them. But they still put the blame on her instead of being mad at Tozu for spying on all of them. I think the motive itself not factoring into the murder is a good plot point in the story, because you at first think that someone will kill to keep their secret hidden. Or maybe someone has a terrible secret that they don't even want another person knowing about.

I remember hearing that this is the type of Danganronpa where only 2 survivors will make it out, and usually that's not the case but I can definitely see it happening with this group. They're not killing each other or hating each other over the motives the Headmaster gives, it's because of how they treat one another instead T_T

[hotvintagepoll]

Deborah Kerr and Burt Lancaster (From Here to Eternity, The Gypsy Moths)—no propaganda submitted

Zasu Pitts and Thelma Todd (Let's Do Things, Catch as Catch Can)—[a Vanity Fair article was submitted that was paywalled, so I'm putting the text of it under the cut]

This is round 1 of a mini Christmas tournament. Each poll lasts for three days. If you'd like to send additional propaganda supporting your favorite hot couple, you can reblog this post with your propaganda added, send it to my asks, or tag me in it. To vote in all the polls, click here. Happy holidays!

[additional propaganda under the cut]

Pitts and Todd:

Here is the text of the Vanity Fair article that was submitted, written by Donald Liebenson:

Before Lucy and Ethel, Laverne and Shirley, or Mary and Rhoda, there were Thelma Todd and Zasu Pitts. Separately, they were journeymen character actors in 1930s Hollywood. Together, they became the first major female comedy team, appearing in shorts that found them bonded as friends and career women struggling to make it on their own—the Depression-era answer to Abbi and Ilana of Broad City.

Over a two-year period, they made 17 shorts rarely seen since their theatrical release—and now collected for Thelma Todd & Zasu Pitts: The Hal Roach Collection 1931-33, a two-DVD set. They’re revelatory viewing, progressive, and proto-feminist portrayals of two career girls in the big city, defiantly dependent on each other.

Hal Roach, the legendary producer who teamed up Stan Laurel and Oliver Hardy, envisioned Todd and Pitts as a female equivalent to his marquee stars. Blonde-bombshell Todd was a beauty queen plucked from Massachusetts by a talent scout and brought to Hollywood in the 1920s, where she primarily played comic relief in other people’s films. Kansas-born Pitts was a prolific character actress, so typecast as a comedienne that few directors took her seriously for dramatic roles (though her finest hours were in Erich von Stroheim’s epic, Greed). The contrast between them was more about character than looks. Todd was brash and confident, and Pitts a more dithery presence; think Olive Oyl.

“They have gumption; they’re unflappable,” explained Molly Haskell, film critic and author of the seminal book From Reverence to Rape: The Treatment of Women in the Movies. “They’re looking out for each other; you could just feel the value of the twosome. . . . They are modern women. Hopefully, they will rise to the top—but in the meantime, they’re just going to wing it and figure things out.”

The duo’s first short, Let’s Do Things, establishes their dynamic. Thelma and Zasu promote sheet-music sales in a department store. Pitts moons over her boyfriend, but a disapproving Thelma prompts her to remember why the two came to New York in the first place. “To advance ourselves, to meet the best people, and to do big things,” Pitts responds. By the end of the short, the boyfriend gets a pie in the face, courtesy of Todd.

“They’re always going to have each other’s back,” Haskell noted. “I don’t think there’s any of the shorts where they fight over a man.”

Todd and Pitts’s gender alone made them somewhat revolutionary in their day. Comedy teams were primarily the province of men: the Marx Brothers, the Three Stooges, Laurel and Hardy. “Slapstick was what men loved, and women didn’t because the whole core of it was tearing things up,” Haskell said. “It was chaotic and women wanted order. The defense of the domestic was a woman’s role . . . and slapstick violated the sense of order and decency and uprightness. They didn’t find it funny.”

But Todd and Pitts were both game for the physical stuff. In Let’s Do Things, Todd suffers a throw-about throttling from a quack osteopath; in the courtroom comedy Sneak Easily, juror Pitts throws a murder trial into chaos when she swallows a piece of the evidence—an explosive.

But in their best shorts (which, like the rest of their work, were written and directed by men), the mayhem is mostly in the service of a female narrative, observed film historian Jeanine Basinger. “It’s situational comedy,” she said. “If you’re going to make a plot centered around women, what the heck is she going to do just sitting around the house? They have to get out there in some way. . . . When you look at these films, what you see is what [the creators] thought was a good comedy female situation in that era. You have the chaos over Zasu’s hat in the boxing arena in Catch-as Catch-Can, the high-society party in which they are fish out of water in The Pajama Party, and the department-store melee in The Bargain of the Century. . . . The American woman on film is really a pretty active person, unless she is just stooging it in a male genre. Things have to happen to them, and they have to react. These shorts reflect that very clearly.”

More than 80 years on, the Todd-Pitts shorts play surprisingly well. Their appeal, talent, and chemistry elevate even the most dated material. “I like [Todd and Pitts] so much, and enjoy watching them,” said Leonard Maltin, author of the recently published anthology, Hooked on Hollywood: Discoveries from a Lifetime of Film Fandom and the essential 1970 book Movie Comedy Teams.

“I cannot tell a lie: the shorts are not all good. The gag men had a hard time coming up with suitable material that wouldn’t de-feminize them or make them look outlandishly unladylike, but [Todd and Pitts] play well today because [the characters] aren’t so different from two young women trying to make their way in the world in 2018. The struggles they have by and large tend not to be sexist. If they lose a job, they are comically inept, or it’s a blown opportunity.”

Max and Caroline of 2 Broke Girls, which ran for six seasons on CBS earlier this decade, could be the granddaughters of Thelma and Zasu. Beth Behrs, who played fallen privileged high-society woman Caroline, formed a formidable odd-couple relationship with Max (Kat Dennings), a street-smart waitress trying to start her own cupcake business. Their chemistry, Behrs said, was instant, and their real-life friendship informed their on-screen rapport over the show’s six seasons.

Though the actress was previously unfamiliar with Todd and Pitts, she watched a couple of their shorts on YouTube and saw a kinship with those aspirational woman. “It was important [Caroline and Max] were full-fledged women who really were entrepreneurs,” she said. “We never had a love interest for more than a season. It wasn’t about finding a man; it was about loving each other and building the business from nothing, and the two of them going after the American Dream together.”

For Todd and Pitts, the dream ended when Zasu left the team in 1933. Hal Roach replaced her with Patsy Kelly. Todd, who had appeared in some Laurel and Hardy shorts, is perhaps best known today for her two films with the Marx Brothers, Monkey Business and Horse Feathers. Her career was tragically cut short in 1935 when at the age of 29 she was found dead in her car. A grand jury ruled her death a suicide, but that did not explain bruises around her throat, a broken nose, and other injuries; her death remains one of Hollywood’s unsolved mysteries.

What do these 80-plus-year-old shorts have to tell us in 2018? “They show us what all old movies show us,” Basinger said. “They show us how it was, and they show us how it is. . . . We can see attitudes, we can see women out in the world doing things, having ideas and speaking out. And they show us how we are today.”

Two Broke Girls ended its run in 2017. Behrs currently stars with Max Greenfield and Cedric the Entertainer in another CBS comedy, The Neighborhood, about a white couple that moves into a predominantly black neighborhood. The first season’s initial episodes have already glimpsed the comic possibilities in her character’s relationship with her next-door neighbor (Cedric’s wife), played by Tichina Arnold. “There is an electricity between us,” Behrs said. “The writers saw it, and are exploring turning us into a Lucy and Ethel.”

[lizbetlovesbyler]

“The Chemistry Test” Theory

(How the Duffers demonstrate romantic AND platonic chemistry in Stranger Things’ relationships)

When one character starts singing, how does the other react? Are they in harmony?

(alternatively: do they match each others freak?)

“Chemistry” describes the emotional connection between two characters in a relationship. This can be either romantic, platonic, both, or neither.

We know that the Duffer brothers highlighted the importance of music in Stranger Things 4, so let’s look back on it’s uses in earlier seasons.

I’ve noticed a lot of parallels between scenes that focus on the relationship between two characters. One of these two characters will sing, and the other has one of two reactions:

Indulge in the fun

Try and shut it down

Depending on their reaction, we can conclude a lot about what the Duffers want to communicate about the chemistry between two characters.

So let’s look at 6 examples:

Exhibit A: Dustin and Suzie

https://youtu.be/ehtsmxu1w10?si=CGnKM5PubO5lC-V4

This - I think - is the most glaringly obvious example of how the Duffers like to demonstrate chemistry between two characters. Mostly because this scene is purposefully very memorable.

Dustin and Suzie have clearly sung this many times before, we know this because Dustin immediately knows what Suzie wants from him just from her saying “I want to hear it”

At first, he’s embarrassed - all of his friends are listening, friends who didn’t believe until now that Suzie even existed. He doesn’t want to sing it in front of them.

But when Suzie joins in, he’s actually able to forget about the danger they’re all in, he’s doesn’t care everyone is listening, he’s able to indulge. Because he loves Suzie, these moments bring him joy. They bring Suzie joy, too. Just look at this shot of them together, despite being states apart. Because they are in harmony, the distance between them doesn’t matter.

These two cutie patooties pass the chemistry test with flying colours.

Exhibit B: Max and Lucas

(Max and Lucas are presumably also in a relationship at this point in the series, and they don’t break up until after.)

As another couple, the two are mocking Dustin for his relationship - making kissy faces at him and calling him “Dusty-bun”.

However, whilst doing so, they are demonstrating their own chemistry - synchronous clapping, smiling at each other, holding eye contact. When they start singing the second time, they need nothing more than a look from the other before they start again from the same lyric.

Max and Lucas may not have the same romantic dynamic as Dustin and Suzie, after all no two couples are the same, but they will sing to make lighthearted fun at their friend.

It should also be noted that Max didn’t even hear Dustin’s original rendition, she had to hear about the whole ordeal from the others, I’ll wager Lucas sang it enough to Dustin that she picked up on it and joined in. She indulged in the fun.

If Lucas and Max did not have chemistry, Max would’ve been at most only slightly amused in Lucas’ mockery, but she would not have joined in on it (similar to Mike) and might have even told him to knock it off during the time skip if he continued doing it.

These two pass the chemistry test.

Exhibit C: Mike and Eleven

Might be time to start contrasting these examples to other scenes in the same season.

This is our first look at Mike and Eleven as an official couple - and what I would label as the start of their downfall.

(may make a whole post dedicated to this one scene because it speaks volumes about Mike and Els relationship and what the Duffers want us to take away from it in retrospect)

This scene is special because it’s not like the writers are trying to make it glaringly obvious that Mike and El are not a compatible couple. Rather, this scene is disguised as a cute (albeit slightly awkward) scene, hell - i thought it was cute when i first watched it (I was also, you know, 12, but whatever, I’m now 17 I have a very different idea of what romantic relationships actually look like).

It’s only later when we gather the other examples in this post and compare them we can start to see that somethings not quite right with these two cutie pies.

Even whilst they’re still kissing, Mike is pushing Els hands away from him - already not a good sign.

When he pulls away to sing, it’s because he wants a break from constant kissing. From my own experience, I can tell you that making out is very exhausting (especially when you don’t have a lot of chemistry with the person you’re locking lips with).

El reacts very quickly by covering his mouth, she calls his name to grab his attention, she tells him to stop, she gives him a look that just says “What are you doing?”. This is her trying to shut him down. She is not indulging in the fun, even though Mike is trying to make her - he shakes her and her arms, he maintains eye contact. He asks her if she likes it, and she says “No!”.

If the Duffers wanted to portray Mike and El as a couple with chemistry, a better way to portray that could have been to have them just sitting and reading their own respective magazines, when Mike sings, El could have smiled and bopped her head along despite likely not knowing the words. They could have demonstrated that the two enjoy each others company even when they’re not making out, that they are still close, and a kiss goodbye to make it clear to the audience they still have a romantic dynamic.

This scene doesn’t just not do that, it does the opposite. Mike and El are only interested in kissing. When they break up later, it’s for comedic relief.

These two unfortunately do not pass the chemistry test.

Now, due to the very thick romantic tone of this scene, we can conclude that Mike and El do not have romantic chemistry, but we cannot make any conclusions about their platonic chemistry.

What does platonic chemistry look like with Eleven, you ask?

Exhibit D: Max and Eleven

This example is slightly less noticeable, but this scene starts in Elevens room, a parallel to the previous example with Mike.

Max is singing along to the radio, much like Mike was, the only difference is Els reaction. Instead of trying to shut her down, she is bopping her head along to the music. She may not be singing along, but she is still indulging in Max’s behaviour, she’s having fun.

Max and Eleven have platonic chemistry.

Exhibit E: Steve and Nancy

Let’s now look at the very first example of this Chemistry Test the show gives us, way back in season one. It’s so small you may have missed it.

I think this is a very good example of how interactions like these are a two way street.

(For context, Steve is apologising to Nancy for his lack of empathy towards Barbs disappearance, and tries to invite her to a movie to take her mind off it all - note that Nancy is yet to verbally forgive Steve in this scene)

Nancy goes through a lot in the first season, I don’t doubt that even if her and Steve shared romantic chemistry, that she still wouldn’t be in the mood for a little sing song. But Steve still sings to her anyway, he hasn’t picked up on how distraught she is over Barbs disappearance, and how “pretending everything is normal” is not something she wants to do.

What she wants is to go out and look for Barbara with Jonathan - Steve later misinterprets this as them hooking up, completely ignorant to the fact that they both have lost someone they care deeply for when they both feel they could have prevented it (Jonathan was not supposed to be working that evening and Nancy convinced Barb to come to Steve’s even though she didn’t actually want to)

It’s clear Steve is genuinely trying to make amends with her in this scene, but there is still a glaring disconnect in their emotions because Steve does not apologise proportionally to the distress Nancy is in. When he sings to her and tries to make her laugh, he is demonstrating this lack of understanding of her needs and emotions. Of course she doesn’t laugh, she looks away awkwardly and eventually shuts him down.

The lack of chemistry between these two is demonstrated by Steve singing in the first place, then confirmed when Nancy does not indulge.

These two, unsurprisingly, do not pass.

Exhibit F: Steve and Robin

(Skip to the end of this video for a refresher)

This is a very intimate conversation. This time, Steve appreciates that it takes a lot of trust for someone like Robin to talk about what she just has. It takes a lot of love from Robins end to be honest with him as to why they can’t be a couple.

Trust and love that didn’t come from no where, I’ll remind you.

He reacts the way he does because he values Robin as a friend, and as friends do, he picks apart and judges her crushes.

Steve doesn’t have to grasp at straws for something to say, despite having never been in this situation before, despite having never even thought about being in this situation before. He just talks. The right words come out of his mouth because they have that shared love and trust. He just talks and says the right thing because he feels and thinks the right things.

He sings because it’s appropriate for their dynamic and his approach to this conversation as her friend, she indulges to confirm that they are in harmony now their relationship is defined as platonic.

These two have undeniable chemistry. Id argue this is the best example of this Chemistry Test because it’s such a raw and real interaction, even if it only demonstrates a strong platonic bond.

(I would love to see some sort of parallel with Mike and Eleven in S5)

“Great! We have a theory about how the Duffer brothers have previously demonstrated Chemistry, with evidence to support it! … Now what?”

Now we apply it to Season 5 Speculation!

I bring to you a whole three possible applications of this theory.

Number 1: Robin and Vickie

Crucial detail that loads of people overlook about Robin and Vickie - they’re both in band.

We’re constantly reminded of it, too.

Steve to Robin: “You’re worried about a high school pep rally, you expect me to believe that? […] This is about Vickie!”

Our first look at Vickie is during said pep rally, we see Vickie and Robin standing side by side, sharing a glance during the band performance.

We see them interact later that night, during band (again), whilst Tammy Thompson sings the national anthem.

Dustin to Eddie s4 e02: “You know Robin! From band!”

Vickie to her boyfriend when he asks who Robin is: “Someone from band.”

Robin and Vickie are in harmony, even in their limited on screen interactions, because they both play music together.

It’s also worth noting that both of their instruments are wind instruments. We know that the both of them struggle to stop themselves from rambling, so their best interactions are during band, they do not have to worry about finding the right words because they literally cannot talk.

According to the Duffer Brothers, Robin and Vickie have chemistry. Rovickie endgame - next please!

Number 2: Steve and Nancy

Let’s be so fr they are not getting back together.

This post is one of many arguments as to why they should not and will not become a couple again in s5.

I said “next, please!”

Number 3: Will and Mike

Stay with me, now.

Small throwaway scene? Maybe, yeah, but i’ll add that the exact frame Will sings here is the thumbnail for this episode.

Do with that information what you will.

In this scene, Mike is making a plan to find El by getting help from Suzie. Will is the only one who picks up on Mikes plan, and sings the Never-ending Story theme to remind the others who haven’t yet picked up on it. Basic example of show don’t tell.

Contrary to Steve and Nancy, Will sings because Mike and him are already in harmony. They’re on the same page about “Utah” meaning “Suzie”.

This is one of the many examples in season 4 alone where Mike and Will do not need to communicate with words to pick up what the other puts down.

You could say that these two have quite a good rhythm, their interactions seem to flow seamlessly, and when they don’t ( *cough* airport reunion) it sticks out like a sore thumb.

I cant find a clip of the scene I can link here, but think of that scene where they’re formatting a lie for Suzie in her room as to why they need these coordinates, and it’s complete improv and such a natural flowing lie despite the fact they’ve never discussed it before.

And if we’re defining chemistry as a measure of emotional connection, well, which two characters have the most heart-to-heart, ‘lethal dose of emotion’ interactions this season?

yeah…quite a few more than average.

And that’s just season four! Mike and Will share emotionally intimate moments like these throughout the seasons.

So, will we get to see some more musical interactions this next season? If we do, i’ll place my bets on these two getting fed a version of our Chemistry Test.

Love to hear other people’s thoughts!

[loredrinker]

The Role of Freedom and Choice in Solas's Fate

I'm still ruminating on my last post – in particular Solas and his Original Choice (taking a body) - the importance of that first choice preventing him from becoming wholly pride.  It got me thinking about choice in general and how the freedom of choice impacts a person's evolution and transformation.  

At the end of Veilguard, what Solas moves forward? Will he remain Wisdom, or will he fully become Pride? I believe choice (or lack of it) dictates that, and each ending tells us.

Veilguard spoilers below - and a long post.

The only ending that truly allows Solas the freedom to choose is the Atonement ending.  

Freedom and Choice are Important to Solas

Solas, a man who fought to free his people from slavery for hundreds of years, values freedom and choice. 

Solas hates ignorance and being mindless - because ignorance is not freedom.  There are a lot of great lines in one of his arguments with a low approval Inquisitor: 

He's also willing to kill if ignorance has destroyed something he values (All New Faded for Her).  

True freedom involves the ability to make informed choices.  

Wisdom flourishes in freedom - this allows for choices to be made that lead to transformation and change.   

Pride, in contrast, can be rigid, defensive, and resistant to change. When choice is removed, pride can fester because there is usually no space for reflection or growth.  

Take away the freedom to choose, and you start to strip away someone’s humanity.

Allowing choice and agency creates fertile ground for change and shifting perspectives. Which is strengthened through connection with others.

We saw this shift in Inquisition: 

Perspectives are shifting. 

In Trespasser, a high-approval Inquisitor can tell Solas they’ll prove he doesn’t need to destroy the world, to which Solas replies, “I would treasure the chance to be wrong once again, my friend.” He’s open to the possibility of another path, of a different choice. 

I see proof of this shift in Veilguard. 

In Trespasser, Solas tells the Inquisitor that saving his world will destroy theirs and sounds like he's talking absolute destruction. But in Veilguard, he tells Varric that he’s taken precautions to minimize damage and confesses to Rook that while thousands may die, he’s working to preserve as much life as possible.  

Personal opinion: Some people claim that Solas lies all the time - to himself, to others. Yes, he lies, but all the time? That feels like (to me) a simplistic and one-dimensional view of this character. I love Solas because he embodies duality. He tells the truth and he lies, but his lies are never straightforward. They’re strategic, carefully worded, lies of omission or half-truths.  Saying “he just lies about everything” is too easy. Solas invites us to discern for ourselves, to see him through the lens of the story we choose to believe about him. The game acknowledges this duality when (depending on dialogue choices), Solas tells Rook, “I am, after all, remembered as the god of lies, treachery and rebellion.” When Rook responds with, "Depending on the story.” Solas follows with, “And what story shall we tell now?”  I LOVE that line - it’s like he’s turning to us, the player and asking, What are you going to believe? We have a choice here. 

Back to the main point: is Solas lying about having spirits at the ready? Maybe. But we know Solas is friends with spirits (All New, Faded for Her), and he led spirits in battles against the Evenuris, he spoke with spirits trying to convince some to fight back. 

And Emmrich says to Solas: 

So why is it so hard to believe that he did ask spirits to stand by and help?  

Solas admits that while destruction is inevitable, he’s trying to minimize the damage. Yes, it's still morally questionable, but it shows a shift - a choice to preserve life where he can. 

Choices Shape Us 

The good, the bad, and the ugly - Solas’s choices define him. Prideful Solas makes destructive, terrible, morally grey decisions. He tries exerting force over Rook, manipulates, and attempts trickery. He tries to take away Rook’s own choices when it suits him. 

But we also see Wise Solas guiding and helping Rook. I love this ongoing dance between Wisdom and Pride throughout Veilguard. Which wolf will be fed? 

Freedom to choose is complemented by relationships - connections with others that encourage reflection. Just as Solas’s connections in Inquisition helped him reflect and shift, his connection with Rook - a new mirror for him - will also help him shift. The question is, will it be for the worse or the better? 

So We Get to the End... 

Elgar'nan has been defeated, Rook holds the dagger and now Rook has a choice...which will set the stage for which Solas enters the Fade – wisdom (spirit) or pride (demon).  

Trick Weekes mentioned on Bluesky in answer to a question about Solas's trauma being tied to the dagger. 

 (Here is the original Tumblr post which is a great read) 

With that in mind, let’s examine the endings - and Solas’s mental state - through the lens of freedom to choose. 

The "Normal" Ending 

In this ending, Rook has taken the time to help their companions, resolving their issues so they can make meaningful choices and become stronger versions of themselves. This collective strength allows Rook and the team to overpower Solas. However, Rook chooses not to offer a choice to Solas. Instead, they stab him, forcibly binding him to the Veil. 

The image following this ending shows Solas in his Veilguard outfit, falling backward almost like in a spiral. To me this visual conveys a sense of being out of control - surrounded by darkness and a swirling storm. His mind is clearly not in a good place (he refers to himself a god now). Solas is consumed by Pride, trapped by force, and left in a dark, chaotic state. 

The Good (Trick) Ending 

The Trick ending is intriguing. What’s interesting is that it’s called a "good" ending, and I think that’s because, in this ending, Solas still gets to make a choice. 

Rook and the team outwit Solas, forcefully binding him to the Veil once again. However, within this act of force, there’s a small glimmer of hope - Solas chooses to accept his defeat. He bitterly admits he was bested and calls himself a fool. While Pride may have the upper hand here, his Wisdom isn’t completely lost symbolized by the bright background in the final image. 

Though the image shows Solas falling again, he doesn’t appear to be struggling against it in this one. This tells me that, despite his defeat, Solas’s mindset might still have a chance to recover and evolve down the road. 

The "Bad" Ending 

The bad ending is fascinating to me on a few layers. It's described as the default because it requires the least effort. In this path, Rook neglects their companions’ personal quests, chooses not to help them resolve their issues (which would enable them make meaningful choices so they can grow. So they can choose their paths going forward.)  Relationships are sidelined, and everyone dies. 

Solas’s state reflects this. He’s snarling, sneering, and fighting, stabs Rook, is consumed by anger, desperation and resistance. Rook chases after Solas as he tries to escape, grabs him from behind, preventing him from moving forward, pulls back on him slightly - then the Fade grabs them - pulling them both back to the Fade (as seen in this video).

He's being pulled - not enough of him to be him (again, my interpretation).

And the image following this?  Just an image of a memorial.  No peek into Solas's mind, no commentary on it from Varric.  My interpretation? Wisdom (Solas) is gone. 

And Rook?  Not looking good.  The text following says that this "cost many lives, including Rook and the team". This implies Rook didn't make it. 

This ending triggered a visceral reaction in me. To me the message is clear. 

Rook’s decision not to support their companions means the team is unable to grow, leaving them unprepared to face challenges, weakening their collective strength. The absence of meaningful connection (which I highlighted earlier is a part of growth) results in a failure to create the unity needed to overcome Solas - and Rook and the team pay the price for this. For Solas, this lack of connection mirrors his descent into Pride. Without the influence of reflection, compassion, or alternative perspectives from others, he remains trapped in his own rigid mindset. 

The "Best" Ending (Atonement) 

Despite Solas constantly trying to screw Rook over, Rook chooses to turn the other cheek – and offers him another chance.  Rook also holds Solas accountable, reminding him that by tearing down the Veil, he’s taking away everyone else's freedom to choose - because it’s what he wants. 

Solas is reflective here, mirroring the energy he’s met with. When confronted with ego, he responds with ego; when met with understanding, he opens himself to it. Rook’s willingness to forgive (this offering of another path is an act of forgiveness) and to challenge him, continues nurturing the chance for further change, allowing other voices, like the Inquisitor’s and Mythal’s, to influence him as well. 

But the choice is still Solas's.  

And when Solas CHOOSES to uphold the Veil: 

In both endings where Solas enters the Fade - whether alone or with a romanced Inquisitor - the Fade is bright. In the solo ending, Solas appears to be taking purposeful steps forward, looking like a wise sage. In the romanced ending, he holds the Inquisitor in an embrace, symbolizing connection. 

Both endings show a Solas looking like he was in Inquisition, a reminder of how his time with the Inquisition mattered. The relationships he formed shaped him, helping him build a foundation to move forward, to shift perspectives in order to make new choices. 

As Solas says to a friend Inquisitor and Rook, “Thanks to you, I see another way.” That realization came because Rook and the Inquisitor reflected that possibility back to him. 

And when Solas chooses atonement, he starts envisioning a better future - a world where the Blight is soothed and even the Titans might have a place. But being forced into the Fade? Who knows how long it might take for him to see that path (if at all), or if the resentment from being forced will taint his perspective. 

The Atonement ending reminds me that people can change, but real change requires freedom, open-mindedness, connections with others and the opportunity to choose. Solas’s transformation happens because he’s given the space to choose his own path - not because he’s forced into it. His Original Choice, to take on a body, saved him from being consumed entirely by Pride. Along the way, the people who challenged and engaged his Wisdom guided him back to his core essence, allowing him to reclaim his purpose in the end. 

But again, this is just my interpretation (and still evolving).

[thedirtiwalkoniswet]

I've talked in great detail about Ahsoka, Obi Wan and Acolyte, and while I've pointed out many details in Andor I loved, I haven't made a similar lengthy post about it. So get ready.

The writing, the strongest part of the show. Star Wars is so notorious for having bad writing that Andor is in very stark contrast to this. Arguable the most well written show I have ever watched. No other show has captivated me this much with it's dialogues/ monologues as Andor. So many lines stuck with me. I already made a post about my favorite parts, so I will keep it at that. Something that could be criticized, is that it is sometimes very heavy with preachy monologues. On the other hand is it so well written that I don't mind it at all. If it was written worse, it very much could be something to criticize.

It also doesn't hold your hand, it doesn't explain everything right away and you learn organically what they are talking about. It allows it to have a much greater rewatch value.

Next up, the characters. Every single character is full of personality, even when they only have 5 minutes of screen time, in matter of seconds you already know who they are, what purpose they serve, what relationship they have to each other. It's the combination of the fantastic writing and incredible acting. We also see the motivation behind every big decisions a character makes, nothing comes out of nowhere.

Many of the live action star wars shows suffer from having antagonists that feel flat and one dimensional, whose motives are shallow or none existent. When Syril was introduced, we understood why he's doing what he's doing. When Dedra was introduced, you find yourself rooting for her. It was such a genius introduction, seeing her react to the only other woman in the room speak. She is a minority in this room. You watch her fail to someone who in this moment seems more 'evil' than her, so you want her to win. And then you do watch her win, by being smart and cunning (something a lot of star wars villains are not). But then you realize that her winning means others have to suffer, Paak and Bix first and foremost. You don't root for her anymore.

There aren't just the good guys and the bad guys in Andor, they all have layers. Syril obviously belongs to the bad guys, but he doesn't know that, he believes he is doing the right thing. Luthen is ready to sacrifice many lives to destroy the empire. Almost taking this Robespierre approach, where the violence of the rebellion is affecting the allies negatively as well. Making you question if the position of power he has build for himself is going to corrupt him in the future. Which he is aware of and even addresses, something that still differentiates him from the imperials or Saw Gerrera, who refuses to see any flaws in his believes.

Another thing Andor shows, which is missing in many other shows, is culture. It organically integrates parts of Chandrillan or Ferrix culture. The drinks, the way marriages work in Chandrillan culture, the fact that it is very heteronormative. The way people of Ferrix warn each other about imperials, the tradition of funerals, which is an incredible concept by the way. Also seeing how people live, their homes, something you see so rarely in Star wars since so much takes place on ships. Syrils, Mon's and Ma's homes, all widely different and adding so much to the world building, by doing such a small thing. Additionally do you see how the empire works on a more in depth level, without the focus on wars or the elimination of Jedi.

The empire is a real, suffocating threat. The rebels in this show have to go through great lengths just to communicate with each other, they need to slip through tiny cracks to get around the empire. And even then they sometimes fail, like Kreegyr or Bix did. Half of the rebels attacking the garrison died trying. It's not easy, it's messy, dirty, it took great sacrifices.

And that is the main theme of the show - sacrifice. Tying back to the fact that Cassian ends up sacrificing himself for the rebellion. Everyone sacrifices something to help the greater good, wether it's money, relationships, inner peace or lives.

On a more facile note, the costume design is amazing. We all already know that Mon's closet is incredible, but so is the one of her husband or Tay Kolma. The same goes for the people of Ferrix, who have a clear style that adds to the beauty of the planet and culture.

I also think it was a smart decisions not to have aliens among the main cast, since bad make up or cgi can ruin the vibe to a degree. But the ones we do see all look great. They can also save budget focusing on other things instead.

There is so much good in this show, so many details worth mentioning, I could go on forever. It's not going to be the last time I praise this show, that's for sure.

[cute-little-fly]

Certainly the look of someone that doesn’t feel stomach butterflies for the other because of these gestures. There he is happy he is not mocked for the rats (I think) and the other one because he woke up with a random bunch of horses. His mood waking up surely improved because of that, even if he found it strange. (He doesn’t appreciate them fully yet, but retrospectively he will eventually and rn they work at making him feel better).

Here the scene is all funny but Stolas smiled just after Blitzø tried clothes with him ❤️

Also

A lot of the Stolas behaviour we see later (the bad humor, the crying) here is influenced by the lack of pills. That is communicated visually through this scene:

Followed by:

This is called visual storytelling. Is not a genious thing but it is well done, subtle enough to pass over our heads in a quick first watch (maybe), but that gains relevance in a second watch after the pills having relevance at the end. The pills is something that has been shown a lot of times in all the other episodes too, probably to lead to this and the ending moment.

After this moment is where Stolas completely crashes down, and is more irritable and overly emotional. As someone that dates a person that had depression and now is treated, this characterization even if cartoonish at times is actually very well done. I related too much to it. Also, I can say that a lot of the things Blitzø did actually work. I am sure he took care of an anxious Fizz or his mother had depression. Because he is too good at it.

But, about Stolas, is true he doesn’t trully appreciate all the help he is being given, taking the depression and mood swings aside… as other NORMAL people would do, because he is someone used to have everything granted for him. Literally, served in silver platter.

This is how someone spoiled would act.

For me is admirable how all the IMP crew understands that and doesn’t get mad at Stolas. Blitzø still loves him because is him, he is the most crazy person there and knows how much Stolas loves him. So, honestly doesn’t surprise me as much, he is also familiar with Stolas’s palace and environment and sees that big difference.

They probably understand is a great change for him and where he comes from but it is surely also a great shock for the IMP crew to see those differences. Is also interesting how they set this up in GF. In Ghostfuckers Millie is surprised with the office and says is too much for imps, for Stolas that is for poor people. Ups!

For some of you this makes the show bad, for me it gives depth for each character and where they come from. Is is showing and not telling. A show with this theme of social class and without this kind of conflict and contrasts would be so boring.

For me it would be worse storytelling if someone like him immediately understands everything, and again… Boooring. I think he doesn’t even realize yet that the couch was Blitzø’s bed probably because he always wakes up before. UPS again, more angst for later, because this is a series finale and there is no time for that and only a month has passed. Surely this will create conflict.

But, it will be worth it when Stolas bonds over them over time and see them beyond low-class. Maybe, just maybe he will even be happier once he adjusts… Aaand perhaps, he will need to have treatment too.

The phrase: “you saved me in return” is bitersweet, because Stolas is seeing again the relationship as an exchange. But, is good that he is reflecting that he is the one that 100% caused all of this. A step in the right direction for him.

Some general comments:

1) Helluva boss is far faaar away from perfect, but perfection is not the solely objective of art form, and is not showing how things should be irl, less in an adult cartoon. However, for a comedic cartoon HB is surprisingly deep. Maybe it fails to build up for some people but you just have to adjust that in this show they don’t show some intermediate moments to be able to progress the story more, and have all the characters they have. Is just how it is and for me this is an actual valid criticism of the show because this prevents the engagement of some people. Hopefully with 15 episodes this might improve. Just for you to see that I don’t defend it from everything.

2) Comparing HB to Bojack for me is a mistake even if vivzie is inspired in that show. For me Helluva Boss is about redemption (yes, like Hazbin), and Bojack is nihilistic. HB is about people that can heal even if they think they are not worth it or can’t do it due to their past mistakes. Bojack is about how some people just won’t change and you need to accept that and move on. For me, these two things are true irl. Some people change for the better, some don’t. Bojack changed at the very end, but the people he lost is lost forever and I think he did just because he was in jail without access to drugs. Also, he was given tons of opportunities to mend and he was never able to mend things. Here, is different. A show will always have some overarching themes. Even if the shows are of similar nature their overarching themes are almost opposite.

3) In my humblest opinion, you give the show less credit and choose to ignore a lot of the interesting elements that come from this and only focus and nitpick on the things it lacks… and turns out it will always lack something. Everything always lacks something. I like to be critical on media, but this critical crew make me don’t want to criticize this show as much because you do it more than it needs to be criticized. Of course, I am not saying to you stop doing it. You have all the right to put your post as I have to put mine.

4) Also, I didn’t respond to the post main criticism on big gestures, and the post is long enough, sorry. Sure a lot of people don’t like his rom-com troupe but I actually liked how it was handled in this series, because it helped to Stolas to see that Blitzø trully cares, but at the same time it didn’t solved anything! They still haven’t unpacked anything and the other problems are preventing them to be fully together. Usually in romantic movies these gestures solve everything, here that didn’t happen. Also; the big gesture is something that happened to communicate the other that they love him, just in Stolitz because they were terrible at communicating, and how they failed being a normal couple in everything caused the big gestures to be necessary in the first place.

5) The rest of the couples stand up for the other sometimes, but the gesture is not as important itself to let the other know that they are loved and keep the couple afloat. They actually communicate 😅, and that communication is what keeps the relationship going. The Ozzie and Fizz crooked song and Ozzie’s talk is what gives Fizz the courage to leave his abusive job, not the big gesture. The only gesture that was similar to this one a little bit maybe is when Moxxie presents Millie in unhappy campers, but he does that because he listens to her feelings and Millie constantly shows Moxxie affection, and care and he appreciates. We also see have seen them communicate effectively in other instances, so what is keeping their love strong? Small gestures, communication and care, not them saving each other at difficult situations at work. So ultimately, I feel this big gesture thing only apply to Stolitz… and is mainly because Stolas doesn’t understand love yet and how Blitzø self hatred prevented him to understand Stolas was being truthful. They are a mess and we are not supposed to see how they are as normal, just as them being a complicated and utterly mess because they are like that rn. We like the ship because of that and not ignoring that, and they will be continue to be like that for a while... But eventually Stolas will learn what true love is. The song ending with “Truer love is hard to find” is not true love, but truer. This is foreshadowing that. Blitzø is the truer love, because of all the small every day gestures he gives 🩷, all of this said while Blitzø gently hugs him. Perfect. Chef kiss.

This Show Focuses Too Much On Grand Gestures Rather Than The Little Things When It Comes To Relationships

It's a thing I see in the Sinmas episode where the focus is on Blitzo stepping in to sacrifice him for Stolas that he really becomes grateful and appreciative. It's to show supposedly how he's grown, but in my opinion the little things he did throughout the episode really are the things he should have been focused on rather than the big gesture. The writers still want to focus on Stolitz being this romanticized, ideal couple that they forgot little things like chemistry and small develops between them. However, we never see the same from Stolas to do small good gestures and instead focus on the big gestures, so that we can hammer how nice and self-sacrificing he is despite how much he still comes off as a narcissistic privileged asshole who takes Blitzo for granted.

This quote from Bojack rings true so hard because for a relationship to work you can't rely on grand gestures to hold everything little everyday stuff is the thing that holds it up. And if you think you can hold stuff with grand gestures then your relationship will fall apart. Also those who do grand gestures often do more shitty than regular good things in life, which as he said isn't enough to make up for everything. The problem is Stolas is too much of an ideologue he can't see it and will only value the big things to be truly appreciative. And I fear that will be his downfall in his relationship with Blitzo if rumors are true he will tickle a relationship with Vassago because he craves grand attention instead of one based on small everyday support.

[k0fii]

Some pairings I like not romantically, not platonically and not even in a familial sense (thematically)

[egophiliac]

I don’t think we’ve ever seen you draw knight of dawn before 🤔 what are your thoughts about him? Or take?

I've drawn him a couple of times, just really little/in the background. but I should draw him more, I love this guy a lot! I have many, many thoughts about him and the way he parallels Silver...and also I think it is extremely funny that his ghost is stuck in a ring. especially considering where that ring has been for the last 16-ish years.

[dirtytransmasc]

totally don't imagine little Aegon, maybe 7 or 8, playing with his toys while Sunfyre watched on, pouncing on castles carved from stone and gnaws on little wooden soldiers.

don't imagine him play-fighting with his boy. Aegon and his training sword fighting against the merciless beast that is his little golden fledgling, gently attacking playful claws and flapping wings and nipping beak, parrying when the dragon gets too close. or Sunfyre finally tackling his boy, mocking dragonfire when he screeches in his face, before nuzzling his boys cheek.

don't imagine them curling up in the sun, out in the grass or in a windowsill. Sunfyre spreading his wings over his boy to bask in the light, burying his face in the warmth of the crook of Aegon's neck.

don't imagine the hatchling perching on his bonded's shoulder. don't imagine Aegon sneaking to see him when he was sad or angry. don't imagine Sunfyre crying out in distress, restless in his den when he could feel Aegon's distress but could not get to him

don't imagine the fledgling finding his way to Aegon's window, sneaking in and curling up next to the boy as he laid drunk and miserable, coping as he wrapped around him. don't imagine him perching on the roof of Aegon's chambers, crying to him when he got too big to enter.

don't imagine his sweet little chirps and songs. don't imagine Aegon's little giggles and chuckles. don't imagine the nuzzling of white hair or the scratching. don't imagine them being happy

[herbariumua]

I know it's just another joke moment, but I want to say that I really like how far Homer and Waylon's relationship went. Of course, I don't think when they make the series, they think about it this far - but if we look on everything that happened between them, it's actually something that has some continuity.

We know that Homer and Barney bullied Waylon as teenagers - at least once Homer seriously beat him up, which makes their fight scene in the episode "Homer the Smithers" feel like a nice revenge. Their meeting in the flashback episode where Homer was trying to get a job didn't do anything positive for their dynamic either; Waylon openly despised him for his incompetence. In the early seasons, Waylon himself was more mean, prickly and sarcastic towards the others, and their particular friction was with Homer: still due to his incompetence, or in those moments when Mr. Burns briefly directed his affections towards Homer - making Waylon very jealous.

But in later seasons, Waylon is still written as very intelligent and professional, but suffering from OCD and anxiety, vulnerable and very lonely. He becomes increasingly contrasted with Mr. Burns' aloofness as he tries to introduce social benefits and normal working conditions during his management of the power plant (which backfires on him).

Because Waylon is changing so much, their relationship with Homer is also getting a lot better. Waylon seems to have somehow come to terms with how stupid Homer is - but still asks him for help or favors, like inviting guests to the party (who actually exist or haven't died yet). Homer finds him both boys: both Julio and Michael - the first for selfish reasons, the second - because he really felt sorry for how lonely Waylon is.

I recently watched an episode (yes, I still haven't finished the whole series, I'm so sorry) where Homer suffered a traumatic brain injury that put him on 2 months off. And I feel like in the early seasons Waylon would have supported Mr. Burns that Homer should go back to work instead of arguing that Homer was seriously injured. It really shows his development as a character and the development of their relationship: they can both feel sympathy and genuine compassion for each other.

It's just musings on musings, it's just that I found this scene even cute in a way - and it inspired me to write this post. Maybe somehow it is worth writing a big post-analysis about their relationship, where they - although in the background - but still evolved from the attacker-victim in adolescence to enemies (?) in adulthood to friends now.

P.S. Also, I love that Waylon and Marge are best friends, I really wish the show would remember that and give us more hints that they see each other regularly. The next episode is all about the two of them, which I can't wait for.

P.P.S. And yes, I write about him in his first name, what you gonna do about it, I'm in another country :D

[poorly-drawn-mdzs]

Business comes first! Drinking is the job!

[First] Prev <–-> Next

[the-obnoxious-sibling]

https://x.com/captainh4ndsome/status/1774282734288138451?s=46

I saw this series of quotes and why do you think that hat has three stabs from buggy? Is it truly connected to shuggy? Could shuggy really be that important???

so, here are the tweets in question. (one of which is from @goingbuggy! hi there! this is, what, the third time someone’s asked me to talk about your tweets? i guess at least one of my anons is a fan.)

i have wondered a time or two whether in oda’s early planning it might have been buggy who gave shanks that three-slash scar. (i’ve heard that oda originally had a five year plan for one piece, though i’ll admit i’ve never sought out a direct source for that.) in that case, the slashes through the hat might have been intended as foreshadowing.

but since buggy wasn’t the one to make that scar, instead it leads us to draw comparisons between these characters who both have wielded three blades on one hand. and maybe it’s just because they were both written as foils to luffy, but i find comparing buggy and blackbeard very interesting!

similarities:

former warlord of the sea/current emperor of the sea

devil fruit user

served on a big name’s crew back in the day

intentionally went under the radar/overlooked for years

doesn’t really buy into concepts like “loyalty” or “honor,” happy to turn on a crew mate or backstab an ally if it’s to his advantage

used to wield three blades but these days prefers explosive-adjacent weapons

not happy to see red-haired shanks at marineford

differences:

fell into those positions by chance/years of plotting to get into those positions

a devil fruit with zero combat utility (besides avoiding damage)/possibly the devil fruit with the most combat utility? (though, unusually, he can take damage while wielding it)

their reasons for going under the radar (fear of being hunted down/working towards a secret goal)

the consequences for overlooking them (for shanks: losing buggy/losing to bb, or at least taking a very bad wound from him; for others: misinformation on a global scale/the literal paramount war)

buggy is a strong believer in the captain-crew bond, which bb absolutely does not buy into

type of three-bladed weapon (three throwing daggers, suggests flexibility, hidden motives, a preference for distance fighting; claw weapon, suggests light-footedness, straightforwardness—you know when a claw wielder is about to start fighting, he’s gone and put the claws on)

type of explosive weapon (bombs, suggests pre-planning, a preference for distance fighting, maximum damage for minimum effort; guns, suggests a flexibility on distance vs melee range, a willingness to threaten rather than kill outright)

why they didn’t want to see shanks (ugh, that guy pisses me off/i think that guy might literally kill me lmao)

[hayaku14]

hello why is kaishin more popular than shinkai or what i mean is why bottom shinichi is like the most widely believed one? lol not really in the fandom just vaguely familiar with the anime from childhood it's just my mutuals likes this ship. i'd thought shinichi being the top would be more popular given his personality.

anon sorry for the late answer!!

imma be real honest with you, anon, i've loved the kidco dynamic since i was conan-sized but i only realized kaishin should be making out around 2021 so i don't know if i'm the best person to answer this question LOL BUT, i'll give you an answer!

tbh, i think for fandom shipping in general, the main character more often than not is the chosen bottom and whoever else is the other party is topping them. in japanese media especially, the ship names are mostly born from putting the kanji of their names together wherein the order of which indicates the seme and uke. since this happens early on, we kinda get stuck with that as the popular ship name whether you prefer the other way later on.

perhaps kaishin is more popular but not entirely by a lot compared to other ships where it's completely skewed to one side. i see a lot of shinkai too. ofc there are people who prefer one way over the other exclusively and that's completely fine!

personally, i think confining them into seme and uke or top and bottom does a great disservice to the kaishin dynamic because to me we should be looking at their sub-dom dynamic more and why they're actually peak switch sub and dom!!!!

that's fucking right kaishin is actually peak switch and i will die on this fucking hill!!!!!!!!!!

when you say shinichi would be the "obvious top," i'd like to assume in your heart you actually meant "the obvious dom" (LOL) but i think that could also apply to kaito.

i think the appeal of kaishin is the push and pull between them. the give and take. they're always trying to one-up each other. sometimes one pushes and the other gives way, sometimes it's the other way around.

i will be honest, perhaps switch pairings might just be my preference but I have never encountered a pairing that felt this completely equal in the switch department more than kaishin. like for other ships i'd sometimes be like, "yeah they switch but A is 70% more dom than B." But for kaishin I'm like, "oKAY THEY'RE 50/50 THEY'RE EQUALS THEY'RE PERFECT HALVES RAAAAAHHHH"

now how does this answer your question? well, i have no proof and im going off of vibes and like i said im no veteran in this ship fandom but, i think a lot of people do enjoy the other way around as you think it would've been. it's just that...it's something that can just be filed under the kaishin tag too. because it's basically the same sometimes. the only different thing is who's topping and bottoming. like sometimes i'm scrolling through twitter and i'd see art that's giving shinkai but it's tagged as kaishin and vice versa lol.

also personally i prefer calling them kaishin because i love the letter k and i associate the name shinkai more with makoto shinkai so every time i see people refer to kaishin as shinkai, my mind just conjures up an image of kaito, shinichi, and makoto shinkai together and i know that's fucking hilariously weird but it sometimes happens!!!! LMAO so even if i'm thinking about shinkai stuff, i still prefer using the name kaishin lol.

(but having the kaishin/shinkai distinction is definitely still useful especially for people who want to filter through one way or the other so fuck yeah to the ship name shinkai you're here to stay!!!)

anyway in conclusion, top shinichi is popular too dw lol, or maybe i should say bottom kaito is popular too lol i see yalls

also sorry that this answer is not only late but also a whole essay that doesn't even straightforwardly answer your question lol my bad anon